Sunday, July 19, 2009
Music: Mismatched partners hope to steer listeners to overlooked artists with Music Road record label
12:00 AM CDT on Sunday, July 19, 2009
On paper, Kelcy Warren and Jimmy LaFave would appear to have little in common. At 53, Warren is the CEO of Dallas-based Energy Transfer Partners, a Fortune 500 company. LaFave, 54, is an Austin-based singer-songwriter with a goatee, who often wears a black beret and crisscrosses the country with three other band members in a Honda Pilot.
Jimmy LaFave (left) and Sam Baker are two principal artists on the Music Road label. LaFave started the label with partner Kelcy Warren. " width="0">BILL WAUGH/Special Contributor
Jimmy LaFave (left) and Sam Baker are two principal artists on the Music Road label. LaFave started the label with partner Kelcy Warren. "People might wonder," LaFave says with a laugh, "what Kelcy's doing, hanging around with these scruffy musicians."
What they're doing, both men say, is hoping to make their newly launched Music Road Records the next Asylum, the outrageously successful label that began quietly in the 1970s under the steerage of executive David Geffen and then added such musical talents as Joni Mitchell, Jackson Browne, the Eagles, Linda Ronstadt and Tom Waits.
Kelcy Warren is a musical connoisseur who attends live performances all over Texas. Guitars are omnipresent at his energy company's office building. Warren and partners Jimmy LaFave and Fred Remmert want to use their record label, Music Road, to help artists be more than a well-kept secret. " width="0">MELANIE BURFORD/DMN
Kelcy Warren is a musical connoisseur who attends live performances all over Texas. Guitars are omnipresent at his energy company's office building. Warren and partners Jimmy LaFave and Fred Remmert want to use their record label, Music Road, to help artists be more than a well-kept secret. A musical connoisseur who attends live performances all over Texas, the straight-shooting, firm-handshake-extending Warren once offered free guitar lessons to any employee who cared to master the instrument. Guitars are as omnipresent as Texas art at his company headquarters on Oak Lawn Avenue.
The energy executive says he first heard LaFave perform his own brand of acoustic folk rock at Poor David's Pub in the early 1990s and has been hooked on his music ever since. Over the years, their friendship grew and in 2007, they launched Music Road, an Austin-based label they describe as being long on partnership and family, and more in tune with an artist's wants and needs.
Music Road has released four records – a Woody Guthrie tribute album and solo efforts by Slaid Cleaves, Sam Baker and John Inmon, a stunningly talented lead guitarist who plays in LaFave's band. Cleaves, LaFave and Baker are the first three artists signed to the label, but both LaFave and Warren hope to add 20 to 30 more.
The mix includes engineer and general manager Fred Remmert, who runs Cedar Creek Recording in Austin, where such artists as Shawn Colvin, Pat Green and the Dixie Chicks have made records for years. Music Road recently acquired Cedar Creek and also added to its portfolio Cherokee Creek Studio, on Warren's ranch near Llano.
Warren describes Music Road's three-way executive partnership by saying: "I put up the financial part – I do the money. Jimmy does the art. Fred runs the business."
A native of White Oak in East Texas, Warren is no stranger to the music business. In 1995, he founded Siren Records, which "didn't do very well. We put out some good product. But," he says with a sigh, "it wasn't run correctly."
Part of what he views as correct is taking a more ethical approach with artists and giving them an equal say in how things are run. He calls the decision-making process an equal collaboration among himself, LaFave and Remmert. When it comes to signing any new artist, for example, if the three don't agree, it doesn't happen.
"There's a lot of skepticism in the music business these days," Warren says. "A lot of cynical thought processes, a lot of unkept promises, a lot of reckless spending. An artist over time gets pretty jaded. They end up asking themselves, 'Why do I need a record label? It's never done anything for me in the past.' "
Part of his mission, Warren says, is to provide more prominence to artists such as LaFave, who, along with John Gorka, Gretchen Peters and Eliza Gilkyson, often plays 100-seat venues despite garnering rave reviews all over the world. A critic once described the Oklahoma-bred LaFave as being a "red-dirt Van Morrison." Warren says such artists deserve to be more than well-kept secrets. Because conventional radio has become what he calls a wasteland spinning from commercial country to rap and back, Warren says he's amazed by the number of gifted artists who are "lost in obscurity – unless they get lucky."
As an example of more widespread distribution, Music Road recently acquired LaFave's entire Bohemia Beat Records catalog – his first six recordings – and hopes to unveil them on Apple's iTunes service, where up to now, no one has heard them.
The label's most recent acquisition is Cleaves, 45, who hails from Maine, where his fans include author Stephen King. "Go to one of Slaid's shows, take a friend and pass on the news," King recently wrote. "Not all the good guys wear hats."
Of the three principal artists on the label, Sam Baker, 54, may have the most unusual life story.
In 1986, when he was 32, Baker was traveling in Peru when a terrorist bomb set off by the Shining Path Maoist group blew up the train he and his friends were on. The blast killed several passengers, including the German boy and his parents who were sitting next to him. Having almost bled to death, Baker survived but suffered numerous injuries and aftereffects, including shrapnel in a leg, renal failure, brain damage, gangrene, partial deafness in one ear and total deafness in the other.
Cotton, his first release under Music Road, is his third effort and the last in a trilogy. Music Road Records is, for an artist, he says, an oasis-like relief. His business, like others forever changed by the Internet, is in a maddening state of flux.
The music world has become, he says, "a bruising endeavor. Everyone's lives have changed dramatically; the whole model has shifted so. It's become what I would call a reasonably rough neighborhood. So, it's a good thing – no, a great thing – to be with people like these whom you like and trust and respect."
Artists Turning To Tickets-For-Charity
July 17, 2009 - Touring
By Mitchell Peters, L.A.
Earlier this year, singer/songwriter James Taylor wanted to help fund the Natural Resources Defense Council through the sale of his concert tickets, so he turned to the online ticketing platform Tickets-for-Charity. Taylor is one of many artists using the recently launched ticketing company to raise money for more than 30 nonprofit organizations.
Tickets-for-Charity connects with artists, managers, venues and promoters before a tour to set aside an allotment of tickets to be sold on its Web site. It then prices those tickets based on the going rate in the secondary ticketing market. For each one sold on TicketsForCharity.com, the original face value of the ticket is paid back to the artist and the difference is donated to charity. Tickets-for-Charity earns money on the ticket service fees.
For example, "if the secondary market is pricing a $50 ticket at $500, then we'll try and capture that $450 for charity," Tickets-for-Charity CEO Jord Poster tells Billboard, noting that the price and donation are charged separately on the buyer's credit card. The average donation per sold ticket is about $150, he says.
The purpose of Tickets-for-Charity is to give concertgoers the opportunity to help others. "All we're doing is creating a socially positive option for consumers when they can't find what they want," Poster says. "Rather than paying $400 to a broker or scalper, they can pay $400 to Tickets-for-Charity. The difference is that most of the benefit is going to charity rather than a secondary reseller."
The Web site launched in June, but during an 18-month testing period, the site raised about $3 million from concerts by Taylor, the Rolling Stones, the Police, John Mayer and Lionel Richie, among others. Poster expects to raise "hundreds of millions of dollars" for nonprofits in the future. This summer, the company is working with Brad Paisley, Coldplay, Carlos Santana, Diana Krall, Kenny Chesney and Sugarland, among others.
July 17, 2009 - Touring
Earlier this year, singer/songwriter James Taylor wanted to help fund the Natural Resources Defense Council through the sale of his concert tickets, so he turned to the online ticketing platform Tickets-for-Charity. Taylor is one of many artists using the recently launched ticketing company to raise money for more than 30 nonprofit organizations.
Tickets-for-Charity connects with artists, managers, venues and promoters before a tour to set aside an allotment of tickets to be sold on its Web site. It then prices those tickets based on the going rate in the secondary ticketing market. For each one sold on TicketsForCharity.com, the original face value of the ticket is paid back to the artist and the difference is donated to charity. Tickets-for-Charity earns money on the ticket service fees.
For example, "if the secondary market is pricing a $50 ticket at $500, then we'll try and capture that $450 for charity," Tickets-for-Charity CEO Jord Poster tells Billboard, noting that the price and donation are charged separately on the buyer's credit card. The average donation per sold ticket is about $150, he says.
The purpose of Tickets-for-Charity is to give concertgoers the opportunity to help others. "All we're doing is creating a socially positive option for consumers when they can't find what they want," Poster says. "Rather than paying $400 to a broker or scalper, they can pay $400 to Tickets-for-Charity. The difference is that most of the benefit is going to charity rather than a secondary reseller."
The Web site launched in June, but during an 18-month testing period, the site raised about $3 million from concerts by Taylor, the Rolling Stones, the Police, John Mayer and Lionel Richie, among others. Poster expects to raise "hundreds of millions of dollars" for nonprofits in the future. This summer, the company is working with Brad Paisley, Coldplay, Carlos Santana, Diana Krall, Kenny Chesney and Sugarland, among others.
Come together: One-of-a-kind Dfest remains a big draw
The ABCs of Dfest: Largest roster ever for Blue Dome fest
Fans flock to Paramore during Dfest 2008. Headliners this year include the Black Crowes, Cake and Ian Moore. More than 100 other bands will perform during the two-day festival. Tulsa World file
By JENNIFER CHANCELLOR World Scene Writer
Published: 7/19/2009 2:26 AM
Last Modified: 7/19/2009 4:37 AM
For the full list of more than 160 acts.
Read music reporter Jennifer Chancellor’s blog for live coverage of Dfest.
Dfest music festival and conference: Top picks
Check out Tulsa World music reporter Jennifer Chancellor’s online schedule and top picks.
Plus, check out Tulsa World Scene assistant editor Sarah Hart’s online schedule and top picks.
Check out Tulsa World online editor Lauren Cavagnolo’s online schedule and top picks.
Dfest, the only event of its kind in the Midwest, is back for year No. 8, proving that music is big business for fans and local economies alike.
"Oklahoma is capitalizing on what you can't 'download,' " said Dfest co-founder Tom Green.
That includes live talent, music schools, leadership and hands-on learning experience that is an industry above and beyond MP3's.
"This is like what Seattle had in the '90s," said Green. "Maybe it's better, because everyone's in on it, not just Tulsa, not just Oklahoma City."
In fact, it's one of maybe three comprehensive festivals of its size in the nation, including Austin's annual South by Southwest.
And Dfest only works, said Green, because everyone works together.
"We kill the turnpike divide between Oklahoma City and Tulsa. We have a synergy that is phenomenal right now. We have talent literally coming out of the woodwork."
What is Dfest? More than 30 headlining acts and over 100 emerging acts scheduled on more than a dozen stages and venues for this year's music festival.
It's the largest roster ever presented, said organizers, and it brings tens of thousands of music professionals and fans to downtown's historic Blue Dome District each year.
"This is a rare opportunity for emerging and aspirant artists to connect face-to-face with industry professionals," said Green. "We've organized a very experienced and sophisticated lineup of panelists from all over the nation to speak and answer questions on topics that are relevant to budding musicians."
The conference runs during the daytime hours of July 24-25. Songwriter, performer and producer Andrew W.K. will be Artist Series Keynote Speaker of the two-day conference. Other panelists include Artist Series Keynote Series Speaker P.O.D. artist Traa Daniels and Business Series Keynote Speaker Martin Atkins. Also presenting panels at Dfest will be representatives from MTV, Atlantic Records, Universal Music and much more.
"In this business," said Green, "you gotta go for it. It's kind of like being a pro athlete. We don't have the copycat syndrome of other festivals. We're definitely our own bird."
— See Monday's World to learn more about Tom and Angie Green, creators of Dfest.
Jennifer Chancellor 581-8346
jennifer.chancellor@tulsaworld.com By JENNIFER CHANCELLOR World Scene Writer
The ABCs of Dfest: Largest roster ever for Blue Dome fest
Fans flock to Paramore during Dfest 2008. Headliners this year include the Black Crowes, Cake and Ian Moore. More than 100 other bands will perform during the two-day festival. Tulsa World file
By JENNIFER CHANCELLOR World Scene Writer
Published: 7/19/2009 2:26 AM
Last Modified: 7/19/2009 4:37 AM
For the full list of more than 160 acts.Read music reporter Jennifer Chancellor’s blog for live coverage of Dfest.
Dfest music festival and conference: Top picks
Check out Tulsa World music reporter Jennifer Chancellor’s online schedule and top picks.
Plus, check out Tulsa World Scene assistant editor Sarah Hart’s online schedule and top picks.
Check out Tulsa World online editor Lauren Cavagnolo’s online schedule and top picks.
Dfest, the only event of its kind in the Midwest, is back for year No. 8, proving that music is big business for fans and local economies alike.
"Oklahoma is capitalizing on what you can't 'download,' " said Dfest co-founder Tom Green.
That includes live talent, music schools, leadership and hands-on learning experience that is an industry above and beyond MP3's.
"This is like what Seattle had in the '90s," said Green. "Maybe it's better, because everyone's in on it, not just Tulsa, not just Oklahoma City."
In fact, it's one of maybe three comprehensive festivals of its size in the nation, including Austin's annual South by Southwest.
And Dfest only works, said Green, because everyone works together.
"We kill the turnpike divide between Oklahoma City and Tulsa. We have a synergy that is phenomenal right now. We have talent literally coming out of the woodwork."
What is Dfest? More than 30 headlining acts and over 100 emerging acts scheduled on more than a dozen stages and venues for this year's music festival.
It's the largest roster ever presented, said organizers, and it brings tens of thousands of music professionals and fans to downtown's historic Blue Dome District each year.
"This is a rare opportunity for emerging and aspirant artists to connect face-to-face with industry professionals," said Green. "We've organized a very experienced and sophisticated lineup of panelists from all over the nation to speak and answer questions on topics that are relevant to budding musicians."
The conference runs during the daytime hours of July 24-25. Songwriter, performer and producer Andrew W.K. will be Artist Series Keynote Speaker of the two-day conference. Other panelists include Artist Series Keynote Series Speaker P.O.D. artist Traa Daniels and Business Series Keynote Speaker Martin Atkins. Also presenting panels at Dfest will be representatives from MTV, Atlantic Records, Universal Music and much more.
"In this business," said Green, "you gotta go for it. It's kind of like being a pro athlete. We don't have the copycat syndrome of other festivals. We're definitely our own bird."
— See Monday's World to learn more about Tom and Angie Green, creators of Dfest.
Schedule of events
Thursday7 p.m.: VIP Kickoff party, VIP Kickoff Tent
9 p.m.: Colourmusic, IDL Ballroom
Friday
1:30 p.m.: Artist Keynote, Andrew WK (conference), Grammy Room, Ballroom D.
4:45 p.m.: The Music Biz Is Not for You (conference), Grammy Room
6 p.m.: Other Lives, Poseidon Stage: This band’s organic, orchestrated sound incorporates elements of progressive rock, folk and classical music and draws from many a Muse: from historical events to the Stillwater landscape where the act grew up.
6:10 p.m.: Ptiaradactyl, Joe Momma’s Pizza
7 p.m. : Dengue Fever, Triton Stage: This wacky amalgam of ’60s Cambodian pop tunes, American quasi-psychedelic rock and echo-y surf-twang guitar rides an alt-rock tidal wave in from Los Angeles.
8:10 p.m.: Joe Pug, IDL Ballroom
8:30 p.m.: Ozomatli, Triton Stage: This Grammy-winning act brews a vital concoction of Latin salsa, ska, urban hip-hop and jazz-funk, and has been a music festival favorite for years.
The 10-piece band erupted from Los Angeles to tweak people’s consciousness with their politicized amalgamation.
9:10 p.m.: Unwed Sailor, Electric Circus
9:30 p.m.: Crocodile, IDL Ballroom
10:30 p.m.: Gogol Bordello, Triton Stage: This group combines elements of punk, authentic gypsy music and Brecht-ian cabaret to wallop fans with its story of New York’s immigrant exodus through debauchery, humor and surreal dress.
10:30 p.m.: Gil Mantera’s Party Dream, IDL Ballroom: It’s a frenzied dance party with synthesizers, bass, drums, vocals, guitars, mattresses, microwaves and wrestling.
11:10 p.m.: Callupsie, Electric Circus
11:50 p.m.: DJ Rekha, Templ
12:10 a.m.: Rainbows Are Free, Flytrap Music Hall
Saturday
1:30 p.m. : Business Keynote: Martin Adkins (conference), Grammy Room
2 p.m.: Internet Killed the Radio Star (conference), MusiCares Room
6 p.m.: The Knux, Triton Stage
6:10 p.m.: Three Penny Upright, Dirty’s Tavern
7:10 p.m.: Gentleman Auction House, IDL Ballroom
7:10 p.m.: The Round Up Boys, Dirty’s Tavern
8:10 p.m.: Dead Sea Choir, Dilly Deli
8:30 p.m.: The Cool Kids, Triton Stage: This Chicago-based duo mixes influences including the Beastie Boys, EPMD, Eric B. and Rakim and others to create a word-of-mouth and MySpace groundswell. They started with the intention of making beats to sell to other artists, but soon realized they owned those distinctive beats and added their own raps over them.
9:10 p.m.: Billy Joe Winghead, Route 66 Mother Roadhouse
10 p.m.: Stars Go Dim, Williams Center, Tulsa Performing Arts Center
10:10 p.m.: Eric & the Adams, Joe Momma’s Pizza
10:30 p.m.: Gringo Star, IDL Ballroom: This quirky alt-rock foursome includes multi-instrumentalists who keep fans guessing during live shows, often switching among drums, keys, guitar, bass, accordion and even kazoo and tambourine.
11:10 p.m.: Mayola, Electric Circus
11:30 p.m.: Cake, Poseidon Stage: They epitomize the postmodern, irony-drenched aesthetic of ’90s geek-rock, mixing and matching widely varying genres — white-boy funk, hip-hop, country, new wave pop, jazz, college rock and guitar rock. They delight in the clashes that result.
12:10 p.m.: RadioRadio, Electric Circus
1 a.m.: Steve Pryor, Dirty’s Tavern note on stages: Admittedly, the names mean nothing until you get to the Blue Dome district.
There, grab a map and you’ll be in business.
Discounts and goodies
Go to any U.S. Cellular store and get your free Digital Download Card with 15 free songs by Dfest artists. Check out the list of artists: tulsaworld.com/dfestdownload. The card is also good for $5 off advance-purchase Dfest tickets.Area Kum & Go locations are offering $5 off discount tickets through Thursday.
The Philbrook Museum will offer half-price admission on Friday-Saturday to people wearing Dfest wristbands.
The Oklahoma Aquarium will offer $5 off admission on Friday-Saturday to people wearing Dfest wristbands.
American Airlines is offering a 5 percent discount off the lowest applicable fares during Dfest week via American Airlines, American Eagle and American- Connections at www.aa.com. Chose the dates and times of your choice. The promotion authorization code is 9479BP.
Save time and plan early: You can create your own customized schedule for the festival and conference so you don’t miss your bands, conference panels, or yoga events. schedule.dfest.com
Please join Dfest on these other sites to connect and find out more about Dfest promotions and make new friends with Dfest Fans: facebook.com/dfest; MySpace.com/dfest; twitter.com/dfest; youtube.com/dfestvideo
Dfest
When: Friday-Saturday
Where: Blue Dome District, downtown Tulsa
2-day pass: advance $47; day of (online only) $60
VIP 2-day pass: advance $175; day of / walk up $240
1-day pass: advance $32; day of / walk up $45
VIP conference and festival: advance $215, day of $270
2-day conference and festival: advance $85, day of $111
yoga pass: advance $60, day of $75
2-day yoga plus festival: advance $107, day of $135
Yoga plus conference and festival: advance $145, day of $186
yoga and VIP festival: advance $235, day of $315
Yoga and VIP and conference: advance $275, day of $345
Tickets available at tulsaworld.com/ticketStorm and online at tulsaworld.com/dfest09.
note: Downtown parking available, some free parking, some pay-to-park.
Trolleys available.
Hotel rooms available.
No pets, no unauthorized/ professional cameras or film equipment, no glass containers.
No weapons, no large backpacks, no fireworks, no skateboards, no scooters, no carts, no tents, no moshing. Children welcome. Tickets required for children over age 6. Some venues are 21 and over only.
Online: tulsaworld.com/dfest09
Dfest contests
Be a reporter for dfest: Tell us in 300 words or less why you think you should be a reporter during Dfest. Send entries to dfestcontest@tulsaworld.com, and see complete rules at tulsaworld.com/dfest. Deadline to enter is Monday!Photo scavenger hunt: It’s easy, and the prizes are great. Go to Dfest with our list of clues in hand, take pictures of you or your friends with the clues, then submit pictures after the festival is over to dfestcontest@tulsaworld.com. The top prize is a three-night stay at the Hard Rock Hotel and Casino Tulsa and a $50 Kum and Go gas card.
Jennifer Chancellor 581-8346
jennifer.chancellor@tulsaworld.com
Friday, July 17, 2009
Rock legends' concert benefits Oklahoma Music Hall of Fame
 | Reported by: Russell Mills Email: webmaster@kjrh.com Last Update: 1:46 pm |
Related Links
The Oklahoma Music Hall of Fame sponsored the concert, a fundraiser for the non-profit group also based in Muskogee.
Asia, with a lineup of John Wetton on vocals and bass, Steve Howe on guitar, Geoff Downes on keyboards, and Carl Palmer on drums, opened the show.
The band, collectively and individually, have sold more than 120 million albums. Asia was one of the original "supergroups," with members of King Crimson, Yes, the Buggles, and Emerson, Lake and Palmer respectively forming the quartet.
The group paid homage to each of those bands during their show Thursday night, pulling out treasures like The Boggles Video Killed the Radio Star and King Crimson's In the Court of the Crimson King.
Steve Howe then returned to the stage with the band that made him a household name in prog rock circles, Yes.
Founded in 1968, Yes has seen literally dozens of lineup changes. Thursday night's personnel were Howe, and longtime fellow Yes members Alan White on drums and Chris Squire on bass.
Joining the group for the first time on this tour were keyboardist Oliver Wakeman, son of longtime Yes member Rick Wakeman, and Benoit David, a French Canadian singer who sounded uncannily like the original Yes vocalist, Jon Anderson.
The group played some of their more popular numbers, like Owner of a Lonely Heart and Roundabout, but also brought out some rare treasures not normally heard in concert, like Siberian Khatru and Machine Messiah.
While the audience filled less than half the available space, they received both bands with great enthusiasm.
The Oklahoma Music Hall of Fame
KJRH.com asked Max Boydstun, the President of the OMHoF Board of Directors, how the organization came to book two British progressive rock bands for a benefit show.
"We have a semi-anonymous patron," he said, "who has a few favorite bands...he wanted to put on some concerts this year and if there were any profits made, the proceeds would go to the Oklahoma Music Hall of Fame."
He went on to say that while the group's main mission is to promote Oklahoma music and musicians, it also considers bringing live musical acts to the state to be part of its mission.
Previously, the OMHoF has staged concerts featuring the bands America and the Doobie Brothers.
Asked about plans for future shows, OMHoF treasurer Tracy Blair said the group holds an annual induction ceremony and concert some time in October.
"We're not at liberty to say at this point" who the inductees will be, Blair said, but "we're in the final stages." The announcement should take place in the next month or so.
The dates of the induction ceremonies vary because it takes a lot of effort to coordinate with the inductees to ensure they can attend.
The Hall of Fame has a rule that inductees, if living, must accept their honor in person. The number of inductees each year so far has ranged from three to five, Boydstun said.
"You gotta remember too that we're asking the inductees for a non-paying gig," he added. "So it's a little bit tough some times to coordinate all that, but we've managed to pull off thirteen of them now and we're working on number fourteen."
Boydstun also hinted that the Museum has plans for expansion.
"One of the things we learned very early on...is when you are trying to build a museum in a hall of fame setting, there's no use breaking ground for the first ten or fifteen years, because you've got to have several inductions before you're really ready to start building a museum. We're getting very close to that stage."
Click the link at the top of this page to learn more about the Oklahoma Music Hall of Fame and museum.
Muskogee Area Events
Area Events
Submit calendar items and photos by Wednesday for Friday’s Weekend section. Please include your phone number. E-mail features@muskogeephoenix.com, fax 684-2865 or mail to Features, P.O. Box 1968, Muskogee 74402. For information, phone Features Editor Leilani Roberts Ott, 684-2908.
BLOCK PARTY, 2 to 4 p.m. Friday, Magnolia Gardens, 3211 Chandler Road, under the awning on the west side of the building. There will be hot dogs, chips, prizes and more.
REMEMBERING THE “FORGOTTEN WAR” IN KOREA, 9 a.m. to 9 p.m. Monday to Thursday; 9 a.m. to 6 p.m. Friday; and 9 a.m. to 5:30 p.m. through July 31, Muskogee Public Library. The display was created by Ellen “Cowboy” Johnson and features information on the facts of the Korean war as well as specific battles such as Heartbreak Ridge. Also featured is the Eastern Oklahoma Chapter 177 veterans of the Korean War. Information: Rhonda Lee, 682-6657, Ext. 250.
COOKSON JUBILEE, gates open 4 p.m. Friday and noon Saturday, Tenkiller Area Community Organization building and grounds. Arts and crafts, Cookshack BBQ, Just Desserts, Kids’ Things, Jubilee T-shirts, food vendors and more. Oklahoma Heartland Band, Jason Meadows, Carrigan Bradley performing. Parking $5. Admission $20. Free tickets available by listening to KEOK 102.1, KTLQ 1350, KTFX 101.7, KFOX 102.5. No alcohol or ice chests. Bring lawn chairs and blankets.
MOTORCYCLE DINNER FUN, 6:30 p.m. Fridays, weather permitting, Steve’s Tractor, 301 E. Okmulgee Ave. It is open to all people who ride any motorcycle, any age. The group will select a restaurant and ride to for dinner in the area. Information: 348-2351 or 441-1352.
NSU STARS IN THE SUMMER SERIES featuring Downtown Country and River City Players, choose from four Branson-style shows, 7:30 p.m. Thursdays, Fridays and Saturdays and 2 p.m.. Saturdays, through Aug. 8. Downtown Country presents “Rhinestone Country 2” and “Turn Your Radio On” while River City Players presents “Centennial Soundtrack” and “River City Sockhop.” Downtown Country is at NSU Playhouse, corner of Downing and Muskogee, Tahlequah. River City is at the Shawnee Street Theater, corner of Downing and College streets, Tahlequah. Tickets: Adults, $12; NSU alumni/employees, $10; seniors/groups of 20 or more, $8; students/children, $6. Book a ticket for a June performance and get $1 off your ticket price. Presented by Northeastern State University. Sponsored by Tahlequah Area Tourism Council. Reservations: 458-2075.
PLAYNIGHT SERIES 2008, 7:30 p.m. Fridays, Porter Roundup Club. Events include flag race, cloverleaf barrels, pole bending and surprise event. Negative coggins required, original copy. Concessions. Information: 261-9690.
STANLEY CATTLE CO. TEAM ROPING, 10 roping with an eight incentive, three for $30. All fresh cattle. Practice at 6:30 p.m., roping at 8 p.m. Fridays, Fort Gibson Roundup Club, three and one-half miles east of Fort Gibson on U.S. 62. Information: David Stanley, 931-1282, or Jeff Denton, 230-5378.
PHOTO WALK, hosted by Muskogee Shutterbug Club, 7 to 9 a.m. Saturday, Oklahoma Music Hall of Fame, 401 S. Third St., and downtown. It is part of a Worldwide Photo walk that day. A photo walk is a social photography event where photographers get together, usually in a downtown area or trendy section of town, to walk around, shoot photos, and generally have fun with other photographers. After the event, attendees are welcome (but not required) to submit their photos online for judging and prizes, providing an opportunity to showcase Muskogee. Everyone is welcome. Sign up is required and limited to 50 people. Go to http://worldwidephotowalk.com/muskogee-ok-usa/ for more information and to sign up, or call Mandy Lundy, 478-4136.
MUSKOGEE FARMERS’ MARKET, 8 a.m. to noon Wednesday and Saturday, Muskogee Civic Center Market Square, Fourth Street and Okmulgee Avenue. Oklahoma grown fresh produce, plants, herbs, flowers and bakery goods are offered through October. Information: Doug Walton, 686-6939.
TAHLEQUAH FARMERS’ MARKET, 8 a.m. to noon Saturdays through October, parking lot of the First Lutheran Church behind Reasor’s. The market offers local produce, breads, cookies, meats and eggs. Information: 456-7598 or www.tahlequahfarmersmarket.com.
POOL TOURNAMENT, noon Saturday, third Saturday, VFW Post 474, 3811 W. Okmulgee Ave. Entry fee: $25. Information: Michael Zaleski, 781-3660.
BOOK SIGNING with Frances Walker of McAlester, a retired Muskogee elementary teacher, Saturday, Hastings Book and Music. Her new novel is “Donna’s World,” published by Publish America. Walker taught elementary music at Cherokee Elementary school for several years as well as fifth grade. She also taught one year at Ben Franklin Science Academy. The book is a novel situated in a small Oklahoma town similar to Muskogee and other area towns.
LEMONADE PROMENADE, 11 a.m. to 1 p.m. Wednesdays, Muskogee Civic Center Market Square. Enjoy lunch and lemonade while listening to bluegrass and country music.
SALSA TASTING CONTEST, Muskogee Farmers’ Market, 8 a.m. to noon July 25, Muskogee Civic Center Market Square, Fourth Street and Okmulgee Avenue. Oklahoma-grown fresh produce, plants, herbs, flowers and bakery goods are offered on Saturdays and Wednesdays. Information: Doug Walton, 686-6939.
CAR, TRUCK AND BIKE SHOW, sponsored by One Way Outreach, July 25. Proceeds from entry fee go toward weekend feeding program for school children. Entry fee is $15 per category. Prizes will be awarded in various categories. Special prizes will be awarded for best helmet and best rims. Vendor spaces available. Three-on-three basketball tournament also for those 8 to adult. For registration call, 680-0950, 351-3613, 391-2005 or 681-4092.
FREE BACK-TO-SCHOOL IMMUNIZATIONS, 8:30 a.m. to 6:30 p.m. July 28, Muskogee County Health Department, 530 South 34th St. Immunizations plus vision screenings, Muskogee County EMS Child Passenger Safety, Cherokee Nation Three Rivers Health Center, Muskogee Fire Department, Muskogee Police Department, McDonalds, Department of Education, Tobacco Prevention, SoonerStart, Muskogee Public Schools, Project C.L.E.A.R., Department of Human Services, and Muskogee Public Library. Activities, Prizes, and Fun. Information: 683-0321, or toll free (877) 596-1596.
RED CROSS BLOOD DRIVE, hosted by Muskogee New Friends, 11 a.m. to 5 p.m. Aug. 6, first Thursday of the month except for the holiday, Muskogee Civic Center, second floor. Information: Sherri Apperson, 686-9453.
SESAME STREET LIVE “Elmo’s Green Thumb,” 7 p.m. Aug. 25 and 10:30 a.m. and 7 p.m. Aug. 26, Fort Smith Convention Center, 55 S. Seventh St., Fort Smith, Ark. 72901. Tickets: $15 and $18. A limited number of $25 Gold Circle seats are available. Additional fees and discounts may apply. For more information or to charge tickets by phone, call Ticketmaster at (800) 745-3000. Tickets may also be purchased online at www.ticketmaster.com. For information online, please visit www.sesamestreetlive.com.
RIVER RUMBA, Aug. 28 and 29, Three Forks Harbor. Information: www.exchangeclubmuskogee.org.
GRILL CRAZY II, Farmers’ Market, Aug. 29, Muskogee Civic Center Market Square, Fourth Street and Okmulgee Avenue. Oklahoma-grown fresh produce, plants, herbs, flowers and bakery goods are offered on Saturdays and Wednesdays. Information: Doug Walton, 686-6939.
HISTORIC CEMETERY WALKING TOUR, Sept. 12, Three Rivers Museum. Information: 686-6624.
HATBOX FIELD MEMORIAL IMAA FLYIN, 9 a.m. to 4 p.m. Oct. 9 and 10, Hatbox Field. Three Rivers Area Model Plane Society presents the seventh annual IMAA flyin. Hatbox Field will be open for fun flying and camper/motor home setup all day Oct. 8. Registration and sanctioned flying starts Oct. 9 and continues Oct. 10. Event landing fee, $20, or $10 per day. AMA and IMAA membership required. Information: Gaines Smith, 478-8410, or gsmith6879@gmail.com.
GHOST STORIES CARAVAN TOUR, Oct. 30 and 31, Three Rivers Museum. Information: 686-6624.
MUSKOGEE VETERANS PARADE, 2 p.m. Nov. 7, downtown Muskogee. Information, Joel Everett, 684-6302, Ext. 28.
CHRISTMAS IN DEPOT DISTRICT, Nov. 11 to Jan. 2, 2010, Three Rivers Museum and Oklahoma Music Hall of Fame and Museum. Exhibits, music and fun for the family. Information: 3riversmuseum.com, 686-6624, omhof.com or 687-0800.
BOARE’S HEADE FEASTE, 7 to 10 p.m. Nov. 21, The Castle of Muskogee 3400 Fern Mountain Road. Enjoy an evening with King Henry VIII and Queen Margaret as you feast on a four-course repast and enjoy amazing entertainment. Remember to wash both of your hands because they become your eating utensils for the evening. Limited seating. Reservations or information: 687-3625 or (800) 439-0658.
GARDEN OF LIGHTS, dusk to 10 p.m. Thanksgiving to New Year’s Eve, Honor Heights Park. View over 1,000,000 shimmering lights as well as the animated displays. Donations accepted. Information: Muskogee Parks and Recreation, 684-6302.
CHRISTMAS KINGDOM, 7 to 10 p.m. Thanksgiving to New Year’s Eve, The Castle of Muskogee, 3400 Fern Mountain Road. Enjoy more than 1,200 holiday inflatables. The Castleton Village is lit up with scenes made from your favorite holiday inflatables. Thousands of additional lights have been added. Come inside The Castle and have a hot drink or shop in the Castle Gift Shop. Information: 687-3625 or (800) 439-0658.
CHRISTMAS MEMORIES, Dec. 1 to Jan. 2, Three Rivers Museum. Information: 686-6624.
“CURIOUS GEORGE,” live on stage, Dec. 3 to 6, BOK Center, Tulsa. Tickets are $15, $18, $23 and $29 and go on sale Sept. 28. Tickets are available online at www.bokcenter.com, Reasor’s stores, Arby’s Box Office or by calling 1-866-7-BOKCTR.
From 9513 - link at bottom takes you to full article
Jamey Johnson – “My Way To You”
After an outstanding, independently-recorded effort that ushered him in as country music’s Outlaw Savior (garnering an unprecedented level of critical acclaim from essentially every corner of the music universe), Jamey Johnson returns with “My Way To You,” the first single from his upcoming fourth album.
He does not disappoint. The song opens to the sound of an eerie steel guitar, joined in short order by a plucked acoustic as the steel swells, so full of emotion it must spill over into the foreground. Then Johnson’s voice enters, a hushed and contemplative baritone perfectly underlined by a sparse and haunting piano.
By the time this powerful track reaches its climax, Johnson (having started the song with little more than a whisper) is soaring, his emotional connection to these words unmistakable and his outpouring of passion irresistible.
But dark desires, “high” times and living “fast as hell” are nothing new to seasoned country music listeners. In fact, there’s nothing at all new about the images in this song, nor is there anything particularly unique about its story, a tale of redemption realized. To be sure, all of these images and themes are especially expected coming from the mouth of a singer known for having suffered so seriously from personal misdirection.
So why then is “My Way To You” still so damn compelling?
Swingin’ the Blues in Stillwater
Swingin’ the Blues
Golfers tee off in triple-digit heat to support Blues Fest
Monique Headley Scorching heat sending thermometers up to 107 degrees Saturday did not deter avid golfers and music enthusiasts from participation in the 2009 Stillwater Blues Fest Golf Tournament at the Lakeside Golf Course.
On target with projected earnings, more than $2,000 was raised, said Stephanie Gudgel, Stillwater Community Center manager.
More than 30 players joined in the festivities to play 18 holes of golf and get treated to refreshments and the music of Blues guitarist Jack Carlton of the Jack Carlton Band.
“This is our inaugural Blues golf tournament,” said Gloria Short, program coordinator for the community center.
The idea to combine sports and music was inspired by the Dusk to Dawn Blues Festival in southern Oklahoma, Short said.
“We had a ball and a lot of fun,” said golfer Roger Fry.
According to Short, the event served as a fundraiser for Oklahoma’s largest free Blues festival.
Such fundraisers are necessary to keep the festival free, said Stillwater Deputy City Manager Mary Rupp.
“Each year it gets harder to raise sponsors for the festival,” Rupp said. “They want to help but some businesses have cut back and the Blues Fest may be the first event they cut back on.”
For some, support of the arts is a continued commitment.
“We go to the Blues festival every year,” said Stephanie Fry, director of member services for the Stillwater Chamber of Commerce. “We enjoy supporting the arts.”
The Chamber is a sponsor.
The September Blues festival is slated to feature the music of up to 25 performers from Oklahoma, Texas and other states.
Anticipated attendance is 15,000.
“People come from Oklahoma and out of state. They call in January to find out when it will be happening and reserve hotel rooms,” Short said.
The festival is a great financial opportunity for Stillwater, said Short.
“Over a period of three days, it has a great impact on the economy and brings a touch of culture to the city.”
The event also assists to generate future grant funding for the festival, said Short.
The 12th Annual Stillwater Blues Fest is scheduled to take place Sept. 18-20. For more information, visit www.bluesfest.stillwater.org.
Interview with Wayne Coyne of the Flaming Lips
WAYNE’S WORLD Coyne looks to space for the answers.
Photo: J. Michelle Martin-Coyne
Looney Tunes. DC Comics. The Wizard of Oz. Is there a more appropriate corporate umbrella than Warner Bros. for the Flaming Lips to fall under? The Oklahoma psych-rockers have become an unlikely American treasure: They’ve built a strange world of whimsy with humanity, where cartoon characters and heroin junkies interact. At no other concert can thousands of people sing of our impending mortality while being showered with confetti.
When the Lips bring this year’s Pitchfork Festival to a climactic close, the batshit bacchanal will be a little different. This time, the fans voted on the set list. And they want to hear old stuff. Is the band up for the task? Like Neil Armstrong, Wayne Coyne and Co. are pooping their pants. You’ll see what we mean.
Time Out Chicago: You guys just finished your record?
Wayne Coyne: Well we’re in the panic stage. Like, do we have a record, is it any good, do we give a shit, does anybody else give shit? It’s all that. It’s the other side of confidence. You have to have a lot of confidence to think you’re gonna make any kind of stupid statement and then the minute you make it, you recoil like, I’m such an idiot, why do I think these things? We’re definitely in the recoiling.
TOC: You still have that feeling after all these years?
Wayne Coyne: Yeah. I get a sense that if you didn’t… You gotta have both sides. If you don’t have the confidence to think, ‘Fuck, we could change the world,’ you don’t ever try anything. But if you don’t have the realistic response of, ‘We’re just a bunch of fucking worthless idiots,’ why should people care? You gotta have that, especially as you get older. If you sit in the middle, it’s very easy to rationalize and say, ‘You know, there’s plenty of music out there in the world, why do we need to make any? It costs a lot of money. It’s a lot of hassle. Who really gives a shit?’ But then you gain this confidence of like ‘Fuck it. It could change the universe. That’s why we’re doing it.’ Then you come back to your senses like, it’s just stupid music. Who cares?
TOC: Well, your label loves it, if they can be trusted. They were raving about the new record. I was promised it’ll blow my mind.
Wayne Coyne: I think it’ll be a lot of fun. But like I said, I’m doing it because it pleases me at the time. I know it’s all kind of masturbation on some level.
TOC: Does it still sound as you once described—like a mix of Miles Davis and John Lennon?
Wayne Coyne: It depends on which John Lennon you’re listening to. There’re elements of obvious things by John Lennon—very piano-ballad mellow stuff. In the very beginning, in January and February, I had a group of songs that I thought sounded like that. It’s not like the Flaming Lips are that far away from that anyway. We’re Beatles influenced as much as anybody can be. But then we had this other group of songs that were minor-chord freak-out jams. I thought I like both these, let’s see where this can go.
But the freak-outs overwhelmed the mellow John Lennon side and I let it. There was a point where I thought, lets try to keep some balance. But like usual, I think I have some control over it, and that I know what I’m doing. We really don’t. And that’s what you want, you don’t really want to think that you can really calculate what it is that’s gonna come.
TOC: A few years ago everybody thought the album was dead, because most people are just downloading songs. Everyone predicted that, say, Radiohead will in the studio and release two, three songs a month. But that’s not happening. Not even with singles artists. Here you are about to release a double album. So what went wrong?
Wayne Coyne: Artists are just such egotistical freaks that of course they want to make albums all day long. They think everybody wants to hear their shit all the time. So artists are always going to be making albums. Producers want to make one song. Prince is a perfect example of someone who can do whatever he wants and he puts out fuckin three record sets every couple of years. Given the total freedom people would just make records all the time, sure. So I don’t think on an artistic level that’s ever gonna go away.
I just don’t know if people are ever gonna listen to them as albums. Do people ever do that anymore? When I was growing up there was no Internet. You couldn’t just watch any movie anytime you wanted. So if there wasn’t some cool movie on TV, we literally sat around listening to records. We’d sit in a room with 10 people and we’d be listening to a record. There wouldn’t be anything that we would look at.
TOC: Have you gotten your fan-requested set-list for the Pitchfork Festival yet?
Wayne Coyne: I’m not sure if we have the final one. I know we’ve been looking at it. We pretty much know what it is. I hadn’t been monitoring it, but Kliph our drummer has been. We’ve been kind of keeping a running tally of what we thought the songs were gonna be. We kinda knew what they were gonna be anyway. People write on blogs and boards and you get a sense of, ‘We wanna hear these songs.’
TOC: Is there anything that’s daunting or that you’re dreading going back to?
Wayne Coyne: Oh, yeah. Yeah. All of it. I’m not a very good musician. I’m always struggling to play anything to get it to sound good once. let alone. It’s frightening, but I don’t think the audience wants it to be a perfect thing. I think they want you to do the best you can, fumble through these old classics. We’ll rehearse the hell out of it, and we’ll pick the songs and act like we’re gonna make them as great as we can. Sometimes with Flaming Lips shows we make a big production out of every song and I don’t know if we’ll do that.
TOC: Is there anything specifically that you can mention that you had to revisit?
Wayne Coyne: It seems to me like the song “Bad Days” has been kicked around a lot from Clouds Taste Metallic. There’s a lot from that era back when we were more of the guitar freak-out onslaught. It’s mostly old.
TOC: Most people didn’t get a chance to see you in those earlier days. I know that’s why I voted for early material.
Wayne Coyne: I hope that it’s good. I think there’s some illusion that we must have been really great back in the day. People are like, ‘They suck now, but back in the day they were really something!’ I don’t know. It’s weird because we play old songs all the time. We do songs from In A Priest Driven Ambulance. So we hope that we pick the right ones and it’s the ones that the fans want. Even if it’s embarrassing, that’s why we’re doing it. It’ll be fun. It’ll be ridiculous.
TOC: Does the chatter online bother you, the complaint that the Lips are doing the same shtick that they’ve done for the last five or six years’? First of all, isn’t that what everyone does.
Wayne Coyne: I know, I know.
TOC: So it does bother you?
Wayne Coyne: No, I mean, I really think people have to say something. But it is true and anybody who is in a group knows that is true. Every group plays the same thing. If someone said I saw ten shows of theirs and they played the same thing every night… It’s not really a criticism. You can say that about me, but you can say that about any group. I don’t care. I don’t mind if people don’t like us. That’s cool. Well, you certainly want people to like you, but we have enough people that like us that sometimes it just turns people off. People say great things about us and people say bad things about us. I don’t care. I take it all. Like when I was accused of saying some bad things about Arcade Fire earlier in the year. There’s like 10,000 great reviews about how great Arcade Fire is, and one person says one negative thing, and it’s like, ‘Hey! Who do you think you are?’ I never attack anybody for speaking their mind. That’s what I do. It’s rock & roll. You’re allowed to fucking think something about it.
TOC: Speaking of Pitchfork, there are so many bands these days that hit it big right in their infancy—in their fetal stage. At this year’s festival you can point to Wavves or Vivian Girls for examples. What would have happened to the Lips if that had happened to you? If right when Hear It Is came out, suddenly you’re on ABC News and playing festivals across the oceans.
Wayne Coyne: Well I think about that all the time, to tell you the truth. I think it would have ruined us. I think we probably would have stumbled upon a certain sound or a certain identity and thought, ‘Look at us. Look how cool we are.’ And we probably would have stayed with that mentality that we had in our early 20s. And I probably would have grown frustrated and thought that this doesn’t speak of me anymore.
We were such hicks from Oklahoma. We were very lucky that people left us alone. We’d play to weirdos who were making music in their bedrooms. We were celebrated enough among people that we respected that we always thought that it was worth pursuing. I’m sure a lot of these new groups will handle it wonderfully, but it would have just crushed us. We would have thought ‘Oh no, everybody is watching us! Now we really have to be cool all the time.’ And we would have just been idiots.
TOC: One could argue your band’s career won’t ever happen again—going from a decade of fiddling away in the underground to getting a nice bunch of money from a major to make big experimental pop albums.
Wayne Coyne: I agree. I talk to young bands all the time. There are strange things that happen. You’re making art—I don’t mean that in a big pompous way—whatever it is you’re doing, a lot of times you’re doing it in isolation, in a little bubble of your own making, in a corner somewhere. And then when you go to play music, or you’re going to be in a band, it’s just the opposite. You have to go out in the world and talk to people and have these grand extrovert experiences. So people want to go back and forth between being very isolated so you can make your art and then going out in the world. And the more successful you are, the less you’re able to be truly isolated or truly have a perspective of how you’re able to make your art anymore.
We had so much time to make it, that I don’t really ever need to be isolated or overwhelmed or any of that. I’m just able to do it all the time. But I could see where, even in the times like we were around, someone like Beck, where he was just a successful artist from the get go, you’d get a sense of kind just being either “on” or you disappear. With The Flaming Lips we’re just kind of ourselves no matter where we go. We don’t ever feel as if we have to be another personality. It’s just us. That definitely saved us
TOC: It comes down to the personality really. Bands could conceivably ignore what people are saying about them.
Wayne Coyne: When you’re young, though, that’s impossible. You really do feed off of what everybody thinks of you. Luckily people didn’t think that much of us when we were really young. But I agree, I think our situation is probably the greatest freedom and the greatest amount of encouragement that any artist could ever have. Mostly I think its just luck that we’ve been able to carve this thing we’re able to do. But I don’t know if anyone else would want to do it, to tell you the truth. I want groups to go out and be successful. It’s easier to deal with success than deal with too much failure. That devastates groups as well.
TOC: Recently I interviewed Thurston Moore and he was talking about how he looks forward to being an elderly avant garde rock. That excites him. Does it excite you?
Wayne Coyne: What does he mean he’s looking forward to it? He’s already there! I guess he’s not elderly. Especially when you see him, it’s hard to believe he’s 50 years old.
TOC: I read it as there’s this sort of this Moondog-y allure to being an eccentric old dude making weird music.
Wayne Coyne: For me it’s wonderful. I run into kids all the time that don’t really know how old I am. They’ll think I was alive in the ’40s. I’ve kind of gone from being young to being really old, instead of that having that weird middle area where you feel like trying to be young. People think I could already be like 60 years old. That’s perfect. I’ve always wanted people to view me as some kind of Santa Claus figure.
TOC: In the ’80s and early ’90s the idea of someone being 50 and playing rock & roll seemed ridiculous. But now there are so many.
Wayne Coyne: Well I think everybody keeps looking at the Rolling Stones and thinking, ‘They’re older than we are, so fuck it.’ I could see Thurston Moore saying, ‘I’m not as old as Keith Richards, fuck it.’ And we all keep creeping up. Or maybe it’s just there’s a certain amount of freedom that it comes down more to doing art as opposed to being a pop performer.
TOC: Right, it’s easier for someone like Sonic Youth or the Flaming Lips, who’ve had a connection to outsider art and jazzy stuff. It’s much harder to be like Poison. It’s a little weirder.
Wayne Coyne: I don’t know. I think there’s some truth to the slogan that 50 is the new 30. Sometimes I run into people who are 50 who seem healthier now than they did when they were 30. They just become a different person. Maybe there was a time when it seemed embarrassing to be 35 years old and be in a rock band, I don’t know. Maybe it still is. Maybe we’re just so caught up in the dream that we don’t notice.
TOC: I think it might feel more embarrassing to be that old and writing glam rock. It seems more pathetic. I don’t know.
Wayne Coyne: I firmly believe you should do what you like. If it’s embarrassing, so what? Most people who worry too much about having dignity don’t have very much else worth admiring. I don’t worry about it. Dignity is overrated. Fuck it.
TOC: That’s always been the great message of your band, something that’s always inspired me.
Wayne Coyne: Well, it’s true. It’s not bravery and it’s not stupidity, but there’s something in between there. Of course, you called me on a day when I don’t feel very confident. I feel like, what the fuck are we getting ready to do?
TOC: Going by your lyrics, artwork and feature film, Christmas on Mars, you seem to be someone who’s into outer space. We never go to the moon anymore. Are you bummed out that humans haven’t done more in space?
Wayne Coyne: I’m always interested in what humans can learn from the idea of what the universe means to us. When the moon landing happened, we were sitting on our back patio and watching it on TV, and this was in the summertime, so the moon was up. You could see the moon at the same time you watched guys on TV walking on it. I remember looking up and saying, ‘Wow, they’re up there.’ And this is 1969. There’s the Beatles. Woodstock is happening. All these things are happening. In my mind, I figured by the time I’m in my 30s, of course we’ll be living in outer space, playing music, and the Beatles will be ruling the world. I was eight years old. And it seemed like that would be the utopia that I would want to live in.
But I don’t really know if everybody worked towards that. And when I say worked towards that, I think a lot of people had the same mentality I did—that all the work would be done for us and we would reap all the benefits. I guess something like what’s happening in Star Wars. No one seems to have a job. Everybody is just flying around doing whatever the fuck they want.
And when you think about it, realistically, it’s like, ‘What would we do in space?’ People forget that when those guys go up there, they’re actually shitting in their pants. It’s not a luxury hotel. It’s a strange suit you gotta wear, you’re breathing some synthetic air, and you’re shitting in your own pants.
The Flaming Lips headline the Aluminum Stage on Sunday 19 at 8:40pm. Their forthcoming album, Embryonic, is out in September. Click here for our Flaming Lips discography.
Wade Bowen drawing on real life for his music, playing Oklahoma City’s Wormy Dog Saloon
From Friday’s Weekend Look section of The Oklahoman.
Wade Bowen’s honest songwriting, taken from the pages of his own life, makes him an open book for his fans.
The singer-songwriter cites truthfulness in the music and sincerity in the camaraderie often when discussing what makes the red dirt/Texas music scene distinctive.
“I look at my last two albums as open diaries for people, and the more I get to know these … other artists, I feel that they do the same thing,” Bowen said at last month’s Country Fever Music Festival in Pryor.
“They talk about things that are very personal to them, they keep it very honest and open. When we play shows together, we invite each other out on stage and sing songs and play guitar … and it’s out of true friendship more than anything. And I think that’s just the coolest thing.
“I think that’s why people are drawn to this music so much right now.”
The Waco, Texas, native will play Oklahoma City’s Wormy Dog Saloon tonight before embarking Sunday on The Big Music Cruise of the Western Caribbean with Cross Canadian Ragweed, Stoney LaRue, Stephanie Briggs, and more of his red dirt/Texas music cohorts.
Known for playing more than 200 shows a year, Bowen is touring in support of his third studio album, “If We Ever Make It Home,” released last fall. All Music Guide declares that with it, “the Lone Star troubadour proves himself a challenger for the Red Dirt Music throne.”
“I’m in my 11th year of doing it, and it’s been a crazy roller coaster ride, but it’s been a blast,” Bowen said of his music career.
He wrote poetry and prose from an early age and was given his first guitar when he was 9. But he really picked up the instrument as a 17-year-old inspired by Texas singer-songwriters Guy Clark and Robert Earl Keen.
At Texas Tech University, he studied marketing and started the band West 84 with friend Matt Miller. In 2001, Bowen graduated, moved to Austin and started performing under his name.
He released his debut album “Try Not to Listen” on his own in 2002, and with relentless touring, the title track cracked the Top 10 on the Texas Music Chart. He followed up with “Live at the Blue Light” and “Lost Hotel” in 2006.
The father of two sons said he taps real-life experiences for his music.
“Over the past few years, I’ve drawn a lot of inspiration from my family and from the road, and the constant battle of trying to balance the two out,” said Bowen, whose brother-in-law is Ragweed frontman and former Oklahoma resident Cody Canada.
“That’s been the focal point of my marriage for the past two or three years, the constant battle of staying in love and staying in love with the road as well. It’s a hard balance.”
On his new album, the songs “Turn On The Lights” and “From Bad To Good” are based on his wife Shelby’s struggle with postpartum depression. “Why Makes Perfect Sense,” which he co-wrote with pal Randy Rogers, conveys the loneliness of the road. The title track expresses the concerned father’s desire for love and peace to overcome hate and fear in the world.
“When we first started running around and met each other, we didn’t have any families or any of that. It was just being single and probably pretty stupid. But now it’s funny how things have changed ‘cause we’re all like, ‘Man, we’ve gotta get out of here so we can get home and see our family for three or four hours before we leave again,’” he said of his music buddies.
“I was joking around with Cody the other day (about) how things have changed. We still feel the same way … when it comes to the music side of it all. But there is a lot more responsibility.”
The singer-songwriter said he is proud to be part of the red dirt/Texas music scene, whose artists haven’t forgotten the feeling of playing near-empty bars and cling to the friendships forged during those uncertain days.
“The world of music is just, I think it’s a little shaken up right now. And so I think people really enjoy seeing that. Just our country right now likes to see those things. They like to see smiles on people’s faces doing what they love to do with their lives,” Bowen said.
“You know, I got friends that have lost jobs, lost houses, lost their retirement and all those things that are going on. And they really enjoy coming out to the shows and getting away from it all. And that’s a huge thing for us to be able to do that, have an impact on people.”
In concert
Wade Bowen with Modern Day Drifters
When: 9:30 tonight. Doors open at 6 p.m.
Where: Wormy Dog Saloon, 311 E Sheridan Ave.
Information: 601-6276 or www.wormydog.com.
-BAM
Static: Hush Hush Commotion
George Lang and NewsOK.tv have unveiled the next installment of the music performance and interview series, “Static”.
This week’s guest is Hush Hush Commotion.
The guys talk about the evolution of the band’s sound, the process of gaining exposure and their experience at last year’s DFest.
Pre-order a copy of their upcoming album, In Control, at SmartPunk.com.
Kudos to Lang and producer/director/videographer Tanner Herriott for another good show.
“War of Words”:
“Untitled”:
“Too Damn Young”:
All-American Rejects on The Today Show
The All-American Rejects will appear on “The Today Show” (NBC) this morning. The band will be playing songs off their current album, When The World Comes Down.
The Rejects are frequent guests on The Today Show, appearing in November 2008 and May 2007.
UPDATE:
Rascal Flatts (including Picher’s Joe Don Rooney) interviewing AAR:
Okies Represent on The Today Show
The All-American Rejects appeared on “The Today Show” this morning and talked about their current success and their display in the Another Hot Oklahoma Night rock exhibit at the Oklahoma History Center.
The band also discovered Kathie Lee Gifford and Hoda Kotb’s connections to Oklahoma. The Rejects will appear on “The Today Show” all morning tomorrow.
Iraq and Rolling with The Effects
The Effects recently completed a tour of playing for American troops in Iraq and Kuwait.
Read up on their adventures after the jump and check out some of their pictures here.
Iraq and RollYes, we actually went to Kuwait and Iraq. Not only to kick some ass but to also play some good old fashion Rock ‘n Roll. It was a trip that none of us will ever forget.
We took off to Minneapolis for a little training for a few days. After making our tweaks and changes to the sound system we departed on the 14 hour plane ride. As we were preparing for take off, Topher (bassist) had a little inside scoop on Delta. His mom has worked at Delta for quite a few years. We all made good friends with the crew and got bumped up to first class. It was so awesome we wanted to live there and never leave. Hot towels, free booze, food, fully reclinable chairs, movies, games and anything else you can dream of… kinda like heaven. Then we stepped off the plane in Kuwait and it was the exact opposite, hotter than hell.
After a nightmare at customs, and losing a few boxes of CDs, we were picked up and taken to camp Arifjan. Camp Arifjan was a huge base that resembled a small American city. We checked in and got our IBA’s (individual body armor). Everything in the military is abbreviated (or abbreved). Our first show was about an hour and a half drive across Kuwait to camp Virginia. The first show took a little getting use to but was still a success. We gave away a few hundred CD’s and hung with the troops. At the end of the night we retired back to Camp Arifjan for a few hours rest only to wake up at 4:30 AM to catch a plane to Iraq.
We arrived at the LSA - Ali Al Salem (airport base in Kuwait) to take off to Iraq early in the morning. Because of a sand storm, we were delayed for the day. We got checked into a tent which luckily had AC. The next day we awoke at 7:00AM to find that it is over 100 degrees in our tent. We blew out our AC. We didn’t really mind since we planned on leaving that day, but once again our flight was pushed back. Long story short we were delayed for 3 days and we moved into 3 different tents. Outside was miserable and cabin fever set in hard. Finally after missing a few shows we got a flight into Iraq. We flew into Balad on a C-17 which is a huge hollow jet with seats along the wall. When planes fly in and out of war zones they go strait up and down to avoid being shot at. The trip was like a roller-coaster making our stomachs drop. It was a sweet ride except for the dude about 6 people over who threw up in his water bottle and on his pants. After arriving in Balad again we only had a few hours to sleep before a double-header of shows the next day.
We woke up at the crack of dawn and jumped on a Blackhawk Helicopter. It was all of our first time on any helicopter, not to mention one armed for battle. All of our gear was on one and us on another. There were two pilots in the cockpit and two gunners hanging out the windowless doors with there eyes peeled and guns loaded. We touched down at a tiny F.O.B. (forward operating base), called Camp Caldwell. These FOBs don’t get very much entertainment so they were very appreciative. The temperature was approaching 120 degrees for our 1:00 show on a stage with no cover from the sun. As hot as it was, we tried not to complain. The troops are out there all day every day in a lot more clothes and armor than we are. It was probably the hottest we’ve ever been but we only played 45 minutes. As soon as we were done, we gave away and signed CD’s then hopped back on the blackhawk and headed for camp Grizzly.
Camp Grizzly was an old military base of Sadam Hussein’s. We flew in and took a short nap before we sat up for that nights show. They had just built a stage for the base and were excited to have entertainment. There were only a few hundred soldiers there total and half were on duty when we played. Even though it was an intimate show on a huge stage, there were a few soldiers having a good time drinking some non-alcoholic coors. That night was the best sleep we’ve ever had. We had played two shows in 100+ heat with only a few hours sleep. The next day we woke up around 7 or 8 to leave only to be sand stormed in once again. This time we didn’t mind so much. We got to check out some M-wraps and humvees. We also watched Forest Gump, Labyrinth, and Naked Space. We left the next day at 1:00AM on the blackhawks again. Riding the blackhawks at night was really bad-ass because the crew all wore night vision and looked like cyborgs. Since we missed another show we went back to Balad so the Marines could pick us up and take us to camp Ramadi.
The whole time we were in Iraq we never slept past 7 or 8 AM. So as usual we woke up early to spilt for another double-header. The Marines picked us up in a Chinook, which is a larger helicopter with two big propellers. We were in a group of 4 choppers, all with 50 caliber machines guns on them. We flew over what they call a red zone, which means it is more dangerous. I pity the fool who messes with us. They wouldn’t stand a chance. We arrive at Camp Ramadi right by the Euphrates River.
We didn’t spend a whole lot of time at Ramadi. As soon as we got there we started setting our equipment up. After that we had about thirty minutes to kill, so we bought some awesome souvenirs at the hodgy shop. It was another mid-day 120 degree show, and the sun was so bright that we couldn’t see the lights on our guitar tuners. We only did a 45 minute show, but our gear got so hot in the sun that things were warping and melting. As soon as we were done we loaded up on a huge helicopter called a Super Stallion and took off for a show that night a Al Asad.
We were in flight over a barren desert and all of the sudden there was what looked like a river of trees. It was run off from an oasis in the middle of the desert. We came into land at Al Asad and were told that the oasis on the base was Abraham’s Well. This natural spring had been flowing since near the beginning of the Bible. It was one of the oldest historical markers on earth. Al Asad was once a huge Iraqi military base that the USA had taken over. It had a soccer field where the old Iraqi olympic soccer team practiced. Sadam’s son had the whole team executed on that very field for losing a few years back. The whole place was creepy because of Sadam’s old gang. By the time we got there we were extremely worn out from the Ramadi show so we took a nap. We made our way to the auditorium to set up for the show that night. The auditorium had a big stage and a balcony where Sadam use to sit at the edge. There was a big American Flag as the backdrop on the stage which looked really cool. It felt good to play a show inside after the last three hot ones. Once again we were suppose to split early the next day, but it was too windy. We had to cancel our last two shows and just chill another day a Al Asad. We did get to see all the sights on the base like freaky underground Iraqi chambers and old busted up russian planes. We got the hang with the Colonel who played drums, and he hosts a jam session for the troops once a week.
We took off from Iraq the next day for Kuwait in a C-130. A C-130 is a big propeller plane that refuels other planes in mid-air. During flight the crew let us check out the cockpit and showed how everything works. We touched down in Kuwait where it was hotter and ever… 130 degrees. We made it back to Arifjan to check in our IBA’s and equipment. We went to the Kuwaiti airport around midnight and took off on a 13 hour flight back to the states. We didn’t get to ride first class on the way back but it didn’t matter. We were all just happy to be going back to America.
Being proud of America and what America stands for is not the most popular thing these days, but we have a better outlook now. We all have a new found respect for the Armed Services. We were honored to have the opportunity to play for the troops and country, and we would do it again in a heartbeat.
Another Hot Oklahoma Night: A Rock & Roll Story
This Thursday, as part of the Oklahoma History Center’s celebration of our state’s rock and roll history, the center will be hosting a book-signing and release party for “Another Hot Oklahoma Night: A Rock and Roll Story.”
Artwork by Cameron and Bruce Eagle
The 200-page book is a collection of essays on a variety of genres, time periods and experiences. Essay authors include Wayne Coyne, Scott Booker, Jimmy LaFave, Steve Ripley, John Cooper, Hugh Foley, John Wooley, Ryan LaCroix (that’s me), Angie DeVore-Green, Jerry A. Church, Stuart Hudson, Chris Brownsberger, Michael Dean, Jeff Moore, Larry O’Dell and Elizabeth Baxter.
“Here, for the first time, is an illustrated book that takes you on a stroll down the memory lane of Rock and Roll in Oklahoma. Along the way you will encounter intersecting musical styles that range from Rhythm and Blues to Soul and Western Swing. You will meet pioneers who changed the landscape of musical history such as Woody Guthrie, Leon Russell, and Wayne Coyne. Most importantly, you will feel the music.” - Dr. Bob L. Blackburn, Oklahoma Historical Society Executive Director
EVENT INFO:
• When: Thursday, July 16
• Where: Oklahoma History Center, 2401 N Laird Ave., in OKC
• Musical entertainment: Hosty Duo
• Time & Admission: 6-9pm; $5
Check out a video with Jeff Moore and Larry O’Dell of the Oklahoma History Center and an article by Robert Medley of The Oklahoman.
Oklahoma’s roots in rock history grow
Book collects musical contributions of Oklahomans
BY ROBERT MEDLEYThe state was celebrating 100 years of history in 2007 when an idea hatched that came out loud and fast, jumping and bopping as it left the nest.
The exhibit would cover only the last 60 years, and the topic would plow new ground at the Oklahoma History Center.
Historians launched “Another Hot Oklahoma Night,” a rock ’n’ roll exhibit, in May, but they haven’t stopped digging into the state’s rock ’n’ roll roots.
Larry O’Dell, 40, the history center’s director of collections, and Jeff Moore, 39, director of exhibits, have traveled much of the country tracking down some of the lost legends of rock with Oklahoma ties.
Moore said it was during the state centennial that he began thinking about University of Oklahoma President David Boren’s aunt, Mae Boren Axton.
She was the mother of Hoyt Axton, who co-wrote the timeless rocker “Heartbreak Hotel,” made famous by Elvis Presley. Hoyt Axton also wrote the hit, “Joy To The World,” for Three Dog Night.
“I said we ought to do an exhibit on rock ’n’ roll, and the timing seemed right,” Moore said.
Oklahoma-born country and western singers have been well-documented, but looking into the state’s rock history has proven to be more of a ground-breaking endeavor, he said. Much of the history gathered has been from word of mouth.
“People don’t always think it is history when they are still in the middle of it,” O’Dell said.
“We’ve had to do original research. It’s not like we put together an Abraham Lincoln exhibit or even an exhibit on the Land Run,” Moore said.
Since the exhibit opened, stories have continued to pour in.
Essays on rock music have been compiled in a book called “Another Hot Oklahoma Night: A Rock and Roll Story.” The book will be unveiled at 6 p.m. July 16 at the history center at 2401 N Laird Ave.
“Once we got into this we realized these stories are great, and we are going to continue,” O’Dell said.
The 200-page book of essays will bring the history of the music and the state’s contributions up to date, he said.
One of the chapters from the 1960s and early 1970s is going to be recreated.
“The Scene,” hosted by disc jockey Ronnie Kaye on WKY-TV from 1966 to 1974, was Oklahoma City’s version of “American Bandstand.”
A re-creation of “The Scene” with the band, The Five Americans, is planned. A date will be announced later, O’Dell said. The Five Americans of Durant had the hit “Western Union” and are headlining the event.
O’Dell and Moore said their passion hasn’t waned for exploring rock music in Oklahoma. They have driven up and down the coast of California researching music with state connections. That included an interview with Elvin Bishop in northern California.
O’Dell said the exhibit keeps evolving. The historians recently completed interviews with the musical brothers Keith and Mike Brewer, who are Oklahoma City natives.
Mike Brewer and Tom Shipley, known collectively as Brewer & Shipley, had a 1971 song hit the top 10 with “One Toke Over the Line.” Many radio stations banned it due to the reference to illegal drug use, O’Dell said.
O’Dell and Moore said more ideas are hatching, such as building a state history center in Tulsa that focuses on music and popular culture. There are those who don’t think rock ’n’ roll is worth the time, though, so some serious historians have had to be convinced.
“We’re raising awareness about the state’s history and preserving and sharing Oklahoma history. There is so much interest in this topic of Oklahoma music and Oklahoma pop culture. We are permanently preserving many of the stories,” Moore said.
Michael Dean, history center spokesman, was disc jockey at KBEL Radio in Idabel in 1964 and recalls playing “A Hard Day’s Night” on the southeast Oklahoma airways. Rock music is a legitimate part of the state history, just like the vaudeville shows, Will Rogers and wild west shows of the past, he said.
“Our hook is that the exhibit showcases a part of popular culture, and Oklahoma has contributed to rock ’n’ roll not just nationwide but worldwide from rockabilly to Alice in Chains,” Dean said.
Bob Blackburn, executive director of the Oklahoma Historical Society, said rock music is a lot like the makeup of the state because it is comprised of so many separate influences. Rock music was a mixture of country, jazz, blues, gospel, folk and soul. Oklahoma is a state of immigrants who brought their heritage here, he said.
“If you can understand rock ’n’ roll, you can understand this melting pot of American culture,” Blackburn said.
VIDEO: Eric Himan - “Little Boy Blue”
Here’s Eric Himan’s music video for “Little Boy Blue”, off his 2008 album, Resonate. The video was directed by Nathan McLeod.
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TONIGHT: ‘Pennsylvania Is For Lovers’
Tonight is the world premiere of ‘Pennsylvania Is For Lovers’, another movie from the mind of Mickey Reece of El Paso Hot Button.
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SHOW INFO:
• Where: The Opolis, 113 N. Crawford, in Norman
• Opener: Chris Harris of Depth & Current
• Time: 9pm
• Cost: $3
All American Rejects Featured on MTV’s Cribs
The Florida homes of All American Rejects‘ Tyson Ritter and Nick Wheeler will be featured today (1pm CST) on MTV’s “Cribs“.
Static: Marcy Priest
George Lang and NewsOK.tv have unveiled the next installment of the music performance and interview series, “Static”.
This week’s guest is Marcy Priest.
Priest talks about her background in piano, how a family move brought about her creativity and the long process of making an album.
Purchase her debut album, Awake, at marcypriest.com, iTunes or Amazon.
Kudos to Lang and producer/director/videographer Tanner Herriott for another solid show.
“Grace”:
“Another Thing”:
“House of Mourning”:
Facebook Has Privacy Gaps: Canadian Watchdog
July 17, 2009 - Global | Digital and Mobile
By Randall Palmer, Reuters
The popular social networking site Facebook is not doing enough to protect the personal information it gets from subscribers, and it gives users confusing and incomplete information about privacy matters, Canada's privacy commissioner said.
"It's clear that privacy issues are top of mind for Facebook, and yet we found serious privacy gaps in the way the site operates," privacy commissioner Jennifer Stoddart said in a report on an investigation into Facebook.
The report said Facebook violates Canada's privacy laws by keeping the personal information of people who have deactivated their accounts in its databases indefinitely.
It provides confusing information about privacy practices, for example showing users how to deactivate accounts but not how to delete them.
Facebook told the commissioner it needed to keep personal data for those who shut down accounts because about half of users reactivate accounts that they had deactivated.
The report said Facebook had strenuously objected to some of the commissioner's preliminary conclusions, and the company said on Thursday it would continue to work with her to address outstanding areas and to raise awareness of privacy controls.
Facebook has 200 million active users, including about 12 million in Canada -- more than one in three Canadians.
The report will set a precedent for other networking sites operating in Canada, and could influence practice in other countries. Stoddart said she believed Canada was the first to publish a formal privacy investigation of Facebook's practices.
Stoddart also said Facebook lacked adequate safeguards to prevent unauthorized access to users' personal information by third-party developers. There are more than 950,000 developers in 180 countries.
She said Facebook had resolved some issues and she gave it 30 days to comply with a series of "recommendations", and said she could take it to Federal Court to enforce the recommendations.
Facebook's chief privacy officer, Chris Kelly, told Reuters in San Francisco he did not expect this to be necessary.
"Given that we've had very productive conversations, I would be surprised if things move in that direction. Now, that being said, we don't believe that there is any violation of Canadian law here and we think that a court would find that, were either party to go in that direction," he said.
He also said Facebook did not want to end up with too many notifications interrupting users, and said any solutions should "reflect the fact that people come to Facebook to share information as opposed to hide it."
The investigation was launched in response to complaints by the Canadian Internet Policy and Public Interest Clinic (CIPPIC) at the University of Ottawa.
In a written statement, Facebook said it was "pleased that the Canadian federal privacy commissioner has dismissed the most of the inaccurate claims brought by CIPPIC, and that we were able to collaboratively resolve other issues raised in the complaint."
July 17, 2009 - Global | Digital and Mobile
By Randall Palmer, Reuters
The popular social networking site Facebook is not doing enough to protect the personal information it gets from subscribers, and it gives users confusing and incomplete information about privacy matters, Canada's privacy commissioner said.
"It's clear that privacy issues are top of mind for Facebook, and yet we found serious privacy gaps in the way the site operates," privacy commissioner Jennifer Stoddart said in a report on an investigation into Facebook.
The report said Facebook violates Canada's privacy laws by keeping the personal information of people who have deactivated their accounts in its databases indefinitely.
It provides confusing information about privacy practices, for example showing users how to deactivate accounts but not how to delete them.
Facebook told the commissioner it needed to keep personal data for those who shut down accounts because about half of users reactivate accounts that they had deactivated.
The report said Facebook had strenuously objected to some of the commissioner's preliminary conclusions, and the company said on Thursday it would continue to work with her to address outstanding areas and to raise awareness of privacy controls.
Facebook has 200 million active users, including about 12 million in Canada -- more than one in three Canadians.
The report will set a precedent for other networking sites operating in Canada, and could influence practice in other countries. Stoddart said she believed Canada was the first to publish a formal privacy investigation of Facebook's practices.
Stoddart also said Facebook lacked adequate safeguards to prevent unauthorized access to users' personal information by third-party developers. There are more than 950,000 developers in 180 countries.
She said Facebook had resolved some issues and she gave it 30 days to comply with a series of "recommendations", and said she could take it to Federal Court to enforce the recommendations.
Facebook's chief privacy officer, Chris Kelly, told Reuters in San Francisco he did not expect this to be necessary.
"Given that we've had very productive conversations, I would be surprised if things move in that direction. Now, that being said, we don't believe that there is any violation of Canadian law here and we think that a court would find that, were either party to go in that direction," he said.
He also said Facebook did not want to end up with too many notifications interrupting users, and said any solutions should "reflect the fact that people come to Facebook to share information as opposed to hide it."
The investigation was launched in response to complaints by the Canadian Internet Policy and Public Interest Clinic (CIPPIC) at the University of Ottawa.
In a written statement, Facebook said it was "pleased that the Canadian federal privacy commissioner has dismissed the most of the inaccurate claims brought by CIPPIC, and that we were able to collaboratively resolve other issues raised in the complaint."
Mayhem Festival - Zoo Amphitheatre
947 The welcomes the Mayhem Festival with Marilyn Manson, Slayer, Killswitch Engage, Bullet for my Valentine and more August 16th at the Zoo Amphitheater. Tickets go on sale Friday July 24th at all tickets dot com outlets or www.947thebuzz.com keyword "zoo amp". Listen for your chance to win tickets from the station that rocks Oklahoma, 947 the Buzz!
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Songs For Laura - CD release and Benefit show @ Lolas this Saturday the 18 @ 8:00pm
"Songs for Laura" CD release and benefit - This Saturday the 18th @ Lolas on the corner of Main and Brady, 8:00PM with a suggested $10.00 donation. The night will feature singer songwriters - Forrest Sun,CA / Jared Tyler,OK / Noelle Hampton,TX / Jesse Aycock,OK / Elam Blackman, TN. Hope you can make it out !
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