From Gridiron to Grapevine

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October 24, 2011

During the Dust Bowl days, the Joad family made their way across the West in search of a better life in California in the timeless epic The Grapes of Wrath. The Golden State is again attracting a famous Oklahoma family. But this time it’s in pursuit of a better glass of wine.

University of Oklahoma coaching legend Barry Switzer has teamed up with some of the biggest names in Napa Valley to establish Switzer Family Vineyard.

Earlier this year, they kicked off the new business venture with the launch of its vintage 2008 Cabernet Sauvignon, a wine Switzer says is sure to please even the savviest wine drinkers.

“Unsolicited people have told me it’s better than what they expected, and I like that comment,” Switzer says. “I haven’t had anyone say anything negative about it and they shouldn’t. Because anyone who knows anything about wine, they know when they taste this, this is a good cabernet.”

Switzer says his family kicked around the idea of starting a winery for a couple of years. But like his Sooner teams of the past, the old coach wouldn’t accept anything but the best. To keep that winning tradition alive, he partnered with Napa Wine Company’s Andrew Hoxsey and Republic National Distributing Co.

“I never thought of being on a bottle of an alcoholic beverage, but we start talking about it and then went out there and had some meetings,” Switzer says. “Once we knew we wanted to do it we got involved with the right team and right product.”

Switzer Family Vineyard started out small this year with a batch of 560 cases of wine. They plan to push production to 750 cases next year, then 1,000 the following year with the possibility of doubling that number in the future.

The wine is available at liquor and spirit shops across Oklahoma and neighboring states.

“The target market is the old Big 8 conference, and we’ll go from around Dallas all the way to Nebraska,” Switzer says. “And it will be available in my home state of Arkansas.”

Growing up the son of a bootlegger, Switzer never imagined he’d follow a similar path. Especially not in the wine industry, which was almost non-existent in Arkansas and Oklahoma in the 1950s.

“When I was a student at the University of Arkansas in the 1950s, I used to drive through Altus, Ark., where they had Wiederkehr Winery, and it stood out because at that time there weren’t big California wines or American wines,” Switzer says. “I always thought wineries were in France and Italy, but here was one making wine in Arkansas in the ‘50s.”

The wine industry gradually made its way to the area. Today about 100 wineries exist in the state, while more Oklahomans are sipping red and white wines.

“There has just been an explosion of wineries in the state and it’s amazing because weather is so harsh here,” Switzer says.

Switzer says he began drinking wine about 30 years ago at the urging of longtime friend Patsy Benso.

“The target market is the old Big 8 conference,
and we’ll go from around Dallas all the way to Nebraska.”

“He was giving me a lecture, as he always does, and he said, ‘If you’re going to drink, drink wine and drink red wine,’” Switzer says. “He said, ‘It’s better for you, and it’s not as hard on you as the whiskeys and bourbons.’”

Switzer took the advice but said it wasn’t until several years later that he developed a taste for fine wines.

While coaching the Dallas Cowboys, Switzer regularly dined with team owner Jerry Jones over elaborate dinners on the night before games. Along with enjoying some of the finest food in the country, Switzer’s wine palate evolved.

“When we went out for diner, Jerry would tell me to order the wine, and I found out the price doesn’t always mean it’s the best tasting wine for your palate,” Switzer says. “I found out lots of good wines don’t cost as much.”

And like many wine connoisseurs, Switzer and his family made their way to Napa Valley to enjoy some of the finest wineries in the country. During those trips, they threw around the idea of opening their own label. To get a better perspective on the possible business venture, they contacted Hoxsey, a fourth-generation grape grower and one of the leading winemakers in Napa Valley.

Switzer says Hoxsey was very receptive to the idea. While in town for a marathon, he visited the Switzer home and helped develop a plan for Switzer Family Vineyard.

“We wouldn’t have done this without (Hoxsey) because like I told my son-in-law, there’s no way I would put a wine out there with my name on it that we did not feel was a real quality product,” Switzer says. “It wasn’t about trying to really be a commercial venture to make a lot of money. It was about doing something fun and something that we were interested in. To do that we wanted the right people and the right team. And that’s what’s happened for us.”

The company later signed a long-term contract for grapes to be grown in Oakville, Calif. In two years, they will have their own vineyard space where the grapes will be grown and harvested.

Switzer says they might add a pinot noir wine in the future, but for now they are putting their efforts into the cabernet.

“Andrew Hoxsey told us not to do a bunch of wines, but do a great wine and establish the product,” Switzer says. “It’s all about the palate and making something people enjoy.”

Easy Entertaining

By

Staff

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October 20, 2011

I don’t like entertaining – not if it involves 3.2 trips to the grocery store, teetering piles of dishes, frantic, last-minute house cleaning and opening the door with food on my clothes.

If, however, I can do a little bit each day to get the house in shape, the food purchased and prepared as much ahead of schedule as possible, then I’m totally into the occasional dinner party. It’s the basic “Flylady” philosophy of taking baby steps so that you can fully enjoy yourself once your guests arrive.

Marla Cilley began the Flylady program (www.flylady.net) more than a decade ago and has more than a half-million users, including me. The basic principle is to tackle housework and cooking with small steps so you don’t get overwhelmed and give up. If you keep up with the baby steps, you work your way from chaos to peace and tranquility. Since starting her program I’m much more organized. Whenever I host a dinner party I feel her wise eyes peering over my shoulder, guiding me to select recipes which are not only delicious but can be made ahead – fuss-free.

Now that we’re entering the heart of the entertaining season, I am putting simple, yet impressive, desserts in my bag of tricks. One of the most “fly” desserts I can think of is Tiramisu. Cilley would love this popular Italian dessert because: 1. It is simple to throw together; and 2. Making it means you’ll never answer the door with food on your clothes because you have to make it at least 12 hours before you need it. Definitely fuss-free. Definitely fly.

Tiramisu Trifle

After a hard day, tiramisu is easy. It’s the perfect dessert for fancy parties and casual get-togethers. Also, Tiramisu is glory on a spoon. Glory that you can scoop up at midnight, when no one is looking (as long as you don’t mind espresso at midnight).

Note: Please begin this recipe the night before you need it. If serving to children, you can swap out the espresso for hot cocoa. Finally, you can make caster sugar (a.k.a. superfine sugar) by putting regular granulated sugar in a coffee grinder or blender and pulsing until powdery but not caked.

4 eggs, separated – the freshest you can find
1/3 c. caster sugar
3 8-oz. containers marscapone cheese
40-60 lady fingers (Italian Savoiardi)
2 tsp. dark cocoa powder
For the dipping liquid:
(Note: Considering I like my tiramisu dry – not squishy and soggy – this makes a ton extra; feel free to cut it by half or more.)
2 c. water
3 tbsp. instant espresso
3 tbsp. rum

First, mix up the instant espresso with warm water and rum in a small bowl. Next, divide the egg whites and yolks into two separate bowls (the larger being for the yolks).
Whip up the egg whites with half the sugar, until the mixture looks like a soft cloud. Then – without washing the beaters – mix the rest of the sugar with softened marscapone and egg yolks. Softening the marscapone on the counter makes it whip up smoothly, so you don’t get lumps.

Next, fold the whipped egg whites into the marscapone mixture. Once it’s light and fluffy, get your trifle bowl out and begin layering the tiramisu.

To assemble, first put a layer of the whipped marscapone mixture into the bottom of your trifle bowl. Then add a layer of lady fingers – each lady finger gets dipped into the coffee mixture before going onto the tiramisu. You don’t want soggy tiramisu; I recommend kissing each side of the cookie to the surface of the espresso – that way the lady fingers soak up just enough espresso flavor, without making the tiramisu soggy. So, go ahead, let your cookies kiss the espresso.

Now, here’s another important lesson for you. If you aren’t careful when you layer the cookies they’ll taste good but they won’t show up on the outside of the glass. To make the outside look good, you’ll need to break the lady fingers in half, dip the cut end into the coffee mixture and press it against the glass, making a seal, so the custard doesn’t leak over it, hiding the cookie.

Keep alternating between a cookie layer and a marscapone layer, until the trifle bowl is filled. Finish with the marscapone mixture and a heavy dusting of unsweetened cocoa powder. Refrigerate overnight to let the flavors develop.

You’ll end up with the prettiest tiramisu trifle. And you’ll be able to go to bed with a smile, knowing you have nothing to do the next day but to enjoy yourself and your guests.

Sasha Martin is cooking one meal for every country in the world. Her picky husband and baby girl are along for the ride. Join the adventure for recipes, reviews and more at www.globaltableadventure.com.

Talking Turkey

By

Jill Meredith

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October 20, 2011

Photo by Heath Sharp.

Soon enough, we will celebrate Thanksgiving with turkey and all the trimmings. If the thought of having to cook a turkey is enough to cause panic, take comfort in the fact that help is just a few paragraphs away.

Chef Geoffrey van Glabbeek, executive chef of the Restaurant at Gilcrease, offers help in all things turkey. A Tulsa native and 2003 graduate of the Culinary Institute of America in Hyde Park, N.Y., van Glabbeek shares his thoughts on Thanksgiving and the best ways to prepare, cook and carve the perfect bird, as well as what to do with all those leftovers.

“Thanksgiving is all about tradition,” he says.

That sentiment is at the heart of the way he prepares the turkey for the big feast and is the reason that he prefers simply roasting the bird above all other methods.

The first step is prepping the bird. Before anything else can be done, the innards must be removed. Save them for making gravy.

To ensure a moist, flavorful turkey, van Glabbeek suggests brining, or submerging the bird in salty water for the purpose of tenderizing. Although some brines consist of a combination of salt and sugar, van Glabbeek prefers using only kosher salt.

“Since kosher salt crystals are milder than iodized salt, it is easier to season without overseasoning,” he says. “The water should be salty like the ocean. A good rule of thumb is one cup of salt per gallon of water. Most turkeys will need two gallons to be completely submerged.”

Using a large bucket or other pot, dissolve salt in slightly warm water. Place the bird in the bucket and cover with a gallon of cold water until bird is completely submerged. Pack with ice and refrigerate for no more than 24 hours.

“Brining is good, but doing it for too long can actually break down the bird and make it tough.”

Although frying was a huge trend a few years ago, roasting is van Glabbeek’s preference because of both tradition and taste – roasting “low and slow” will produce the best result.

For starters, preheat the oven to 325 degrees. Place the turkey, breast side up, on a large sheet pan fitted with a cooling rack that will allow the juices to accumulate for making gravy later. Truss the turkey by tying its legs together and tucking the wings underneath.

Once the turkey is ready for the oven, van Glabbeek rubs the bird with herbed oil made by combining one cup of olive oil with one tablespoon each of fresh thyme, sage and minced garlic. Rub the bird liberally before roasting. Save some of the oil for basting the turkey occasionally.

Roast the turkey for 10-15 minutes per pound or until a probe thermometer inserted in the thickest part between the leg and thigh reaches 165 degrees. Let the turkey rest for 15-20 minutes before carving.

As far as stuffing the bird is concerned, van Glabbeek does not recommend it.

“By the time the stuffing is cooked through, the bird is overcooked. Cook the stuffing separately,” he suggests.

Carve the bird by first cutting off the legs and the wings. Next, cut down the middle of the bird until the knife reaches the ribcage. Follow the ribcage all the way down and remove the breast in one piece. Repeat the same procedure with the other breast.

“Use a straight blade like a chef’s knife for carving the turkey,” he advises.

As for leftovers, van Glabbeek suggests piling some of that turkey on a croissant with a slice of creamy brie, some peppery arugula and a slathering of whole grain mustard.

Alternatively, leftover turkey can be used in a delicious pasta sauce. Thinly slice one onion and sauté in olive oil over medium heat until caramelized. Add two cups of turkey meat and warm slightly. Deglaze pan with one half cup white wine and let reduce until almost all of the liquid is absorbed. Add one cup of chicken stock and two tablespoons butter. Bring to a simmer and add two handfuls of spinach. Cook until spinach is just barely wilted. Serve over ravioli.

Performances: Memphis

By

Staff

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October 19, 2011

In the 1950s, segregation was everywhere on the United States map. In the underground dance clubs, however, the revolution in music and culture to come was stirring. For a young white radio DJ named Huey Calhoun, the world is about to change when he falls for both a new kind of music and Felicia, a beautiful black club singer. The birthplace of rock ‘n’ roll, Memphis, 2010 Tony Award winner for Best Musical, intersects with Tulsa and Oklahoma City this month on a high of soulful sounds and electrifying performances. The musical plays at the Tulsa Performing Arts Center Nov. 1-6 and at the OKC Civic Center Music Hall Nov. 8-13. Inspired by the story of a Memphis disc jockey, the late Dewey Phillips, and his efforts to integrate American music in the 1950s, showcases the sound of an era in upheaval for all its images of white suburbia and homemaker-in-pearls tidiness. www.myticketoffice.com

The Wayman Tisdale Story

By

Staff

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October 19, 2011

Oklahoma native son Wayman Tisdale’s mercurial life will be remembered and celebrated this month with the release of the award-winning documentary The Wayman Tisdale Story on Nov. 22.

The Wayman Tisdale Story details the story of the former basketball star and jazz musician. Told through his own words, The Wayman Tisdale Story journeys through Tisdale’s life from this childhood as a preacher’s son to his battle with cancer – ultimately succumbing at just 44 years old. The documentary will be released on DVD and CD/DVD by Rendezvous Music/Mack Avenue.

While attending Booker T. Washington High School in Tulsa, Tisdale was one of the most highly touted high school basketball players in the country. He played basketball at the University of Oklahoma, where he was the first player in college basketball history to become a first team All-American in his freshman, sophomore and junior seasons. After winning the gold medal in the 1984 Olympic games, Tisdale entered the 1985 NBA draft. Over the next 12 years, Tisdale became an NBA star while playing for the Indiana Pacers, Sacramento Kings and Phoenix Suns. As his basketball career was ending, he turned his focus to his self-described “first love” with the release of his debut jazz album, Power Forward, followed by eight other eclectic jazz albums – four of which hit No. 1 on the jazz charts.

Rendezvous Music complements the telling of Wayman’s story with a soundtrack featuring 13 tracks, including the previously unreleased track, “Slam Dunk,” produced by Jeff Lorber, and “Cryin’ For Me,” which was written and performed as a tribute to Tisdale by Toby Keith. For information, visit www.thewaymantisdalestory.com.

Tulsa will play host to the world premiere of “The Wayman Tisdale Story” at 7:30pm on Saturday, October 29 at the Walter Arts Center at Holland Hall, located at 5666 East 81st Street. Doors open at 6:30pm. The event is free and open to the public.

Surf, Sand And Oklahoma

By

John Wooley

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October 19, 2011

With its manic drum intro and wild wawahhhh-wawawawawawahhhhh chorus, Ronny and the Daytonas’ “G.T.O.” roared out of speakers like a jet-fueled dragster in that summer of ’64, the last great year for the distinctly American rock ‘n’ roll genre that came to be known as surf ‘n’ drag.

The template had been struck a couple of years earlier, when the first Capitol Records single by a new band called the Beach Boys featured a tune about surfing (“Surfin’ Safari”) on one side, and one about hot rodding (“409”) on the other. Before you could say “Surf’s up!” a whole passel of acts with names like the Rip Chords, the Hondells, the Surfaris and Jan & Dean were roaring up the charts with records about motorbikes and dragstrips and beautiful beach bunnies standing wistfully by the lonely sea, spreading the powerfully seductive image of a sun-drenched endless California summer all across the USA.

Here in Oklahoma, we may have been a good 1,400 miles away from that action, but we were by no means immune to its pull on our hearts and souls. After all, we could dream, couldn’t we?

Ronny and the Daytonas, who produced a classic tune in each of the surf ‘n’ drag categories (respectively, the lush, melancholic ballad “Sandy” and the raucous “G.T.O,”), were one of those West Coast bands that fired our imaginations – or so we thought. Actually, the boys in the band lived even farther from Southern California than we did.

Boy might be more accurate. And Oklahoma boy would be even more accurate still. While he was joined in the studio by fellow musicians like Buzz Cason, Bobby Russell and Bergen White – who would become well-known country-music figures – and on the road by many different players, high schooler John Buck Wilkin was the guy behind the whole thing. Ronny and the Daytonas started in a Nashville studio, but Wilkin came from Oklahoma, having been born in Cherokee and raised for the first 11 or so years of his life in Tulsa.

The family had relocated to Music City because John’s mother, Marijohn Wilkin, had become a successful country-music songwriter. (Her hits included “Long Black Veil,” “Waterloo,” and “P.T. 109”: later, she’d co-write the gospel standard, “One Day at A Time,” with protégé Kris Kristofferson.). In 1963, she started a publishing company with another well-known Nashville figure, musician and arranger Bill Justis.

“They met through a producer from the West Coast, Nick Venet,” remembers Wilkin. “He was a staffer at Capitol Records, a real young guy. He’s my all-time hero in the music business. He was kind of a cosmic, spiritual, big-brother connection to the West Coast sound.”

In fact, Venet will forever be known as the man who signed the Beach Boys to Capitol, kicking off the whole surf ‘n’ drag craze. He also produced their first two albums for the label. It was just one of the many things he did for Capitol Records, some of which would take him to Nashville.
“Nick would come down here and do some sessions, hire Bill as an arranger and hire me as a musician, when I was like 16 years old,” adds Wilkin with a chuckle. “So he gave me a very early break.”

So did Justis.

“Bill and my mom had just started the company, and he said, ‘Well, if you want to do some recording, write some songs, and we’ll see what we can do.’ So, basically, I didn’t have to go out and pay any dues,” says Wilkin. “A lot of guys play in bars for 20 years before they get a break. All I had to do was walk in the studio.”

“So I made up a list of about 20 names, and he liked Ronny and the Daytonas the best.”

Even if Venet hadn’t shown up in John Buck Wilkin’s life, the teen’s own songwriting and singing would’ve been heavily influenced by Southern California acts like the Beach Boys.

“Totally,” he says. “They were my heroes, and they were what was going on. They were the people I was listening to on the radio. They’d started around ’61, so they were already a big deal. I was late to the surfin’ scene. But then again, I was landlocked and removed from it,” he adds, chuckling again.

The first tune he wrote and recorded was called “Hey Little Girl.” Through Justis’ connections, he got it released on Mala Records, a small New York label that produced more than its share of hits.

“Bill said, ‘Well, we’ve got to have a group name,’” Wilkin recalls. “So I made up a list of about 20 names, and he liked Ronny and the Daytonas the best.”

After “Hey Little Girl” failed to make the charts, Justis took the youngster aside and said, “Write me a hit.” And Wilkin did – penning the verses for “G.T.O.” during his high school physics class after seeing a layout about the new, souped-up auto in Car and Driver magazine. The song shot into the upper reaches of Billboard magazine’s Top 40 charts in 1964, peaking at No. 4 and joining the Beach Boys’ “I Get Around,” Jan and Dean’s “Dead Man’s Curve,” and the Hondell’s “Little Honda” on the list of endless-summer songs that, at least for a while, countered the British invasion of rock ’n’ roll radio that the Beatles had begun a year earlier.

The band charted twice more in ’64 with tunes in the same genre, “California Bound” and “Bucket T.” and began touring. But since Ronny and the Daytonas weren’t really a group, notes Wilkin, the road band “was a different bunch of guys every time.”

“It was whoever I could get,” he adds. “If we were playing around the South, I’d try to get as many studio guys as I could – those who were willing to go out. We would rent a trailer and go to Alabama or Mississippi or Florida. If it was Texas, we’d fly. But we didn’t tour all that much and I always lost money on the road, so it never was great.”

Except, he says, for the work he did with the USO. “You didn’t really get paid anything, but it was a chance to travel, and they treated you nice.”

It was during one of those tours that he cut most of the second Ronny and the Daytonas album, Sandy. The title track had already been recorded in Nashville – “pretty much by me alone, on two two-track Ampex quarter-inch reel-to-reel machines,” he says.

“We had been doing a USO tour in Germany, and Justis called from Nashville and said the label wanted an LP right away,” Wilkin recalls. “Justis came to Munich, where he had recorded before, so he knew the studios, where to eat, what to eat. We spent two weeks in the dead of winter in Munich, and that’s where the lush sound originated. The orchestra players were from the Munich Symphony, and worked all day for what the lesser Nashville string players would get for one three-hour session.”

Even though “Sandy” was the only track from the disc that charted, the Sandy album is a beautifully bittersweet set of songs that sounds, now, well ahead of its time. It proved to be the final LP for Ronny and the Daytonas, although Wilkin continued to work in the music business, and still does.
He also remains quite proud of that disc.

“I was trying to do something good, and I think there are some unique qualities about it,” he says. “I really don’t think you can say it sounds like anybody else you’ve ever heard.”

What Lies Beneath

By

Jeff Harrison

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October 19, 2011

Kent Buehler is not afraid to get his hands dirty. As an archeologist, he’s searched for information about ancient cultures, but that’s not all he’s digging for these days.

Buehler and his Crime Scene Archaeology Recovery Group are lending their expertise to law officers as they assist in uncovering human remains at crime scenes. That work has taken them all over the state and involves everything from excavating scattered surface skeletal remains to bodies buried under hundreds of pounds of concrete.

“If you think about excavating a buried body, who has more experience in doing that than archeologists?” Buehler asks.

While the work is always challenging and often unpleasant and time consuming, Buehler says it’s a job that needs to be done.

“We do it because there is a need for it,” Buehler says. “It can make a difference in the outcome of a criminal case. And if nothing else, it helps to recover the remains of a loved one who, in some cases, may have been missing many, many years. And it’s a good feeling to help with that, and it’s a good feeling to help put a bad guy away.”

The group, which began working cases a few years ago, also includes Dr. Heather Ketchum, a forensic entomologist, Angela Berg, an anthropologist with a medical examiner’s office and graduate student at OU, as well as other anthropology students.

Buehler says the group has developed a strong relationship with law enforcement across the state, but believes many still are not familiar with their services.

“Sometimes we’re looking for a grave in large area and do not have any information about where it might be.”

“There is a need for this kind of work and it’s something that law enforcement is just not exposed to, nor do they have the expertise and the knowledge to deal with this,” Buehler says.

While helping on crime scenes is something new for Buehler and his team, forensic science is not. In the late 1970s, the Oklahoma Archaeological Survey at the University of Oklahoma became among the first in the country to delve into the subject, when they introduced courses in crime scene archeology.

The department primarily worked with the Oklahoma City Police Department, teaching law officers the principles and techniques of forensic archeology. Buehler joined the staff in 1987 and was later chosen to head the program in 1996.

After a brief hiatus, the program was reintroduced a few years ago. During the few short years the group has been around, they have helped with cases across the state. The majority have been in the Oklahoma City and Tulsa metro areas, but the group assists rural police departments as well.

Buehler says the average case involves about two-and-a-half workdays, but they have spent as many as 21 days on a single case.

“During that case we were looking for a grave over a large area with nothing to indicate where it was,” he says. “We tried ground penetrating radar and ultimately we did not find anything.”

Each crime scene presents a different set of challenges for Buehler and his team, but it is not all that different from an archeological dig.

“We use some high-tech equipment like remote sensing tools, but there can be a lot of physical labor when we do hand excavation,” Buehler says. “You need to be flexible and figure out what techniques will work best. Sometimes we’re looking for a grave in large area and do not have any information about where it might be.”

When he’s not fighting crime, Buehler works at the Oklahoma Archeological Survey, where he manages the lab, conducts research, teaches and works with the State Historic Preservation and Oklahoma Historical Society to preserve and protect cultural resources within the state.

Lunch Lady Land

By

Tara Malone

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October 19, 2011

Soy patties. Cardboard pizza squares. Unidentifiable casseroles. The phrase “school lunch” conjures up a host of unappetizing images for many people. But the nutrition teams at the public school systems in Oklahoma City and Tulsa are changing all of that. In an age when childhood obesity and type 2 diabetes are on the rise, some children are finding the fare at their schools is more nutritious and tasty than what may be served at home.

Steve Gallagher, director of Child Nutrition Services at Oklahoma City Public Schools, is excited about the changes his district recently has implemented.

“One of our most exciting programs is the Fresh Fruit and Vegetables Program at the elementary schools,” Gallagher says. “This is a program that allows us to deliver fresh fruits and vegetables to all elementary classrooms every day through the Fresh Fruit and Vegetables grant. Our goal is to expose our students to a variety of items that they may not usually have a chance to taste and enjoy.

“Ultimately, we feel this will help create better eating habits for life,” he adds.

According to Gallagher, the program equates to $1 million worth of fresh fruits and vegetables being consumed by Oklahoma City students every year.

“Our menus have been adjusted to incorporate a greater percentage of fresh fruits and vegetables.”

Among other initiatives underway is participation in the Farm to School Program, which brings locally grown products to cafeteria tables, and the Made In Oklahoma program, showcasing local products once per month.

Mikael Harp, executive chef for Tulsa Public Schools Child Nutrition Services, is also on a mission to revolutionize the way his students eat lunch. Like OKCPS, Tulsa Schools participate in the Farm to School and the Fresh Fruits and Vegetables Program.

In addition, Harp says, “Our menus have been adjusted to incorporate a greater percentage of fresh fruits and vegetables. Sandwich bread, rice and the majority of breaded products are of the whole grain variety. Plant-based (vegetarian) items are offered every day, and legumes are offered at least once a week.

“The menu change also incorporates more scratch cooking and less processed food product usage,” Harp continues. “We have developed training for our staff and expanded communications to our schools, parents and community. The students are in a learning environment in the cafeteria, and we have to encourage them to broaden their experiences with food. Our department is working diligently to balance menu items that are familiar, inspirational, nutritious and fun.”

René Norman, a registered dietician with Nutrition Consultants of Tulsa, fervently applauds the efforts of Oklahoma’s public school systems to bring a healthy lifestyle into the cafeteria, especially during a time of tight funding. According to her, the menus of both school districts “are in good shape, nutritionally speaking.”

Fresh Music

By

Staff

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October 19, 2011

My Brightest Diamond, All Things Will Unwind

You may be familiar with Shara Worden, best known as My Brightest Diamond, for her recent collaborations with a range of indie music heavyweights; she’s contributed her haunting vocals and astounding range to works by The Decemberists, Sufjan Stevens and David Byrne. The classically trained musician honed her skills down the turnpike at the University of North Texas in Denton, and she effortlessly combines opera, cabaret, chamber music, rock, punk, electronica and a little bit of everything to create something all her own. Her third studio album is a collaboration with the famed yMusic chamber ensemble.

Ryan Adams, Ashes & Fire

Alt-country dreamboy, Ryan Adams is a quite a prolific guy. Ashes & Fire marks his 13th studio album since bursting onto the scene with his 2000 debut Heartbreaker . He’s also found time to produce for Willie Nelson and for countless collaborations with musicians from Counting Crows to Toots & the Maytals – not to mention his 2009 marriage to Mandy Moore. His latest '60s folk-tinged effort features tracks with Norah Jones.

Coldplay, Mylo Xyloto

With four albums under their belts, Coldplay is by all accounts one of the world’s most successful bands with more than 50 million records sold and a bevy of awards. The band’s last album, Viva La Vida , debuted at number one and sold millions, yet didn’t seem to be as well crafted as previous efforts. According to early reviews, Mylo Xyloto is more reminiscent of the songwriting found on the band’s breakthrough X&Y.

Vince Gill, Guitar Slinger

Norman, Okla. native, Vince Gill, has always done things his own way. He may not get tons of radio play anymore, but he’s still one of the biggest names in country music. And as his last album, the 2006 Grammy-winning four-disc opus, These Days, shows he’s still a master of his craft. As the name suggests, Gill’s latest effort indulges the guitar and includes everything from dark, moody to bright and cheery tracks. It also features his wife Amy Grant and his daughters Jenny, Sarah and Corrina.

Drinking Buddies

By

Staff

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October 19, 2011

Wine clubs come in as many varieties as vino itself, even in a state with arcane laws restricting both mail-order wine-of-the-month clubs and the availability of wines that are everyday in most of the world. Still, clubs of all sorts are great ways to try and to learn about wine and to share with others.

Oklahoma City’s Paseo Grill has launched a special program for wine lovers. With Vintages, guests can purchase fine wines at the best prices available in the market and store their selections in a newly built, 2,220-bottle wine cellar. Their wine steward is available to confer with guests about which wines to purchase. 405.601.1079.

Vintner’s Cellars VC Wine Club offers members fine wines made in Oklahoma from grapes imported from all around the world. Every two months, members receive two bottles of wine selected by their vintner, complete with notes and suggested food pairings. 405.359.9463.

Tulsa Hills Wine Cellar is free to customers with some interesting benefits in addition to discounts, advance notice of special releases and access to invitation-only tastings and events. Members gain access to a website that enables them to see what they’ve purchased from Tulsa Hills Wine Cellar, add their own tasting notes and rank their purchases. 918.445.8804.

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