An American pop punk/alternative rock band from Jacksonville, Fla., Yellowcard arrived on the music scene in 1997 and became a contender in the industry a few years later with the band’s second single, “Ocean Avenue.” Other popular hits to arrive from the band members’ creative collaborations include “Lights and Sounds,” “Here I Am Alive,” “Be the Young,” “See Me Smiling” and “Light Up the Sky. The group’s latest album, Lift A Sail, was released in October 2014 and was greatly influenced by the 2013 snowboarding accident that left vocalist/guitarist Ryan Key’s wife paralyzed from the waist down. He also touches on violinist Sean Makin’s bout with thyroid cancer and the band’s loss of drummer Longineu “LP” Parsons. Hear Yellowcard’s new music as well as the pieces that earned them a large fan following from their early years, on Saturday, May 2, at Cain’s Ballroom. The show begins at 7:30 p.m., and Yellowcard will be accompanied by Finch and The Downtown Fiction. Tickets range from $20 to $35. For more information, visit www.cainsballroom.com.
“Radical artists that shook the very essence of humanity. Revolutionaries with vision and foresight. Fearless and sensitive at the same time. Revolution in style and scope. Radical to the bone. Songs that cut you to the bone. Renegades in all degrees, doing songs that would never decay, and still resound to this day,” Bob Dylan said about Elvis, Jerry Lee, Carl Perkins and Johnny Cash in the speech he gave while accepting MusiCares’ Person of the Year Award in February. His own words singing praise of these music legends describe the man and musician Dylan is and has always been, and it was those kind of rare talents who shaped his sound.
That sound, evolving throughout his career, produced greats like “A Hard Rain’s A-Gonna Fall” (1963), “Like a Rolling Stone” (1965), “Mr. Tambourine Man” (1965) and “All Along the Watchtower” (1967). Dylan’s greatest moments were cloaked with his folk-rock assonance and powerful lyrics.
One of his greatest influences was Oklahoma native Woody Guthrie. At one point in Dylan’s young career, all he wanted to play were Guthrie’s songs.
“His songs are something else … [they] made everything else come to a screeching halt,” he said of Guthrie’s music in his 2006 memoir, Dylan: Chronicles Volume One. “I said to myself I was going to be Guthrie’s greatest disciple.”
In February, Dylan released his 36th studio album, Shadows in the Night, his take on 10 American standards. While some records on the album use the power of a small orchestra, others rely on Dylan’s five-piece band. The covers include “I’m a Fool to Want You,” “Stay With Me” and “Some Enchanting Evening.”
This month, Dylan will give Oklahomans a special treat, playing at three different venues within the same week. On May 2, he’ll be at Thackerville’s WinStar World Casino; on May 3, he’ll be in Oklahoma City at the Civic Center Music Hall; and on May 9, Tulsa’s Hard Rock Hotel and Casino will welcome him to The Joint’s stage. For more information, visit www.winstarworldcasino.com, www.okcciviccenter.com or www.hardrockcasinotulsa.com.
She was a principal dancer with the New York City Ballet, which she joined in 1984 as an apprentice, becoming a soloist in ’89 and a principal dancer in ’91. In her 30 years with the company – she announced her departure last year – she performed more than 50 ballets. Now, in a piece she’s collaborated on with four young choreographers, we get to see her again, in a piece that creates a suite of duets. The program will include “Ego et Tu” (Alejandro Cerrudo), “Conditional Sentences” (Joshua Beamish), “The Serpent and the Smoke” (Kyle Abraham) and “First Fall” (Brian Brooks). For one night only, Whelan, along with four other dancers, will perform Restless Creatures on the Tulsa Performing Arts Center’s stage. The show is set to begin at 8 p.m., and tickets cost $45. For more information, visit www.tulsapac.com.
Presented by the Oklahoma City Philharmonic Classics Series, Sun-Drenched Celebrations will play for one night only at the Oklahoma City Civic Center Music Hall. The piece will include Marques: Danzon No. 2, a popular Mexican contemporary classical music composition, which debuted in Mexico City in 1994; Respighi: “Roman Festivals,” part of the Italian composer’s Roman trilogy; Falla: “Three-Cornered Hat”: Suite No. 2, originally made to compliment a Spanish ballet; and Respighi “Pines of Rome,” his second work as part of the “Roman trilogy.” Led by conductor Joel Levine, the music will begin at 8 p.m. Tickets range from $19 to $65. For more information, visit www.okcciviccenter.com.
Franz A. Bischoff, Arroyo Seco Bridge, Oil on canvas, 1915, 30 x 40 inches
photo courtesy Gilcrease museum.
Franz A. Bischoff, Arroyo Seco Bridge, Oil on canvas, 1915, 30 x 40 inches photo courtesy Gilcrease museum.
Opening Sunday, May 3 –
Light, plentiful and lively in California, and the ways it shines upon the state’s mountainous peaks, steep cliffs that dive into blue oceans, rolling hills and other beautiful landscapes, highlighting rich, vibrant colors, was the dominant focus of California Impressionism, an artistic style born in California during the early 20th century. A style that interprets the way light brings the land to life, the artworks that arose from this genre represent “vigor and grandeur,” the Gilcrease Museum’s website explains. “The sun shone its light on the land and gave it color: greens of spring, browns of later summer and fall and everywhere, the deep blue mantle of the sky.” The exhibit comes from The Irvine Museum in Irvine, Calif., which displays California art of the Impressionist Period (1890-1930). California Impressionism: Selections from the Irvine Museum opens at Gilcrease May 3 and continues through Sept. 6. See Franz A. Bischoff’s Arroyo Seco Bridge (1915), Maurice Braun’s Yosemite Falls from Valley (1918), Paul Lauritz’s Mountain Silence (1922), John Frost’s Near Lone Pine, California (1924) and many more masterpieces. For more information, visit www.gilcrease.utulsa.edu.
If you’re not already a fan of Keillor, you may recognize his name, or his voice, from his long career in radio, as an author and humorist. Beginning his career as a radio host for Minnesota Public Radio in 1969, Keillor would go on to secure more than 4 million listeners on more than 600 public radio stations. As a writer, he’s contributed his fiction to The New Yorker, The Atlantic Monthly and National Geographic. His books include Lake Wobegon Days and Leaving Home: A Collection of Lake Wobegon Stories. You may also have heard him in his character Guy Noir, a detective on his radio show A Prairie Home Companion. During his career, he has accepted Grammy, ACE and George Foster Peabody awards. On Tuesday, May 5, his personality will shine on stage rather than through the radio when he arrives at Tulsa’s Brady Theater. Tickets are $39.50 and $59.50, and the show begins at 8 p.m. For more information, visit www.bradytheater.com.
The focal point of the newly added family room is the brushed travertine fireplace. Photo by Jenifer Jordan.
This homeowner has always loved her midtown Tulsa home. In fact, it is where she grew up.
“She wanted the house to maintain some of the essence of her childhood home, but also wanted to modernize it for her family that includes school age children,” says Mel Bean, co-owner of Austin Bean Design Studio, which took on the interior design of the home.
The homeowner worked with architect Scott Ferguson to design an addition that opened up the existing small, enclosed kitchen and added a casual dining area and spacious new family room. A three-car garage and connecting mudroom were also added. Tony Jordan of Jordan & Sons was the builder.
A small study area features the two-tone herringbone patterned floor that is echoed in the den. Photo by Jenifer Jordan.
“The goal was to create a large family room space that was both comfortable and cozy for their family, but also an inviting area to entertain,” adds Bean.
Working from the homeowner’s love of blue, Bean focused on creating a neutral, monochromatic color palette that includes grays and blues.
“We used textures and finishes to create a layered design rather than rely on multiple colors,” says Bean.
Because of the sizable volume of space in the family room, a large-scale, custom fireplace of brushed travertine was designed. Above the mantel, an antiqued mirror with a custom steel frame reflects the chandelier and ceiling beams.
“We used a custom paint finish designed to replicate antique beams that picks up the warm tones of the floor, fireplace and furnishings,” says Bean.
Grounding the space are white oak wood floors installed in a herringbone pattern with a custom whitewash finish.
“The bar area is a little more adventurous without taking over the whole room,” says Bean.
An oval window was chosen, and cabinet doors have antique mirror finish insets with nickel hardware. The countertop is blue-and-green stone in a leather finish, while the backsplash uses beveled antique mirror subway tiles. The freestanding sofa that sits in front of the bar has a unique sculptural back that adds interest to the space.
An oval window and mirrored subway tile make this bar an attention-grabber. Photo by Jenifer Jordan.
Once small and enclosed, an addition to the home allowed the kitchen to be enlarged. Photo by Jenifer Jordan.
A built-in daybed provides storage. Photo by Jenifer Jordan.
The original family room was converted into a den, and the unique fireplace and copper vent hood were maintained. Photo Jenifer Jordan.
The adjoining kitchen renovation was simple. The existing copper hood was maintained as homage to the design of the original house. The existing dark cabinets were replaced with custom cabinetry, painted white, that extend to the ceiling. Countertops are Calcutta marble with a waterfall edge.
Nearby, Bean chose a round, hammered metal table surrounded by comfortable chairs to create an inviting, casual dining area. A capiz shell chandelier sparkles above the table.
What is now considered the den was the original family room. It was dark with an old tile floor. The wood paneling and ceiling were painted the same shade of deep blue-gray to highlight the existing copper hood over the fireplace. A custom, two-toned wood floor in a chevron pattern creates a bold statement.
A powder bath features unique wall covering comprised of many layers of metallic and matte inks. Photo by Jenifer Jordan.
A capiz shell chandelier glimmers above the home’s casual dining area. Photo by Jenifer Jordan.
A concealed bathroom was converted into a sizable laundry room. Photo by Jenifer Jordan.
A bathroom accessible through a hidden panel in the den was gutted to make way for a new laundry room. Custom painted cabinets and a silver travertine floor create a light, bright and functional work area.
The new mudroom connects the renovated den with the new garage. It was designed with lots of storage and casual seating and to serve as a location for storing everything from backpacks to boots.
A new powder bath was created by capturing space from the kitchen and a closet. The sink cabinet is a repurposed piece of furniture. The marble flooring is custom cut, and the wall covering from the Gilded Age Collection by Phillip Jeffries uses multiple layers of metallic and matte inks.
While Bean was the lead designer, she credits Jinger Denison, project manager for Austin Bean, with keeping the design and implementation moving forward efficiently on the nearly year-long project.
Every year Tulsa celebrates the “best party in town,” and this year’s Carnivale went above and beyond expectations. This year’s cabaret theme was emphasized by burlesque dancers and elegantly dressed patrons who gathered to raise a record-breaking $1.3 million for Mental Health Association Oklahoma. Photos by Tom Gilbert.
Barry and Becky Switzer, Patricia Chernicky, Cheena Pazzo and Michael Brose.
Gentner and Wendy Drummond.
Trent Beaver, Laura Calabrese and Misti Center.
Gail and Kip Richards.
Debbie Martin, Harold Hamm, DeDe Siegfried and John Berrey.
Mark Davis, Elizabeth Bouch and Stephanie and Thomas Regan.
Tom and Judy Kishner.
Liz and Mike Stone and Lori Sparkman.
Franky Neal, Tamra Sheehan, Billie Barnett and Jennifer Palmer.
Judy and Jeff Alexander and Jolene Sanditen-Stephens and Jim Stephens.
Georgenia Van Tuyl, Judy Claudette and Doyle Williams.
Mandy Leemhuis, Joy McGill and Amanda Clinton
attended Rooftop Rendezvous, which benefited Domestic
Violence Intervention Services’ legal department.
Kristi Leonard, Janie Axton, Gov. Mary Fallin, Mary Nichols and Debby Hampton were all smiles at Junior League of Oklahoma City’s annual awards celebration.
Will Hill, Joseph Bruchac, Lillian Williams, Teresa Runnels and Kim Johnson
attended the 2015 Festival of Words Writers Award, of which Bruchac was the recipient.
Matt Spinks, Sagun Shrestha and Rhonda Spinks attended a preview
screening of Cancer: The emperor of all maladies at Circle cinema.
Bart Conner, Joe Thompson and Natalie Shirley
attended the 2015 Oklahoma Creativity Ambassadors Gala.
Oklahoma City Mayor Mick Cornett and Terri Cornett enjoyed ARTini, a benefit for Allied Arts.
Rhonda Daniel, Tim Colwell and Linda Bradshaw were among those who celebrated the centennial anniversary of Rotary Club of Tulsa.
Shawn Rogers, Adrianna Iwasinski, Justin edwards and chris parker celebrated for a good cause at artini, which benefited allied arts.
Faith Boudreau and Olympic gold medalist Shannon Miller enjoyed Celebrating the Art of Healing.
Michelle Koskey and Ken Morgan are pictured at the Metro Tulsa Hotel & Lodging Association’s benefit, Food Fest.
Mandy Leemhuis, Joy McGill and Amanda Clinton
attended Rooftop Rendezvous, which benefited Domestic
Violence Intervention Services’ legal department.
Barak Goodman, Angee Jenkins, Daphne Dowdy and Richard Haldeman attended a preview screening of Cancer: Emperor of All Maladies at Circle Cinema.
Junior Achievement of Oklahoma will celebrate past honorees at the 25th annual Business Excellence Dinner on May 14. Preparing for the event are Steve York, Kim Piper, Dean Levine and Shannan Beeler.
James Pepper Henry is the new executive director of Gilcrease Museum. Photo by Dan Morgan.
James Pepper Henry is the new executive director of Gilcrease Museum. Photo by Dan Morgan.
James Pepper Henry, the new executive director of the Gilcrease Museum, has an impressive work history, as associate director for the Smithsonian’s National Museum of the American Indian, director of Phoenix’s Heard Museum and of the Anchorage Museum at Rasmuson Center, but as he says, “I’m an Okie at heart.
“I’ve been back and forth to Oklahoma my entire life,” Pepper Henry continues. “My family roots are there.”
Pepper Henry, of Muscogee Creek and Kaw descent, has many relatives in the state, including in Tulsa, where he is excited to now be working.[pullquote]My number one goal is to elevate the profile of the museum and work on the relevancy of the museum in Tulsa and Oklahoma.”[/pullquote]
While Pepper Henry was born in Oregon, his grandparents were both from Oklahoma, his grandmother from Broken Arrow and his grandfather from Washunga. They met while working at Haskell Indian College in Kansas, and then they were transferred to Oregon.
Pepper Henry, who led the Heard Museum with programs that increased the museum attendance by 58 percent and memberships by 150 percent, is energized about his move to Tulsa to work that same magic for the Gilcrease.
“What I like about the Gilcrease is that it’s not a one-trick pony museum. It has history, art, anthropology, all of these things – important papers, archives of Civil War documents, Western art, South American, Native American art. There’s so much that the Gilcrease offers. How could anybody get bored there?”
Though he is an artist, a sculptor who studied art in college, Pepper Henry’s life work has focused on museums.
“I’ve always been a creative person, always making art. I got into museum work to subsidize my art. At some point, because I kept showing up at work on time, I got promoted. It was a career I wasn’t expecting, but I have no regrets. I wouldn’t change a thing. When I haven’t been able to work on my art, I have been able to help other people with theirs,” he says.
The challenges that Gilcrease face are ones that all museums do.
“It’s relevancy with the newer generations, the XYZ people,” Pepper Henry says. “There’s so much competition for their attention, and museums have to revitalize themselves to stay relevant.
“My number one goal is to elevate the profile of the museum and work on the relevancy of the museum in Tulsa and Oklahoma,” he continues. “And then my second goal is to work on its relevancy with the rest of the world.
“In my opinion, it’s an American treasure, a jewel, but a lot of people still don’t know about it. It’s tucked away in a neighborhood where a lot of people don’t travel.”
