Van Halen, Complete With Diamond Dave, Returns To Rock Oklahoma City

They Heard You Missed Them – They’re Back

Van Halen, Complete With Diamond Dave, Returns To Rock Oklahoma City
By Clinton Wieden

Remember when your high school English teacher gave the traditional “How I Spent My Summer Vacation” assignment on the first day of class?

You know the one - that horrible paper where everyone writes the same story as the year before about the same people they’ve known for years. Most times, it was just first-day filler to give you something to do.

But once in a rare while, someone would actually have a good story. Somebody in the class would have done something wonderful with their break, and everyone else would immediately be jealous.

Remember that feeling?

Now imagine being in Wolfgang Van Halen’s class next fall.

The newest member of one of rock’s most enduring acts, all of 16 years old, got more material for such a paper on January 22 as Van Halen took the stage at Oklahoma City’s Ford Center.

At most recent Van Halen shows, one would often see the “Diamond” hand signal – an expression of the desire for a certain former frontman’s return. But there were no hand signals this night – there was no need. “Diamond” David Lee Roth was back.

And from the opening number – a short burst of the classic solo “Eruption” leading into the band’s famous cover of “You Really Got Me” – it was clear that the joy of a Van Halen show was back with him.

Roth spent the evening nailing the songs he made famous during his first stint as lead singer, changing costumes, doing flying jump-kicks, twirling microphone stands like a samurai would swing a sword, and just generally reminding the favorable crowd why he was so important to the band in the first place.

The brothers Van Halen – Eddie, the quintessential guitar god, and Alex, the percussive core of the band – were clearly enjoying themselves. The energy in the building was infectious, and it even caught hold of the normally stoic duo.

As for young Wolfgang, he held his own admirably. Roth referred to the combo as “three-quarters original, one-quarter inevitable,” and as well as the junior Van Halen took over the bass parts, that didn’t seem such a bad thing. The stage presence of former bassist Michael Anthony was missed, but musically, the band didn’t miss a beat.

Make no mistake – this was not a “Van Hagar” crowd here to see what all the fuss about the Roth years was. No, this was a crowd that wanted to travel back to 1984, and the band was happy to oblige.

Classics like “Runnin’ With The Devil,” “Beautiful Girls,” “Dance The Night Away” and “Everybody Wants Some!!” shook the rafters as the crowd sang along with every word.

Even lesser-known album cuts like “I’m The One,” “So This Is Love?,” and “Mean Street” kept enthusiasm high, helped along by Eddie’s inimitable guitar playing and Roth’s irrepressible grin.

The show continued with a flurry – “Unchained,” “I’ll Wait,” “And The Cradle Will Rock…,” “Hot For Teacher” – as more of the best-known material in the Van Halen canon kept flowing from the stage.

Roth provided the most interesting moment of the night when he appeared with an acoustic guitar and told a story of the band’s early days – bicycling around Oklahoma City on their first tour, partying in a friend’s backyard in Pasadena, CA, and some “herb”-induced voyages on the Starship Enterprise – before kicking into the fan-favorite “Ice Cream Man.”

Screaming versions of “Panama” and “Ain’t Talkin’ ‘Bout Love,” along with an extended Eddie solo break, closed out the show.

There was only one song that could possibly be the encore, and the Ford Center audience let loose a roar when the synthesizer licks came through and the band launched into “Jump.”

It was an encore to remember – the band’s biggest hit, confetti everywhere, and Roth running around a catwalk with a giant inflatable microphone while wearing a boat captain’s hat.

This was a rock concert in the best sense –high-energy fun with an appreciative crowd. In contrast to Van Halen’s last tour, a 2004 effort with Sammy Hagar, this wasn’t a straightforward concert with little audience interplay. This was a show, and underlined the differences in the band’s two eras. Roth played to the crowd at all times, helping keep the enthusiasm high and reminding people of why they loved Van Halen in the first place – they were just more fun than any other band.

Musically, of course, the show was top-notch. Everyone playing an instrument was named Van Halen – would you expect any different?

Van Halen’s tour is scheduled to end April 7 in Milwaukee. Beyond that, no one is really sure what will happen: A world tour? A new album? A quiet return home for the band members? It’s unclear.

What is clear, however, is that Van Halen is still one of rock’s strongest acts, and with Roth, one of the most joyous.

And if nothing else, they’re making sure Wolfgang will get an A on that paper.

VAN HALEN JANUARY 22, 2008 FORD CENTER OKLAHOMA CITY, OK

SET LIST

1. Eruption/You Really Got Me
2. I’m The One
3. Runnin’ With The Devil
4. Romeo Delight
5. Somebody Get Me A Doctor
6. Beautiful Girls
7. Dance The Night Away
8. Atomic Punk
9. Everybody Wants Some!!
10. So This Is Love?
11. Mean Street
12. Oh, Pretty Woman
13. Alex Van Halen Drum Solo
14. Unchained
15. I’ll Wait
16. And The Cradle Will Rock…
17. Hot For Teacher
18. Little Dreamer
19. Little Guitars
20. Jamie’s Cryin’
21. Ice Cream Man
22. Panama
23. Eddie Van Halen Guitar Solo
24. Ain’t Talkin’ ‘Bout Love
25. ENCORE: 1984/Jump

Mama Sweet

Hello all,
Last night was a great night for Mama Sweet . They had an amazing turnout at the Wormy Dog and the show was incredible. Aron and Alan also impressed the DJ (Justin Case) at KKNG with their live, on-air performance of "Truckstop" and "The Siren". The station now has the CD, so feel free to call in and request "Truckstop". The number is 405-616-5500.
Tonight, it is off to Dallas and Saturday we will be back in Norman at Brother's (we start early, around 8:30). Hope you all make it out.

Thanks,
Whitney

Community spirit

Courtesy photo Jan Dean is the subject of a benefit show Thursday at Cain’s Ballroom. The former radio DJ is suffering from an inoperable tumor on her brainstem and can’t afford an experimental treatment that she needs to recover.

By MATT ELLIOTT World Staff Writer
4/26/2007 9:35 AM

Bands help raise money for former DJ's medical bills

A host of Tulsa area radio stations and a couple local bands are banding together Thursday to raise money for a Tulsa DJ's experimental cancer treatment.

Jan Dean was diagnosed July 6 with a brain stem glioblastoma. Dean, the nontraditional revenue manager for Clear Channel Radio, arrived at work that morning dizzy and seeing double, said her friend and co-worker, Laurie Stout.

By 3 p.m. that day she was in intensive care at St. John Medical Center with an inoperable brain tumor, Stout said.

"It just changed her life instantly," said Stout of Dean, who is in her late 40s.

The tumor has not responded to chemotherapy and Dean's only hope is an experimental treatment in Houston for which solely the initial fee to see the doctor who performs the treatment is $30,000. Her insurance won't cover the costs of the alternative therapy, Stout said.

"We're kind of to the point where this is what we have left to do. I mean, there's not a lot left that traditional medicine can do for us."

Dean, who is now bed-ridden, worked as a weekend and overnight DJ in 1979 on KWEN, before moving to K107,where she was program director and had a popular program called "Bed Check." She also worked at KSTM, KMYZ and KTSO.

Stout said Dean mentored many young DJs in the area. While she doesn't have any children, she does has a network of friends to help. Dean's best friend, Debbie Dean, has been at her side every day since she was diagnosed.

With a $5 raffle ticket at the benefit, attendees can win items that range from an autographed Chris Daughtry guitar to Nascar tickets and trips. All of the proceeds go to Dean.

Organizers have raised about $11,000 so far, with KHITS raising about $2,700 in a morning auction show last week.

Radio Radio and Band Camp will perform at the benefit. Radio Radio has written a song about Dean, called "Beaming Love," and put it on a CD from which the sales will go to Dean's treatment, Stout said. Also, the bands are donating their performances Thursday and the Rodgers family has donated the Cain's Ballroom for the night.

"The event has turned out so much bigger than anything that we even ever dared to hope for when we first dreamed it up," Stout said.

Donations can be made to the Jan Dean Cancer Fund c/o Merrill Lynch, 6100 S. Yale Ave., Suite 1500, Tulsa, 74136.

For more information contact Stout at 388-5136.

---

Matt Elliott 581-8366
matt.elliott@tulsaworld.com

Charlie Louvin

No mothballs needed for Charlie Louvin show Concert Review

The gray moth fluttered above the Blue Door stage, rose toward the ceiling and then hovered near country music legend Charlie Louvin's head.

Louvin opened his mouth to sing. The moth disappeared.

"I just opened my mouth to sing that song, and a bug flew in my mouth,” Louvin quipped. "He's a slow walker. I'm going to wash it down.” Louvin raised a water bottle and swallowed.

Whether he really swallowed the moth could not be immediately confirmed. But it is certain the moths are not flying out of his mouth when he sings these days.

Performing Thursday, his vocals were not rusty; his wits were salty and sharp. His down-home comments about modern life on the road were amusing, though not always politically correct, and his harmonies brought back the days of his former life in The Louvin Brothers.

Since the 1940s, Louvin, 79, has influenced generations of country music singers from bluegrass to the more modern, full-band styles of today's pop-country.

Louvin once sang the low notes and his late brother Ira Louvin hit the high notes with the Louvin Brothers. But Charlie Louvin embarked on a solo career shortly before Ira Louvin was killed in a 1965 car wreck.

Charlie Louvin, a Grand Ole Opry regular since 1955, said he has worked with a lot of good high tenor singers since his brother was killed but said, "There are no Ira Louvin singers out there.” He sang the touching song "Ira,” an ode to his late brother.

With a guitar player, drummer, Dobro picker and electric bass player, Charlie Louvin's act successfully mixes a modern country sound with traditional tinges. He sang such country music and Louvin Brothers staples as "Runnin' Wild,” "When I Stop Dreamin'” "Cash on the Barrelhead,” "Must You Throw Dirt in My Face,” "Satan's Jewelled Crown,” and the eerie Cold War era song, "The Great Atomic Power.”

Louvin also sang the timeless country song "Knoxville Girl,” a song he first started singing with the Louvin Brothers in 1946. The song is not about a Tennessee girl, but about a girl murdered in England by a possessive boyfriend. It dates to 1723, he said.

He said while he prefers hearing electrified instruments today, he is still devoted to songs so country "you can shuck it.”

Wearing a black fisherman's cap, Louvin teased the pretty women in the audience and showed a lot of stamina singing through a nearly two-hour set of classic country before stopping to give away photographs and pose for pictures until midnight.

Blue Door owner Greg Johnson, enthralled by the country music hall of famer, told Louvin to play all night if he wanted.

"This won't be the last time Charlie Louvin plays the Blue Door,” Johnson vowed.

No mothballs needed.

— Robert Medley

Review: Anderson rocks the country

Review: Anderson rocks the country

MICHAEL WYKE / Tulsa World Keith Anderson performs Saturday at the Cain’s Ballroom to an enthusiastic audience, many of whom lined up before the show for a “meet and greet” session with the Oklahoma State University graduate.

By MATT ELLIOTT World Scene Writer
4/24/2007 5:04 PM

The Oklahoman uses many cliches in his music, but his audience at Cain's likes it.

I do not understand why mainstream country has to root through arena rock's fly-specked Dumpster of discarded cliches and trot them back out again. It sure bores the hell out of me.

But I suspect the main reason why is that people buy it. And Keith Anderson of Miami, Okla., drove that home as he performed Saturday night at Cain's Ballroom to nearly a hometown crowd. People obviously love this stuff.

Anderson, a black T-shirt stretched over his physique, took the stage to a medley of AC/DC's "Hells Bells" while wearing a black cowboy hat pulled low, out from which jutted his firm chin and jawline.

The girls in the audience (there were quite a few, hair done up in big flowing curls, boots and tight jeans topped off with open-necked shirts) screamed as he joined his band for his homage to his hometown, "Podunk."

"Same Saturday night, same ol' crowd," Anderson sang, nearly drowned out by the audience singing back to him. "Draggin' Main to the Safeway and then turn back around. . . ."

Anderson, who has a pretty good vocal range, could have simply stood there and let the audience sing the song right back to him. The crowd danced and sang, from the hundreds who lined up outside Cain's before the performance to the droves ushered into single-file lines for the "meet and greet" session with the singer.

The crowd, especially its larger members, went nuts for the song "XXL," Anderson's number embracing the "bigger-is-better" ethos. He belted out his new single, "Sunday Morning in America."

The drummer pounded away, riding his high hat as if he were Metallica's Lars Ulrich. Lead guitarist Bob Hatter coaxed out his share of screaming guitar solos. Anderson even told the crowd that his bassist used to be in the Scorpions. Maybe it was a joke, maybe not. Does country really need to borrow so much in search of innovation?

Anderson, an Oklahoma State University graduate, moved to Nashville about 10 years ago to perform his original songs but didn't get his break until Gretchen Wilson recorded his composition, "The Bed." His album, "Three Chord Country and American Rock and Roll," went gold with songs he largely wrote -- a rarity in popular country.

Also, Garth Brooks and George Jones recorded his song, "Beer Run." Anderson, before performing the song Saturday, explained how that happened.

He was called by some folks who wanted to record it, he said, but they wanted to change the song's melody and lyrics. Anderson told the crowd that his integrity made him demand that they record it the way he wrote it.

But then he found out who the recording artists were.

That's when he said, "You know, there's things about that song that bugged me," drawing a laugh from the audience.

So he started off into Brooks and Jones' version but cut the band off about 30 seconds into it. "I feel like I'm cheating you. . . . Y'all want to hear the way I originally wrote that song?" he asked, as if the crowd would say no. He then led into his version, which had a harder beat and was closer to rock than Brooks' take is.

But Anderson didn't want the limelight in his home state solely for himself. Midway through the show, Claremore native Bobby Pinson took the stage.

Pinson, alone with only an acoustic guitar, cracked jokes with the crowd and performed his songs including "Don't Ask Me How I Know." The number played out like an advice column, with such nuggets of wisdom as "don't fry bacon naked."

Leading into "Want To," a song he co-wrote that Sugarland recorded, he joked that it was "the closest I'm ever going to get to being Jennifer Nettles."

Mary Cogan and her backing band kicked the night off, propelling her repertoire of cover songs with her smoky voice. She performed everything from Stevie Nicks' "Landslide" to Bob Wills and his Texas Playboys' "Roly Poly."

---

Matt Elliott 581-8366
matt.elliott@tulsaworld.com

By MATT ELLIOTT World Scene Writer

Reba McEntire

Clear skies. good music at Country Thunder
04/14/2007 01:30 PM

By Larry Rodgers
azcentral.com

FLORENCE -- After a dicey opening night on Thursday that was dampened by rain, high winds and low temperatures, the Country Thunder USA festival showed its more alluring side Friday.

The skies cleared, the mercury rose and all was as it should be when thousands of country-music lovers descended on Canyon Moon Ranch.

Though this year's lineup for the four-day event isn't brimming with blockbuster acts, four solid players -- including a pair of superstars -- capped Friday's festivities on a strong note.

Headliner Reba McEntire delivered the kind of performance she's famous for: A no-nonsense run through her huge catlog of hits spiced with some folksy banter from a woman who was raised on an Oklahoma ranch.

Looking great at age 52, McEntire effortlessly commanded the stage, backed by her high-powered touring band, deployed around a massive, multi-tiered stage set.

She talked about growing up as a rancher's daughter, about her love of family and about her work with Habitat for Humanity. She said the group's Building Blocks project will soon visit Phoenix to build nine homes for needy families in four days.

McEntire opened with the upbeat title track from her 1999 album "So Good Together." She dropped in a few other newer tracks, such as 2004's "Somebody," but the bulk of her set featured the classics that made her a star starting in the early '80s.

She proudly identified "Can't Even Get the Blues" as "my first No. 1 record, back in 1982," and appeared to still enjoy performing it.

Fans of all ages smiled and swayed or danced as McEntire moved through such classics as "Little Rock," "Whoever's In New England" and "The Heart Is a Lonely Hunter."

High points included 2003's gospel-flavored "Love Revival" and a tight take on the classic "The Fear of Being Alone."

The night's second superstar was Randy Owen, front man for the on-hiatus Alabama, which ruled the country radio waves in the '80s and early '90s.

The singer-guitarist chose Country Thunder to launch a solo concert tour, and he received a warm welcome from the crowd, which appeared to top 25,000.

Opening with an Alabama hit, "I'm In a Hurry (And Don't Know Why)," Owen made it clear he wouldn't turn his back on the band that made him a multimillionaire.

In fact, despite the fact that Owen reportedly in nearing completion of a solo CD, most of his set Friday featured Alabama hits. For a good-timing festival crowd, that's OK, but for those curious about Owen's future, it was slightly disappointing.

Owen played guitar only sparsely, choosing to grab the microphone and work Country Thunder's huge stage.

"Who out there had a good day? Raise your hand!" Owen, 57, said. "Who's glad to be alive?" He then launched into another Alabama classic, "Give Me One More Shot."

Owen and his new band did a nice job on such hits as "Roll On (Eighteen Wheeler)" "Mountain Music," "Feels So Right" and "If You're Gonna Play In Texas (You Gotta Have a Fiddle in the Band)." But some of the rich harmonies of Alabama, as well as that group's onstage chemistry, were missing.

Texas-born Tanya Tucker had her heyday in the '80s but still draws a crowd when she takes the stage.

The former Mrs. Glen Campbell came out in sunglasses and a glittery sweater, and spent lots of time interacting with the audience. "It's good to be home," said Tucker, who was raised in Arizona.

Tucker, who has seen her share of personal ups and downs. seems to translate that experience into music that leans toward country's roots. Her voice was sometimes a little rough around the edges, which worked for the old-school numbers.

"Oh What It Did to Me" and her cover of the late Tammy Wynette's "Your Good Girl's Gonna Go Bad," elicited whoops and shouts of "Yee-haw!"

Tucker, 48, joked that she had recorded "San Antonio Stroll" at age 16, "just a few short years ago."

"When I Die" "Two Sparrows in a Hurricane" and her signature hit, "Delta Dawn," were also crowd-pleasers.

Relative newcomer Blake Shelton knows how to whip up a fstival crowd.

His rowdy set was heavy on cover songs, such as Van Morrison's "Brown Eyed Girl" and Steve Wariner's "Lonely Women Make Good Lovers."

Shelton's new single, "The More I Drink" and his 2004 classic "Some Beach" were a perfect fit for Country Thunder.

Reach Rodgers at larry.rodgers@arizonacentral.com or (602) 444-8043.

ZZ Top

ZZ Top's lil ol' concert in Phoenix
04/19/2007 01:23 AM

By Larry Rodgers
azcentral.com

ZZ Top has been on the road since 1970, so nothing in the Texas power trio's concerts is particularly surprising anymore.

But that doesn't make the live shows by the band, which was inducted into the Rock and Roll Hall of Fame in 2004, any less entertaining or fun.

Looking like a pair of cartoon characters with their long beards, cheap sunglasses and hats, ZZ Top front men Billy Gibbons (guitar) and Dusty Hill (bass) still know how to work a crowd, like the baby boomer-heavy audience at Dodge Theatre in Phoenix on Wednesday.

They delivered many of the hits that made them MTV superstars and milionaires in the late '70s and '80s, such as "Legs," "Sharp Dressed Man," "Gimme All Your Lovin' " and "I'm Bad, I'm Nationwide" with an extra dose of the raunch that has made them stand out from the crowd over the decades since.

Although it appeared they might be going through the motions early in their nearly two-hour set, once this trio got rolling, it started hitting on all cylinders, like the classic red Eliminator coupe of its groundbreaking MTV videos.

Gibbons remains the king of the nasty Texas guitar lead, and he doled it out on such hits as "Have Mercy" and "Cheap Sunglasses." He also threw some red-hot blues riffs into an extended solo in "Catfish Blues." Those who left their seat to get a drink or hit the restroom during that song -- not one of the band's huge hits -- missed a true treat.

Hill is one of rock's more busy bassists, and he helped keep things on track in extended jams in such songs as "Brown Sugar," which went all the way back to ZZ Top's 1970 "First Album."

Low-key drummer Frank Beard remains one of the most reliable timekeepers in rock. He was all business Wednesday, barely exchanging glances with Gibbons and Hill and quickly exiting the stage when the show wrapped up.

The band achieved a droning, mechanical sound that seemed simple on the surface but actually ran on extremely well-honed musicianship.

The three members brought that formula to a climax on a lesser-known number, 1996's "Bang Bang," as well as 1981's "Pearl Necklace."

Gibbons and Hill, both wearing sequined suit coats, occasionally went through the onstage choreography and hand motions that helped make them MTV stars. Exchanging low-fives now and then as they passed on the stage, they are some of the most closeknit musical partners in rock.

The pair brought out their famed "fuzzy guitars" for the group's 1980 megahit, "Legs," and wrapped things up with an encore of another massive radio song, "Tush."

The ultra-hip and biker-friendly image of this trio, all well into their 50s, will allow ZZ Top to keep rolling for years to come. Perhaps someday the band will venture more into its newer material onstage, despite the crowd-pleasing reliability of its '80s catalog.

Reach Rodgers at larry.rodgers@arizonarepublic.com or (602) 444-8043.

'Idol' Moments: Some growl, some gag in country conversation

'Idol' Moments: Some growl, some gag in country conversation

FOX Melinda Doolittle steps out with Julie Reeves’ “Trouble Is a Woman” on Tuesday’s “American Idol.”

By MATT GLEASON World Scene Writer
4/18/2007

Martina McBride made a good point at the outset of Tuesday night's "American Idol" when she said that a captivating country song should sound like a conversation.

OK, so let's say "Idol" was actually a shindig host Ryan Seacrest threw while his parents were out of town, and 30 million people came to tap the keg.

Melinda Doolittle, the usually demure, quiet girl in class, showed up looking saucy and ready to have a good time. She told a story -- "Trouble Is a Woman" -- that drew a crowd over by the bar that had everybody stunned.

Simon Cowell, the know-it-all jerk everyone befriends for fear of being on his bad side, said it was "fantastic."

Jordin Sparks, the cheerleader with the bubbly personality, and the wizened LaKisha Jones, both told familiar stories: Sparks mightily handled McBride's "A Broken Wing," and Jones did a nice job with Carrie Underwood's "Jesus Take the Wheel." Both were inspirational and just might have left some of the partygoers with tears in their eyes.

Cowell has a thing for Sparks -- he said she could win the whole thing -- but heckled Jones right to her face.

Blake Lewis, the cute, fun-loving spaz known to beatbox and breakdance, is a decent enough conversationalist -- he did "When the Stars Go Blue" -- but even though some people just love that guy, he's not the sort I'd want to talk with longer than it takes the bartender to refill my glass.

Chris Richardson was the handsome jock in the corner but his tale -- Rascal Flatts' "Mayberry" -- was pointless, almost boring, and left me wanting to cut him short to meet up again with Doolittle and Sparks.

Phil Stacey, who's struggled in school to find a clique he fits in with, showed up to the party not as the poser we've come to know, but with his true identity -- an urban cowboy, sans the Stetson. He cruised through Seacrest's pad with so much cocksure swagger that all the girls wanted his voting digits after he regaled the partiers with Keith Urban's "Where the Blacktop Ends."

Even Cowell complimented.

Then there's Sanjaya Malakar, the flamboyant fella all the girls think of as their gal pal while the guys would love to give him a much-deserved swirly.

Cowell, who's marveled at Malakar's antics recently, made a scene when he told the beloved/reviled kid that he's no good -- Malakar did a lousy version of Bonnie Raitt's "Something to Talk About" -- and that the Tuesday night revelers should escort him to the door.



If only we could.

---

Matt Gleason 581-8473
matt.gleason@tulsaworld.com

By MATT GLEASON World Scene Writer

joseph sends this along regarding American Idol

well we had country music night on american idol.

like many of the theme episodes, we had some outstanding performances and some that were not so good.

we started off with one of the outstanding performances of the night by phil stacey.

i think he showed the others just what they need to do to win over the voters.

when he comes out with an album, i think country musc might be his best bet.

phil was followed by another outstanding performance.

this one by arizona's own, jordin sparks.

she did a wonderful job.

next up was sanjaya.

what can i say about sanjaya?

will this be the week he goes home?

maybe...maybe not.

after so many weeks of thinking he would be going home, he remains on the show.

i wonder if sanjaya knows that much about country music.

after all, who does he pick for country night.

he picks bonnie raitt.

bonnie raitt is not a country singer.

after trying to injest sanjaya, we got some good stuff from lakisha.

she picked a song by american idol winnier carrie underwood.

it sounded good.

next on the line-up was chris richardson.

it wa not a bad performance, but i did not think it was near the best of the night.

however, i do not see him going home tomorrow night.

melinda was next with another solid performance.

she has been so consistent with her performances that i can see her going to the top this season.

last but not least was blake.

he did a good job on his song.

for the bottom two this week, i see sanjaya and chris.

i also see (and hope) that sanjaya goes home this week.

joseph

Underwood Wins CMT Video of Year Award

Underwood Wins CMT Video of Year Award

Associated Press

NASHVILLE, Tenn. (AP) -- Carrie Underwood's dark hit "Before He Cheats" won video of the year, female video and best video director Monday at the fan-voted CMT Music Awards.

In the song, Underwood takes a baseball bat to a cheating boyfriend's "pretty little souped up 4-wheel drive."

"It was at the CMT awards last year that I gave my first acceptance speech ever," Underwood said. "It's been such an amazing and blessed two years."

Kenny Chesney won male video for "You Save Me" and Rascal Flatts won group video for "What Hurts the Most."

Jack Ingram received the Wide Open Country award, a new category intended to honor artists outside the mainstream.

Viewers chose Ingram's video over Johnny Cash's "God's Gonna Cut You Down," rockers Sheryl Crow and Sting for their duet "Always on Your Side" and Jimmy Buffett's "Bama Breeze."

"Right now I'm flying on the mainstream radar, but for a long time I wasn't," Ingram said.

Teen newcomer Taylor Swift captured breakthrough video of the year honors with her hit "Tim McGraw."

Later, the 11th grader said she was taking her final exams Tuesday. She attended the show with her mother.

"This is my first award show ever. I wanted my mom right next to me," Swift said.

Sugarland won duo video of the year for "Want To."

"Thank you to the fans," singer Jennifer Nettles said. "We love that you vote for that; it makes it that much more special."

Kris Kristofferson, who penned country classics like "Sunday Morning Coming Down" and "Help Me Make it Through the Night," received the Johnny Cash Visionary Award.

Kristofferson, 70, joins previous winners Hank Williams Jr., Loretta Lynn, Reba McEntire, the Dixie Chicks and his late friend Johnny Cash.

Cash's daughter, Rosanne Cash, presented the award, and Kristofferson received a standing ovation at the Curb Event Center at Belmont University.

"He is an artist with nothing to lose," Rosanne Cash said. "He can risk everything because he never compromises his integrity."

Kristofferson praised the late Johnny Cash and said, "Bob Dylan said it best. He said John was like the North Star - you could guide your ship by him." Then Kristofferson looked up and raised the award high above his head in tribute to his late friend.

Later, Kristofferson recalled time spent at Cash's lakeside home near Nashville that was destroyed by fire last week.

"We used to go down there when we got down on our spirits," he said. "My wife put it best though when she said John and June (wife June Carter Cash) took everything that really mattered with them."

Comedian Jeff Foxworthy hosted the show, and performers included Rascal Flatts, Chesney, Toby Keith, Sugarland and Bon Jovi.

Foxworthy recapped the year in country music, including Dolly Parton's Kennedy Center Honor.

"That's appropriate because if there's ever been a president who would enjoy Dolly Parton it's President Kennedy," he quipped.

But he quickly became serious when he addressed the fatal shootings at Virginia Tech.

"There are a lot of hurting people associated with Virginia Tech and we want those people to know in the days and weeks going forward that you are going to be in the hearts and minds of everyone in the country music community," Foxworthy said. "God bless you."

The Dixie Chicks were nominated for video of the year and group of the year - their first such nominations since country radio unofficially banned them.

But the Chicks were nixed in both categories.

The trio has been at odds with country radio since lead singer Natalie Maines told a London audience in 2003 that they were ashamed President Bush was from their home state of Texas.

But even without radio airplay, they managed to win three Grammys and sell 2 million copies of their latest album, "Taking the Long Way."

"I understand the songs on that album are great, but I listen to country radio so I haven't heard them yet," Foxworthy cracked.

----

3 country wins for Underwood

3 country wins for Underwood

By Matthew Price
Staff Writer

Carrie Underwood was again a Country Music Television Awards winner, collecting all three awards for which she was nominated on Monday night — video of the year, female video of the year, and director of the year. In 2006, Underwood won for breakthrough video of the year.

"It was at the CMT Awards last year that I gave my very first awards speech ever,” Underwood said upon winning the award for video of the year. Underwood was grateful to the fans throughout the telecast.

Underwood won the award for video of the year for "Before He Cheats.”

Roman White, Underwood's director on "Before He Cheats,” won the award for video director of the year for his work on that video.

"She's one of the sweetest people I've ever met,” White said about his star.

Other winners

Rascal Flatts, featuring Joe Don Rooney from Picher, won group video of the year for "What Hurts the Most.”

The Country Music Television Awards are the only country music awards exclusively voted on by fans.

Three of the nominees for video of the year, which was voted on during the telecast, were Oklahoma artists.

Moore native Toby Keith, who lives in Norman, was nominated for "A Little Too Late.” Rascal Flatts was nominated for "What Hurts the Most.”

Comedian Jeff Foxworthy hosted the awards, which aired on CMT.

Carrie Underwood

Carrie Underwood's big hit takes three in CMT awards

MARK HUMPHREY / Associated Press Carrie Underwood accepts the video of the year award at the CMT Music Awards in Nashville, Tenn., on Monday.

By JOHN GEROME Associated Press
4/17/2007

NASHVILLE, Tenn. -- Carrie Underwood's dark hit "Before He Cheats" won video of the year, female video and best video director Monday at the fan-voted CMT Music Awards.

In the song, Underwood takes a baseball bat to a cheating boyfriend's "pretty little souped up 4-wheel drive."

"It was at the CMT awards last year that I gave my first acceptance speech ever," said Underwood, of Checotah, Okla. "It's been such an amazing and blessed two years."

Kenny Chesney won male video for "You Save Me" and Rascal Flatts won group video for "What Hurts the Most."

Jack Ingram received the Wide Open Country award, a new category intended to honor artists outside the mainstream.

Viewers chose Ingram's video over Johnny Cash's "God's Gonna Cut You Down," rockers Sheryl Crow and Sting for their duet "Always on Your Side" and Jimmy Buffett's "Bama Breeze."

"Right now I'm flying on the mainstream radar, but for a long time I wasn't," Ingram said.

Teen newcomer Taylor Swift captured breakthrough video of the year honors with her hit "Tim McGraw."

Later, the 11th-grader said she was taking her final exams Tuesday. She attended the show with her mother.

"This is my first award show ever. I wanted my mom right next to me," Swift said.

Sugarland won duo video of the year for "Want To."

"Thank you to the fans," singer Jennifer Nettles said. "We love that you vote for that; it makes it that much more special."

Kris Kristofferson, who penned country classics like "Sunday Morning Coming Down" and "Help Me Make it Through the Night," received the Johnny Cash Visionary Award.

Kristofferson, 70, joins previous winners Hank Williams Jr., Loretta Lynn, Reba McEntire, the Dixie Chicks and his late friend Johnny Cash.

Cash's daughter, Rosanne Cash, presented the award, and Kristofferson received a standing ovation at the Curb Event Center at Belmont University.

Kristofferson praised Johnny Cash and said, "Bob Dylan said it best. He said John was like the North Star -- you could guide your ship by him." Then Kristofferson looked up and raised the award high above his head in tribute to his late friend.

Later, Kristofferson recalled time spent at Cash's lakeside home near Nashville that was destroyed by fire last week.

"We used to go down there when we got down on our spirits," he said. "My wife put it best though when she said John and June (wife June Carter Cash) took everything that really mattered with them."

Comedian Jeff Foxworthy hosted the show, and performers included Chesney, Sugarland and Bon Jovi, Oklahoma native Toby Keith and Rascal Flatts, whose guitarist, Joe Don Rooney, is from Picher, Okla.

Foxworthy recapped the year in country music, including Dolly Parton's Kennedy Center Honor.

"That's appropriate because if there's ever been a president who would enjoy Dolly Parton it's President Kennedy," he quipped.

By JOHN GEROME Associated Press

Bob Wills' fiddling honored at Cain's Ballroom benefit

Bob Wills' fiddling honored at Cain's Ballroom benefit

SHERRY BROWN / Tulsa World Rosetta Wills, Bob Wills’ daughter, accepts an award for her father at his posthumous induction into the newly founded National Fiddler Hall of Fame at a gala Friday at Cain’s Ballroom.

By MATT ELLIOTT World Scene Writer
4/16/2007

Texas fiddler Bob Wills was inducted into the newly founded National Fiddler Hall of Fame during a Friday night gala filled with country, blues, bluegrass and Irish fiddle performances.

About 170 people attended the $130-per-plate gala at Cain's Ballroom while thunderstorms blew by outdoors and rainwater trickled down the "Ballroom Dancing" sign out front. John Wooley, a former Tulsa World music writer and Wills historian, was the master of ceremonies for the event, a benefit for the Hall of Fame.

"I know he would be so thrilled," said Wills' daughter, Rosetta Wills, upon accepting her late father's induction into the hall. After thanking the ballroom's owners, the Rodgers family, for restoring it, she said that if her humble father were alive today, he'd be blown away by the induction.

Wills, who died in 1975, made his name at Cain's Ballroom, where he moved from Texas after falling out with his former manager, W. Lee "Pappy" O'Daniel. He and his Texas Playboys performed at the ballroom from 1934 until about 1942, when he left for California. His performances were broadcast by KVOO, making him a star. His brother, Johnnie Lee Wills, took over after Wills left, and he performed at Cain's for years.

The night was topped off with performances by at least 15 of the best fiddle players in the world.
One of them, Curly Lewis, played for Bob Wills. Lewis, his voice gravelly from throat cancer, entertained with his western swing fiddling backed at times by Hall of Fame Vice President Shelby Eicher and guitarist Mark Bruner.

The crowd got a taste of bluegrass from Byron Berline, contest fiddling from the "Hee Haw" star Jana Jae, and blues fiddle from James Tarver of Tulsa.

Wills also got the nod from Oklahoma Stomp, a nine-piece band of area teenagers that plays western swing tunes, which drew standing ovations.

Many of the members would perform later that night with the older performers, and Jae was joined onstage by the local fiddlers Emma and Marina Pendleton, who recently won fame for their high ranking in a contest on CBS' "The Early Show."

Eicher summed up jazz fiddle for the crowd, playing a rendition of George Gershwin's "Summertime" and some Gypsy-flavored jazz. Eric Ryan-Johnson put an international flair on the night with his Irish folk fiddle.

The evening ended with all the players on the stage for a rendition of Wills' "Liberty," followed by a house band including steel guitarist J.D. Walters, Lewis, Bruner and Eicher playing for the guests who scooted across the ballroom's approximately 80-year-old dance floor.

The hall, which will be housed in Tulsa at a site to be determined later, will be dedicated to preserving the fiddle's history as well as encouraging youths to play the instrument.

---

Matt Elliott 581-8366
matt.elliott@tulsaworld.com

By MATT ELLIOTT World Scene Writer

‘Aye, laddie, ye'll open f'r THAT Rod Stewart'

‘Aye, laddie, ye'll open f'r THAT Rod Stewart'

The Oklahoma City Highlanders perform on the concourse before the Rod Stewart concert at the Ford Center on Wednesday. From left are Pipe Maj. Paul Shell, Drum Maj. Charles Newcomb, Cpl. John Powell, Pipe Sgt. Robert Bruce and Lance Cpl. Todd Moran. BY BRYAN TERRY, THE OKLAHOMAN

By Paul Shell
Staff Writer

It was one of those calls you don't expect to get while quietly sitting at your desk editing newspaper copy: "Would you like to open for Rod Stewart at his Oklahoma City concert?”

Not that Stewart's show hits town and they just run a finger down the phone book and say "Hey, let's call this guy!”

It was a bagpipe band Stewart's tour was after, and it was the business manager for the Oklahoma City Highlanders bagpipe band who was calling me. I'm the pipe major (lead piper) for The Highlanders.

I asked the question any self-respecting man who wears a kilt and plays the pipes would ask: "And will they be PAYING us?”

The answer was what any self–respecting Scottish rocker's managers would give: "No!”

"But we'll get free tickets to the show for the band,” business manager and fellow Highlanders piper Robert Bruce told me.

"OK. It's Monday, the concert is Wednesday ... It'll be a busy band practice Tuesday night,” I thought.

Then the cold water

Wives have a way of putting things into perspective. When I told mine the wonderful news, she asked if we had confirmed that this really was Rod Stewart's tour calling us.

Oh-oh.

I could just see one of the other area pipe bands sitting around laughing their kilted rears off: "Aye, an' did ye hear? Their whole band showed up doon a' the Ford Center all dressed up an' carrying their pipes an' drums (McGiggle, McGiggle).”

By Tuesday night when the parking and tickets had been arranged, I relaxed a little.

I even got to use my relax-the-band speech, which goes something like: "We don't usually play this big a venue, but we play for thousands of people each year. We've played for the elder George Bush, Margaret Thatcher, Mikhail Gorbachev and a bunch of other dignitaries. Relax and have fun with this. AND STAY WITH THE DRUM SECTION'S BEAT!” (I get to yell things like that as pipe major.)

Wednesday night, after playing in the Ford Center concourse for people heading for their seats, we marched a dozen strong onto the Ford Center's floor sending "Scotland the Brave” soaring.

We played for 20 minutes to an appreciative audience while wedging our formation in at different spots between Stewart's plaid-draped stage and the surrounding seating.

And then our unlikely brush with rock music was over.

No, we didn't get to meet Rod Stewart.

But Stewart gave the band a memorable anniversary gift. This year is The Highlanders' golden anniversary. You can't beat celebrating 50 years of performing by opening for Rod the mod.

Rod Stewart performs Wednesday at the Ford Center in Oklahoma City. BY BRYAN TERRY, THE OKLAHOMAN

Rod Stewart pleases fans with impeccable sound

Rod Stewart was the unknown gravel-voiced singer in the Jeff Beck Group when he played his first Oklahoma City gig in front of a small audience at the Civic Center in late 1968. The no-frills stage set-up consisted of amplifier stacks and the band members themselves, and Stewart's belting took a backseat to the ex-Yardbirds guitarist's extended solos that night.

What a difference four decades can make.

"The Rodfather” drew a near-capacity crowd of faithful fans to the Ford Center on Wednesday night — pretty impressive since the show was in the round — and delivered just what they came to hear: Rod Stewart's greatest hits, plus a few lesser-known, choice album tracks thrown in as a bonus.

The circular stage was curtained in plaid, in honor of his Scottish heritage and his beloved Celtic Football (soccer) Club of Glasgow, and flanked with television screens on all sides, with loudspeakers concealed beneath the huge platform, so everyone had an unobstructed view of the bushy-blond bad boy's mischievous visage, as well as all the tremendously talented players in his 10-piece band.

After an entertaining bagpipe serenade from Oklahoma City's own Highlanders Pipe and Drum Band, the gigantic "kilt” rose to reveal Stewart on raised center platform, resplendent in glittering black plaid jacket and white tie (the first of several costumes to come), surrounded on the lower stage by his accompanists, as he plunged into the upbeat 1981 dance hit "Tonight I'm Yours,” followed by the more rustic 1972 favorite "You Wear It Well.”

The latter showcased the silken fiddle artistry of J'Anna Jacoby, who also shone on the melancholy beauty "Reason to Believe” along with nimble-fingered pedal steel guitarist Robin Ruddy.

Saxophone slinger Katja Rieckermann added brassy class to the steaming funk of "Infatuation” and such disco-period tunes as "Do Ya Think I'm Sexy” and "Hot Legs” as mirror ball lights swirled, and all the while Stewart worked the crowd, walking the edge of a looping runway, touching upraised female hands, even signing autographs here and there while never missing a note.

The charismatic Stewart, 62, is still the consummate crowd-pleaser, giving fans all their radio favorites, and they willingly reciprocated whenever he cued them with the mic, with mass a cappella sing-alongs on tunes such as "Tonight's the Night” and "You're in My Heart.”

But to these ears, Stewart's inimitable sandpaper tones sounded best on the earliest gems, like the heart-punching "I'm Losing You” and the brawling barroom rockers "Every Picture Tells a Story” and "Maggie May,” his signature smash from those raunchier years.

Surprisingly, that song was his only encore offering before the tartan came down a final time and the screens flashed the disappointing message that "Mr. Stewart has left the building.”

— Gene Triplett

Review: Rod Stewart

Review: Rod Stewart at the Ford Center

By Gene Triplett
The Oklahoman

Rod Stewart was the unknown gravel-voiced singer in the Jeff Beck Group when he played his first Oklahoma City gig in front of a small audience at the Civic Center in late 1968. The no-frills stage set-up consisted of amplifier stacks and the band members themselves, and Stewart’s belting took a backseat to the ex-Yardbirds guitarist’s extended solos that night.

What a difference four decades can make.

“The Rodfather” drew a near-capacity crowd of faithful fans to the Ford Center Wednesday night — pretty impressive since the show was in the round — and delivered just what they came to hear: Rod Stewart’s greatest hits, plus a few lesser-known, choice album tracks thrown in as a bonus.

The circular stage was curtained in plaid, in honor of his Scottish heritage and his beloved Celtic Football (soccer) Club of Glasgow, and flanked with television screens on all sides, with loudspeakers concealed beneath the huge platform, so that everyone had an unobstructed view of the bushy-blond bad boy’s mischievous visage, as well as all the tremendously talented players in his 10 –piece band.

After an entertaining bagpipe serenade from Oklahoma City’s own Highlanders Pipe and Drum Band, the gigantic “kilt” rose to reveal Stewart on raised center platform, resplendent in glittering black plaid jacket and white tie, surrounded on the lower stage by his accompanists, as he plunged into the upbeat 1981 dance hit “Tonight I’m Yours,” followed by the more rustic 1972 favorite “You Wear It Well,” which showcased the silken fiddle artistry of J’Anna Jacoby, who also shone on the melancholy beauty “Reason to Believe” along with accomplished pedal steel guitarist Robin Ruddy.

Saxophone slinger Katja Rieckermann added brassy class to such disco-period tunes as “Infatuation” and “Hot Legs,” and all the while Stewart worked the crowd, walking the edge of a looping runway, touching upraised female hands, even signing autographs here and there while never missing a note.

The charismatic Stewart, 62, is still the consummate crowd-pleaser, giving the fans all their radio favorites, and they willingly reciprocated whenever he cued them with the mike, with mass a cappella sing-alongs on tunes such as “Tonight’s the Night” and “You’re in My Heart.”

But to these ears, Stewart’s inimitable sandpaper tones sounded best on the earliest gems, like the heart-punching “I’m Losing You” and the brawling barroom rockers “Every Picture Tells a Story” and “Maggie May,” his signature smash from those raunchier years. Surprisingly, that song was his only encore offering.

Concert Review: Students present inspiring tribute

Concert Review: Students present inspiring tribute

oklahoman.com



Like a jeweler who transforms a rough-cut precious stone into a brilliant, multifaceted jewel, Florence Birdwell turns her voice students into Broadway-quality performers. Any teacher would consider herself lucky if one or two students had found success on the New York stage. But a dozen or more? That's cause for a celebration.

Five of Birdwell's remarkable successes recently came home to pay tribute to their mentor, the doyenne of the voice faculty at Oklahoma City University. Joined by the Oklahoma City Philharmonic and conductors Joel Levine and Brian Tidwell, these remarkable artists offered performances that fed the mind, touched the heart and nourished the soul.

This "Starry Night” program opened with "It's a Place,” a number composed by current Birdwell student Rick McKee that described what this "Miracle on 23rd Street” has meant to countless OCU music students.

Lara Teeter was an early Birdwell success, a song-and-dance man who parlayed his talents into a starring role in the 1983 revival of "On Your Toes.” He proceeded to wow the crowd with "Once in Love With Amy.” But he personalized it with some deftly rewritten lyrics: "Once you sing with Florence/Talent takes wing with Florence.” Then, joined by two American Spirit Dancers, Teeter offered a rousing version of "Buddy's Blues.”

Soprano Barbara DeMaio Caprilli explored a different path to success by establishing an impressive operatic career in Europe. Evidence of that was demonstrated in two of Barber's "Hermit Songs,” which she followed with an aria from Verdi's "Don Carlos.”

The audience roared with approval after she tossed off this rangy aria with ease. She then belted out "Some People,” Mama Rose's take-charge anthem from "Gypsy.” Lyric Theatre need look no further than Caprilli the next time it plans to mount this classic musical.

John Sawyer followed with a touching performance of "Somewhere in My Memory.” Sawyer invested this number with such honesty that it brought tears to my eyes. He ended his segment with the delightful "Singin' in the Rain.”

The stunningly gorgeous Kelli O'Hara is one of Birdwell's most recent success stories. She chose the title number from "The Light in the Piazza” to open her segment, a beautiful soaring ballad by Adam Guettel. I had the good fortune to see O'Hara in Broadway's "Sweet Smell of Success” and "The Light in the Piazza,” but I was quite unprepared for how sublime her rendition of "I Could Have Danced All Night” was. I've rarely experienced such euphoria.

Following intermission, O'Hara performed Frank Loesser's beautiful "Somebody Somewhere” and then played a sexy vamp in Yeston's "A Call From the Vatican.”

Joined onstage by "Starry Night” producer Jane Jayroe, OCU President Tom McDaniel announced the establishment of an endowed chair in Birdwell's honor, funding for which was provided by proceeds from this spectacular evening.

Tony Award winner Kristin Chenoweth's grasp of operatic, jazz and musical theater styles were all put to fine effect in "The Girl in 14G,” a delightful number about the challenges of living in New York City.

Tidwell accompanied Chenoweth in a wistful medley of music by Jerome Kern, which she followed with her signature piece, "Glitter and Be Gay.” Chenoweth first performed this showstopper from "Candide” at OCU in 1992. My comments then seem equally apt today: "Chenoweth proved to be as scintillating as the jewels she sang about.”

When the company brought Birdwell to the stage during the encore, I suspect there wasn't a dry eye in the house.

And so to Birdwell and the countless other musical mentors who have lifted students to heights they never thought possible, we owe you such gratitude. Perhaps Jayroe said it best: "We thank you for the gift of music that you've given us for a lifetime.”

— Rick Rogers

The Medieval Fair

Norman turns back clock for annual medieval fair

By James S. Tyree
Staff Writer

NORMAN — The Medieval Fair returns to Norman this weekend to stimulate the imagination, teach values such as chivalry and honor, and offer youth camaraderie and a positive place to go.

It's not so bad for the thousands of people who visit the fair, either.

The Medieval Fair started in 1976 and has grown to become the third-largest event in Oklahoma and the state's biggest weekend celebration, organizers said. More than 300,000 people of all ages attend each year, and an economic study shows they spend more than $5.5 million at the fair.

The Medieval Fair's biggest impact, though, may be on the performers. Some belong to the Royal Court, while others participate in the Arthurian Order of Avalon, where most members are teenagers and young adults who have found a "home” in Camelot.

They dress in medieval-period clothing and participate in the human chess game, jousting, dances and other fair activities. And they have fun doing it.

Cody Clark, an original member from the late 1970s, said the group's mission goes deeper than that.

"We use our shows to get teenagers involved,” Clark said. "We're strict about living by chivalry, courtesy and honor. The rules are — there is no smoking, drinking or cussing, and they must keep good grades — and they do it because this is something they want to do.”

They also learn skills associated with the time period, from swordplay to making all their own clothes. And according to the Order's bylaws, three of its board members must be under 21

In 1999, Tim McCoy-Washington tagged along with an older sister on her audition for the chessboard. The 12-year-old was impressed, so he joined the Order not long afterward.

"I felt a sense of camaraderie and fell in love with that group,” he said, "and I've spent the last eight years of my life giving those same experiences to other kids.”

Daniel James Garrison, 17, is a Norman High School student who joined the group because "I've always been good with the stage and making people laugh.” He has played several characters over the years, including an apprentice to a fool.

"I don't know how much lower you can get than that,” he quipped. This year, Garrison gets the meatier role of Mordred, a son of King Arthur who wants to kill his father.

"(Arthurian Order of Avalon) has probably been one of the best organizations for youth I've ever been in,” Garrison said. "They're very friendly, you learn special skills and you learn how to treat others.”

The organization also helps groups and individuals around Oklahoma that need resources on medieval times. Linda Linn, the Medieval Fair's public relations contact, said the group performs at feasts, libraries and for various organizations.

At other times, people call for information, and those requests have no bounds.

"One person called and asked, ‘Do you know where I can get a boar's head?'” Linn recalled.

There will be no such request this weekend at the Royal Court, a separate, University of Oklahoma-based entity of adults that involves the Medieval Fair's king and his court.

Ron DeLuca, chief architect for the state of Oklahoma, is the king this year, and his duties will include knighting an estimated 300 to 500 young people this weekend.

Sweet Adelines

Adelines win competition

From Staff Reports


The OK City Chorus of Sweet Adelines won the Region 25 Chorus Competition on Saturday in Richardson, Texas.

Three of the top four choruses were from Oklahoma. The second place chorus was Oklahoma Jubilee from Tulsa. Third place went to Prairie Winds from Lubbock, Texas, and Sooner Sensations of Moore finished fourth.

The OK City Chorus, an Allied Arts member agency, will represent Region 25 at the Sweet Adelines International Chorus Contest in November in Honolulu. Last year in Las Vegas, the OK City Chorus received the Harmony Achievement Award, which honors the best small chorus.

Kismet won the Region 25 Quartet Competition and will compete in the International Quartet Competition in Calgary, Alberta, in October.

Idol Moments

Idol Moments: Stacey barely survives again; verdict is 'Bye, bye' to Sligh

Associated Press Grammy Award-winning artist Gwen Stefani (left) talks with some of the finalists of “American Idol” on Tuesday in Los Angeles.

By MATT GLEASON World Scene Writer
3/29/2007

Two weeks ago, Phil Stacey was among the bottom three "American Idol" contestants, seemingly on his way back home to his wife and daughters.

But after performing the Nashville Teens' "Tobacco Road" last week, he avoided the bottom two, which ultimately sent Stephanie Edwards home much too early.

This week, America once again put Stacey on the verge of going home, even after he gave his best performance of the contest with an admirable version of the Police's classic "Every Breath You Take."

So the bald singer, who has family ties to Shawnee, joined Haley Scarnato, who gave an uninspired performance of Cyndi Lauper's classic gem "True Colors," and Chris Sligh, he of the abysmal version of the Police's "Every Little Thing She Does Is Magic," in the bottom three.

Thankfully there is justice in this unpredictable contest, as "Idol" host Ryan Seacrest sent Stacey back to safety, leaving only Scarnato and Sligh to wonder who would meet Obscurity first.

Just before Seacrest gave America's verdict Wednesday, he asked Simon Cowell who might be going home.

Cowell replied, "Bye, bye, Curly," referring to the hulking singer famous for his curly, white-man-'fro.

And he was right.

Sligh, who once said that all he wanted to do in the competition was make David Hasselhoff cry, was sent home before he could actually make the "Baywatch" star weep.

Sligh also once said that he was "bringing chubby back," but chubby's going home and I couldn't care less.

Actually, the only thing more satisfying than watching Sligh get the boot would have been if he would have taken Scarnato and Sanjaya Malakar with him.

I'm so very tired of Malakar and his hairy antics, but so are you, I imagine.

Next week, crooner Tony Bennett will mentor the "Idol" hopefuls, which means that Malakar will no doubt butcher "Stepping Out With My Baby," clad in some cutsy outfit and sporting some front-page-worthy hairdo that will send bloggers into fevered rants.

Second to maybe slipping a bit of Nair into his shampoo, those sane enough to despise Malakar as a no-talent weenie can merely wait for everyone else to realize that Malakar is nothing without his hair.

---

Matt Gleason 581-8473
matt.gleason@tulsaworld.com

By MATT GLEASON World Scene Writer