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Asian Flavor

The collapse of Vietnam in 1975 created a wave of Vietnamese immigrants fleeing Ho Chi Minh’s oppressive, communist regime. Oklahoma opened its arms (much wider than other states) to them, and after a short time, a small community in Oklahoma City called Little Saigon sprouted up near Northwest 23rd Street and Classen, just west of the State Capitol.

Little Saigon’s early residents spoke no English. American customs were, at minimum, confusing. But despite those and other obstacles, what began as a small enclave of Vietnamese immigrants has grown into one of the most dynamic, diverse and energetic communities in Oklahoma City. Now known as the Asian District, it’s a celebration of dozens of Asian cultures, with the area’s residents numbering around 23,000. It’s the largest Asian community in Oklahoma, and its growing economy reflects its energy.

The district’s restaurants, unique retailers, markets, practices, boutiques and nightclubs make it a favorite destination for Oklahoma City residents and also bring in tourists from much farther away. On their own, the businesses in the Asian District might do fine, but together, gathered into the space between Nothwest 23rd and 30th streets on Classen, they do fantastically. Separately, its businesses sell whatever it is they sell. Collectively, they sell an experience – a bold, colorful, cultural experience that can’t be found anywhere else. And nothing waterproofs business like selling something nobody else has.

Visitors hear Asian accents and savor the smell of Eastern cooking. They see Asian architecture and walk through bright, red Asian gateways. The festival feeling of the Asian District goes on for blocks, an experience unbroken by chain stores. The District’s economic growth over the past few years may be the result of its totally home grown, entrepreneurial nature.

“I think what we see in the Asian District in terms of business growth and the redevelopment of that area is a great example of entrepreneurs starting businesses and growing something different. It’s indicative of that marriage of hard work and pioneering spirit, going out and giving it a try,” says Cynthia Reid, vice president of marketing for the Oklahoma City Chamber of Commerce.

The Gold Dome, the fifth geodesic dome built in the U.S., marks the southern entrance to the Asian District. It’s also a metaphor for the District’s success. Four decades after construction it was in disrepair and tagged for demolition. In 2003, Dr. Irene Lam, an optometrist, purchased and refurbished the building. It’s now an office building and a landmark.

Super Cao Nguyen, located in the heart of the Asian District, is the state’s largest Asian supermarket. It’s been meeting the demands of the District’s diverse population for more than 30 years, importing foods from more than 50 countries. Business, says the store’s owner, Ba Luong, has never been better.

“Business is pretty good here, especially in the Asian District. Everybody’s got to eat. The majority of the businesses here are restaurants, grocery stores or somehow food-related. We’ve all been able to weather the recession pretty well,” he notes.

Something must be going right. The Asian District is still seeing growth and expansion in less than stellar economic conditions. On the north side, it’s beginning to grow beyond its previous 30th Street border.

“The District highlights our cultural diversity in Oklahoma City. We can support and we do support many different cultures. It’s also a great example of citizen-led revitalization of an urban area. The city has done its part, but the citizens brought in all the new businesses,” says City of Oklahoma City planner Paul Ryckbost.

The city’s latest part, the District’s Streetscape Project, was completed last summer. Over the last decade, investment like this has provided new opportunities for the growth of existing businesses, too. It’s offered up a whole new way of doing business. James Vu, the owner of Kamp’s Market & Deli, knows. Kamp’s has long been a fixture in the district, but it’s seen a 100 percent growth in business over the last three years.

Kamp’s Market & Deli has been a favorite lunch spot for years, always crowded around noon. But Vu took advantage of a small city investment in the District – better street lighting – and invested his own money renovating Kamp’s. It now does double duty as a nightclub.

“Now we’re providing more nighttime entertainment, live music and other things. At one time, at night, this area was dormant. There were no streetlights in the Asian District. It wasn’t as safe as it is now. You drove through it at night to get from point A to point B. But I think because of the revamping, more businesses, including Kamp’s and the Grand House, are staying open later, offering some kind of nightlife outside of Bricktown or downtown,” says Vu.

It’s no secret that the Asian District is seeing a lot of prosperity in otherwise rough times. But there’s no secret to the District’s success, either. Lam invested in a building and brought more businesses to the area. The city invested in lights and gave interested entrepreneurs the opportunity to offer up an animated nightlife. There are examples like these, private and public, large and small, all over the Asian District. Together, the city and business owners created a fully immersive, branded experience that makes an unbeatable backdrop for business.

Says Reid, “What you can see in the Asian District is how the city’s investments – in infrastructure, in improving and defining the space excellently – catalyzed a lot of investment by the individual business owners. It’s clear that the people that live and work there are proud of that space. They’re investing in it. They’re attracting new customers. They’re bringing new people in. There are new restaurants, new retail shops. It’s proof that when you invest in an area, more investment follows that.”

Road Warrior

When Bartlesville native Anatoly “Toly” Arutunoff was a toddler, his parents, like many, bet each other whether the youngster’s first word would be “mama” or “dada.”

Instead Toly’s first word was “car.”

Toly knows he isn’t the first person in the world to have uttered that as his first word, but he certainly remembers that his fascination with automobiles began early.

“I remember fondling cars at the age of 4,” Toly says. “I was fascinated by them. They were like these little spaces you got into that took you places.”

Over the next 60-plus years, that not entirely uncommon fascination evolved into a decidedly distinct life and career revolving around cars and old school street racing.

But much about Anatoly Arutunoff was unique from the very beginning.

Toly’s father was Armenian, his mother Ukrainian. They met, married and began their family in Czarist Russia. There, Toly’s enterprising father invented an innovative in-ground oil pump that made him a significant figure in the oil industry. Fleeing Russia, the family made its way to Istanbul, then to Germany. The crash of the German economy drove the family to the United States – to Bartlesville, Okla., of all places.

“That’s where the oil was,” Toly says. “My father had some connections in the oil industry and that’s where we ended up. I was the first person (in my family) born in the United States.”

Toly’s older sister had found her own path to exceptionalism, inventing a holographic art medium that was prized by the likes of Salvador Dali.

For Toly, though, it was neither oil nor art that captured his attention – it was cars. Or, rather, at first it was motorbikes.

“I wasn’t really old enough to have a license in school in Bartlesville, but I remember that I wasn’t the only one with a motorbike,” he says. “There would be 43 motorbikes in the parking lot at school. Well, there were maybe 15 people with actual licenses.”

Toly says he remembers cruising around the then-small town along with many of his friends and neighbors.

“We would ride around and occasionally get caught by one cop, Preacher John,” Toly says. “He would stop us and tell us to go home carefully and to tell our parents we shouldn’t be out driving. No one ever got a ticket and no one got hurt. It was amazingly innocent.”

Unlike his peers, though, Toly was acquainted early on with a very different lifestyle. His family had friends and contacts in Beverly Hills and Los Angeles and spent half of their time on the West Coast.

“We rented Harold Lloyd’s beach house and we had a house in Los Angeles that Vincent Price later bought from us. He actually found a secret room in it that we had never known about,” he recalls.

Toly’s family was close with Russian and European expatriate filmmakers and celebrities, including famed Austrian-born director Billy Wilder (Sunset Blvd.). His brother-in-law was friends with Robert Mitchum.

“There was a real contrast living half the time in L.A. and half the time in Bartlesville,” Toly says. “I’d be hanging out by the swimming pool in California one day and then in Bartlesville all bundled up against the cold a day or two later. But my friends in California were miles and miles away from me, so I would only see them every once in a while. In Bartlesville my friends were only 100 yards away. Both places had their pluses and minuses.”

Toly’s interest in cars only increased in his teens, and his parents were supportive – even helping him get a license when he was still underage. His parents got him a manual transmission ’51 Bel Air hardtop in California, and had Price not purchased their home, prompting a return to Oklahoma, a Jaguar was next in line. Instead, Toly got a more Oklahoma-friendly Lincoln. However, he tricked the Lincoln out with headers and dual exhausts, a supercharger and alcohol injection.

While the seed was planted as far back as early childhood, the real impetus to take to the streets to race was Toly’s purchase of a Porsche in Tulsa.

“When I bought the Porsche, there was this little form to fill out that made you a member of the Sports Car Club of America,” Toly remembers. “I figured, sure, I would do that – and then, okay, I’ll go race it. At the time all you had to do was take a little test on paper. You got a novice license and if they liked you, you could go race with the big boys.”

Toly’s racing career in earnest began in 1957, aboard his Porsche. He has been doing it ever since.

However, the speed enthusiast began in an era when the sport was very different. Rules, regulations and practice made the sport more amenable to actual, honest-to-goodness road cars, as opposed to the highly specialized, universal sameness of most cars in the major racing circuits today.

Toly’s entire relationship with the sport was and remains different than that found in many drivers in today’s widely known circuits such as Formula One and NASCAR.

“It was for fun,” Toly says. “People didn’t make money from it and it wasn’t a career for people. It was something you did in spare time because you enjoyed taking a real street car and seeing what it could do on the open roads.”

The young racer had intended to become an astronomer, then later flirted with the idea of working in public relations. But instead, he eventually opened a Ferrari dealership in Tulsa. Later he was approached to launch the region’s first Honda dealership. He did. Today Joe Marina Honda still has the old corporate name that Toly established almost 40 years ago. Toly also had Ford, Saab, Saturn, BMW, Volvo, Mazda and Sterling shops at one time or another.

One labor of love for the quintessential gear head was the building of his own road course, Hallett Motor Racing Circuit, not far from Tulsa.

But through his many business successes, it was road racing and automobiles that have been Toly’s real passion. In the 1970s he drove in two Cannonball Baker races. He competed in countless races in the United States and in Europe – races on real streets and without the generic sophistication of most modern circuits. In 1981, he also won the Sports Car Club of America (SCCA) national championship, the President’s Cup – after starting in the 11th position on a rainy day, and received a letter from President Ronald Reagan. He raced against well-known figures in the sport such as Bob Bondurant, Phil Hill, Richie Ginther, Dan Gurney and Ak Miller, along with many others.

“After winning the President’s Cup and the national championship, I didn’t have to ever prove anything again,” Toly says.

From the very beginning, Toly has also collected unique and distinctive cars – including one-of-a-kind and ultra-tiny production vehicles, many of which are unknown except to motorist insiders. He still has many today. He and his wife Karen divide their time between Oklahoma and California.

Toly decries much of the bland sameness of auto racing today and the fact that part of the glamour of the sport is that it requires a great deal of money to even get a start in the sport.

“Even way back, I had a t-shirt printed that said, ‘Wide tires ruin racing,’” he says.

It’s a different landscape than when Toly started – back when sports car enthusiasts simply took to real roads, in real cars, just for the fun, camaraderie and experience.

Still, Toly says that a component of the sport called “High Speed Touring” has been bringing back the original essence of racing since it began in California approximately 15 years ago.

“I wish more people knew about it,” Toly says. “It has been spreading to many places. And car clubs have similar things. There are no trophies and they don’t keep official times – because it’s about fun. I would love to see more of it.”

It was that fun that had drawn a young Anatoly Arutunoff to automobiles in the first place. It’s his experiences in it that have made him one unique Oklahoman.

Hank, Don’t Fail Me Now

In March 2009, Muskogee-based performer Jim Paul Blair and his band appeared in Durant with their first official presentation of Hankerin’ 4 Hank, a Hank Williams Sr. tribute show. Blair’s association with that country music titan, however, goes back much further. In fact, the connection was established – and broken – well before he was born.

“My mom was on the Grand Ole Opry when Hank made his debut,” explains Blair. “She was there all of that summer of ‘49, and then into most of ‘50, and she’d become friends with Audrey.”

Audrey was Hank’s wife, and “colorful” might be one of the milder adjectives to apply to her personality. As her husband’s star rose, Audrey got the idea that she had the potential to be a recording star as well, and, indeed, she ended up getting a deal with Decca Records – which ultimately led to the dissolution of her friendship with Blair’s mother, vocalist Ramona Reed, who was then performing on the Opry as Martha White.

“Audrey recorded (Hank’s composition) ‘Honky Tonkin,’ and one night on the Opry my mom sang ‘Honky Tonkin,’ doing it in a more contemporary, different style,” Blair says. “Audrey got all mad and upset. They kind of had a little catfight, and Mom got called in by (Opry co-manager) Jack Stapp, who told her not to do that anymore. That’s when she left the Opry and went to Dallas to work for Bob Wills on the Big D Jamboree. So it’s because of Hank that she left Nashville.”

Like the Grand Ole Opry, the Big D Jamboree was a popular stage show broadcast over a powerful local radio station. Throughout most of the ‘30s and into the early ‘40s, Bob Wills had enjoyed the same sort of arrangement at Tulsa’s Cain’s Ballroom, with clear channel giant KVOO transmitting his live Western swing – an amalgam of jazz, pop, hillbilly, blues and fiddle music – to much of the western half of the country. In 1950, however, Bob’s brother Johnnie Lee Wills was holding forth at the Cain’s, and Bob Wills and his Texas Playboys band had found a new home, at least temporarily, in Texas.

Ramona Reed found her own new home with Bob Wills’ band, becoming one of his Texas Playgirls in an association that would go on for years, even after Reed moved with her son from Texas back to Oklahoma, settling in Clinton.

“I grew up around Bob Wills music,” Blair says, “but the first song I ever remember taking a liking to, when I was three or four years old, was (Hank Williams’) ‘Hey, Good Lookin’.”

As a student at Oklahoma State University, Blair unsurprisingly pursued music, doing some playing with fellow student Garth Brooks, among others. Throughout most of the ‘90s, he worked as a singer and musician in Nashville. Then, like his mother, he returned to the Sooner State, where he continued to perform.

As he remembers it, the first time he assumed the persona of Hank Williams was during a New Year’s Eve 2002 show with his band, City Moon, at Ernie’s Country Palace in Yukon.

“I grabbed a jacket and a hat, turned on a fog machine, and we did about three Hank tunes,” he recalls. “It was just kind of our own little tribute. We’d been thinking about it for a couple of weeks, because that night was the 50th anniversary of his death.

“Actually,” he adds, “no one actually knows when he died. It could’ve been New Year’s Eve ’52 or New Year’s morning ‘53. But he was pronounced dead at six that morning.”

Following that special acknowledgement of Williams’ passing, the Hank persona lay dormant in Blair for several years, although he was intrigued by a musical play, Hank Williams: Lost Highway, that had begun at Nashville’s Ryman Auditorium in the late ‘90s and had since been staged in theaters all over the country. He knew that the Muskogee Little Theatre was interested in its own production, but had concerns about casting it.

Then one evening in March 2008, Blair walked into a casino and watched an Elvis tribute concert.

“I don’t know if this should be off the record,” he says, laughing, “but when I found out they were paying $23,000 for that show, it dawned on me that I ought to just go at this full-bore. That’s when I got serious about it.”

Seeing a Hank show as a potentially powerful blend of art and commerce, Blair contacted Muskogee Little Theatre and offered to deliver a cast, including himself. They took him up on the proposition, bringing in well-known regional director Nick Sweet to helm the production.

“It was great,” remembers Blair, “because Nick turned me loose. He said, ‘You know what? You’re channeling Hank, and I’m just going to let you go.’

“I had zero acting experience, but I actually won Actor of the Year from the Muskogee Little Theatre. They call the awards the Milties. I got a Miltie. I was shocked.”

The Muskogee version of Lost Highway ran for eight sold-out performances in August 2009, with Blair joined by his band’s fiddler, Dana Hazzard. Hazzard is also a part of the City Moon group, which – with the addition of announcer Steve Cannon – becomes Williams’ band, the Drifting Cowboys, for the Hankerin’ 4 Hank engagements.

“We want you to feel like you’re in 1951 or ’52,” says Blair. “We’ve got the announcer, and we want the microphone to look real. I play a 1951 D-18 (Martin guitar). Hank’s D-18 is hanging in the Country Music Hall of Fame in Nashville. Hank played a 1944 D-28 on a lot of shows; I’ll sometimes use a ’54 D-28, I have a ’54 because Elvis had one, and I can’t afford a ’44.

“But we use the old standup steel guitar. We try to use vintage-looking instruments and vintage-looking amps. We don’t like monitors in front of us. If we’re doing the sound, we make it look clean up front, just like you would’ve seen back then.”

The authenticity extends to Blair’s performing suits, which were created by the famed Nashville tailor Manuel in the style pioneered by his father-in-law, Nudie. Hank Williams and many other country stars of his time proudly wore Nudie creations.

Hank was a year shy of 30 when he died. Blair is considerably older, but, as he says with another laugh, “Hank was 29, and I’m 49, but the thing I’ve got going for me is that he looked 49.”

In addition to Blair and Hazzard, the band includes Virgil Bonham on lead guitar, Mickey Flatt on steel guitar, Cliff Parrett on bass and Cory Wyatt on drums. And while they’ve been performing the Hankerin’ 4 Hank shows for fewer than two years, they’ve already had scores of engagements, including a tour in late ’10 that took them through Missouri, Indiana, Kentucky, West Virginia and New Hampshire.

At this writing, Hankerin’ 4 Hank performances are set for the Woodward Arts Center on Feb. 19. The band recently played a gig at Oklahoma City Community College to celebrate the 60th anniversary of Hank’s first appearance in OKC.

There will, of course, be others. And each time, Blair says, he’ll do what he’s done from the beginning – just before taking the stage, he’ll stop for a moment and utter a simple phrase that may sound a little like a prayer:

“Hank,” he’ll say, “don’t fail me now.”

 

For more information on Hankerin’ 4 Hank, visit www.hankerin4hank.com  

The World Of Tomorrow

Amid the depths of the Great Depression, Americans found a little brightness in the smooth contours and reflective surfaces of everything from automobiles to clothes irons.

Whether looking at these items for purchase in newspaper ads, on exhibit at the 1939 New York World’s Fair or in the home, people had a glimpse of a future built on efficiency, sound economy and, above all else, progress.

Philbrook Museum of Art revisits another time when the U.S. economy took a grim turn in American Streamlined Design: The World of Tomorrow. The exhibit opens Feb. 5.

Streamlining developed out of the effort to make ships, trains, aircraft and other forms of transportation perform better by reducing wind and water resistance. Scientific studies revealed that vehicles with smooth, continuous surfaces were generally more efficient and faster.

That approach was soon adopted into the design of goods for sale to the general public. American Streamlined looks at the scope of this revolutionary movement in consumer and industrial design in the office, living room, kitchen, bath and in recreation and transportation. It also looks at the continuing impact today.

More than 185 objects, from household appliances to children’s toys, will be on exhibit. The works of Raymond Loewy, Henry Dreyfuss, Walter Dorwin Teague, Egmont Arens, Robert Heller and others will be shown in items reflecting three decades of influence. The collection, which draws primarily from the Liliane and David M. Stewart Program for Modern Design in Montreal, Canada, and the Stewart Collection of 20th-Century Design, will be on exhibit in Tulsa through May 15.

Philbrook Museum of Art is located at 2727 S. Rockford Rd., Tulsa. For more, go to www.philbrook.org or call 918.749.7941.

Parent Tested, Kid Approved

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Audience-wise, the difference between a room full of preschoolers and a venue full of adults isn’t much – attention spans are fleeting, and you want to keep everyone entertained.

Musical taste is cultivated early, and for parents and children seeking salvation from the cookie cutter norm, the best musical refuge can often be found underground.

What started as a gift of music for a goddaughter has since evolved into Spaghetti Eddie! And Other Children’s Songs, a fun, energetic, educational and silly kid’s album that is fast accumulating an online children’s cult following.

As Oklahoma City musician Brendan Parker’s first shot at children’s music, the album was written with the intention to entertain children while refraining from driving parents crazy – a double whammy for moms, dads, grandparents and caregivers alike.

With two younger siblings who grew up in the Barney & Friends era, Parker remembers spending his early teens enduring a never-ending soundtrack of Barney’s whimsical voice.

“Just thinking about the big purple dinosaur makes me queasy. I heard those songs over and over and over, and that has led to me writing more parent-friendly things that you could listen to over and over and not want to pull your hair out,” he says.

“I’m at the stage in my life now where people are married and having children, so I’m around a lot of kids and I had a good mentality to write something that kids could relate to.”

Utilizing his wife and close friends with children as well as online communities such as Facebook and parent and children’s blogs as sounding boards, Parker is currently expanding on the album by performing at birthday parties, bookstores and family-oriented events.

With catchy songs that have already become local children’s favorites, like “Kitty Cat Town,” “Ways to Go,” “Pick it Up!” and the title track, “Spaghetti Eddie” offers a little something for everyone.

Having played in a band while living in LA, it has been since he’s been back in Oklahoma that Parker says he has put more time and energy into his music, particularly with Spaghetti Eddie.

“It’s been a lot of fun. Some parents have told me that they can listen to it without their kids in their car, which is a huge compliment. When the kids can learn and have fun and the parents are enjoying the music, I think everyone wins,” he says.

I Love You, Bro.

Before I write this column, I usually run a few ideas by my editor. Her reply is pretty standard: “Whatever works for you. You are such a talented and handsome man.”

However, this month was different. With Valentine’s Day approaching, here is a list of column ideas that I emailed to her:

  • How to score desperate single girls at a bar on Valentine’s Day
  • Seven reasons why the girl should pick up the tab
  • Let her down gently: 10 great ways to break up
  • Why single people are happier and live longer
  • Travis Meyer: The Man Behind The Moustache

Her reply to me was, “Why don’t you write about how to keep your bromance alive and passionate during Valentine’s Day? Need it soon. Thanks.”

A “bromance” – in case you didn’t know – is defined by the Interwebs as “a close but non-sexual relationship between two (or more) men.”

I’m not sure why my editor thinks I know a lot about bromancing, but since I’m a team player (and a “yes man”) I agreed to write the column.

Play NBA Jam for seven hours. This could be any video game, but since it’s the game that my brother and I are currently addicted to, it fills this spot. Playing a video game is to the bromance what drinking Relax wine and watching Love, Actually is to the female BFF relationship. The only difference is that video games are fun and enjoyable.

Watch a Clint Eastwood movie marathon. The only catch is that it can’t be Bridges of Madison County. That could ruin the bromance.

Think of clever fantasy football names. Even though fantasy football season is now over, it’s never too early to think of a clever team name. My early favorites are Favre’s Cell Phone, The Metrodome Roof and Brady’s Luscious Locks.

Go out for “a beer or two.” This is the classic bromance activity. In fact, it’s how bromances are made. Usually, “a beer or two” leads to bromance-building discussions like opening a bar together or what type car you’d buy for each other if you won the lottery. Occasionally, it even leads to text messages the following day that read, “I think I left my debit card at the bar,” or, “Why is there a clown suit in my trunk?”

Take a road trip. If you take a road trip, do yourself a favor and make sure it ends up in Las Vegas, New Orleans or a place by an ocean. Those places offer the most bromance-friendly activities like bars and girls. However, be advised that the road trip is a big step in the typical bromance. It’s even bigger than asking a bro to help you move. If you’re not ready to commit to the bromance, don’t do it.

Buy tickets to Single in the City. As I mentioned earlier, I am a total team player (and a “yes man”). I’m also apparently talented and handsome. So yeah, I’ll see you there.

 

Patick will be happy to tell you why the girl should pick up the tab if you visit www.thelostogle.com.

Nancy Randolph Davis, 1926 – 2015

Photo by Brent Fuchs.
Photo by Brent Fuchs.

This story was originally published in the May 2010 issue of Oklahoma Magazine.

Tireless, life-long contributions to education and society and a commitment to equality for all people has made Nancy Randolph Davis one of Oklahoma’s most treasured assets.

Holding a special place in state history, the proud Sapulpa native and great-granddaughter of slaves became the first African American enrollee at Oklahoma State University in 1949.

After earning her bachelor degree in home economics from Langston University in 1948, Davis chose to further her education by pursuing a master’s degree at Oklahoma State University because of its nationally recognized home economics program.

Davis says that her parents always instilled in her that education was the key to success.

“I was never trying to make history. I was just a regular woman and teacher wanting to further my education so that I could improve my community and the lives of my students,” she says. “I still work hard to this day because I love to help people and promote education for all. I’m humbled and pleased that others have benefited from my work”

Although confronted by unequal treatment when she was not permitted by Oklahoma law to sit in the same classroom with white students, Davis overcame adversity and graduated, moving forward to serve as an Oklahoma public educator for 43 years.

In addition to numerous awards, honors and recognitions that Davis has received from state governors, legislatures and various community service organizations, OSU named one of its newly built apartment facilities Davis Hall in her honor, and the university currently offers three scholarships bearing her name.

Oklahoma Stomp

Back row: Corey White, Turner Armitage and Landon Morgan. Front row: Michael Thompson, Douglas Thompson, Jake Self, Merrit Armitage and Casey Thompson.
Back row: Corey White, Turner Armitage and Landon Morgan. Front row: Michael Thompson, Douglas Thompson, Jake Self, Merrit Armitage and Casey Thompson.
Back row: Corey White, Turner Armitage and Landon Morgan. Front row: Michael Thompson, Douglas Thompson, Jake Self, Merrit Armitage and Casey Thompson.

Take a group of young, school-age guys, give them some instruments and the expected outcome may be some Jimi Hendrix licks or a freestyle rhyme or two.  But for one Oklahoma troupe, grunge is gone, emo is out the window and punk is so passé. Make way for Oklahoma Stomp, a group of eight young men ages 12 to 21 that saw fiddles like plywood, and pick guitars like cotton. Their music is decidedly old school, a throw back to Bob Wills and his Texas Playboys. But their style of western swing is fresh – maybe even a little ahead of its time – and that’s all thanks to a collaborative effort of some of the best young players in the Sooner State.

Merrit Armitage is the oldest of the eight members, at the ripe old age of 21. He began fiddling around with the fiddle at 6 years old, listening to old western swing songs, emulating the sounds of the late Bob Wills. Raised on a ranch, he and younger brother Turner (also a member) learned to play the music their parents enjoyed. They fell in love with it as well, and that passion evolved from backyard picking to a sincere go for the gold.

“It started as a grassroots movement in Tulsa,” Armitage explains. “We started the group by incorporating some of the best fiddle players in the area. It just started from there.”

That was a year and a half ago, and given the plethora of one-hit bands, groups and singers in today’s volatile music industry, these guys are already veterans. Factor in their ages and the math is astounding. Seven teens and one 21-year-old member working for a year and a half without the drama of other on-the-rise artists speaks volumes about the common goal.

Now they just may be on their way.  One of their YouTube videos landed them a coveted gig at The Kennedy Center in Washington, D.C. Armitage says they were contacted to represent Oklahoma in a musical showcase there. That gig is scheduled for Sept. 13, and in many ways it’s the beginning of what’s proving to be a promising career. They’ll play the Tulsa State Fair in October and after that, who knows? But Armitage says he’s confident that the boys of Oklahoma Stomp will make it their business to be in business for a long time to come.

“This is an alternative to pop country that was created years before. This style of music is timeless.”

UPDATE: Oklahoma Stomp musician Corey White will be appearing on season eight of NBC’s “The Voice” on Feb 23, 2015. See a preview of his appearance below:

Broadway Baby

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Elk City, Okla., native Kelli O’Hara has made her mark on Broadway and has recently released a solo CD.

This story was originally published in the July ’08 issue of Oklahoma Magazine.

Once upon a time in the early days of Oklahoma, the industrious residents of Elk City struck upon an ingenious way to shine a spotlight on their town. By renaming their city “Busch,” they propitiously attempted to flatter famed beer meister, Adolphus Busch, into establishing a brewery in the small town.   

These days, with the failed efforts of that inventive endeavor well behind them, the citizens of Elk City can look to the legendary Great White Way for all the luminary refraction they need. With three Tony nominations to her name, and a recently launched debut CD, hometown girl, Kelli O’Hara, is generating enough star power to illuminate stages from the small Oklahoma community, all the way to Broadway.

“Growing up in Elk City seems like a million years ago, and at the same time, like it was yesterday,” O’Hara says of the town, where she was raised on a nearby farm before her family transferred to Edmond her junior year of high school. “I loved growing up there. Both sides of my family were there, it was safe, it was familiar.

“What’s that song from Cheers?  ‘…Sometimes you wanna go where everybody knows your name.’ That’s what l loved. And I don’t mean being known as in being famous. I mean people literally knew you…who your family was. ‘Oh, you’re an O’Hara, aren’t you?’ or, ‘…you’re Dr. Husband’s granddaughter, aren’t you?’ There’s a long history there for me.

“There is something wonderful about being completely anonymous and free to do or be anything or anyone you want here in New York City, but sometimes I miss being a part of something more specific. I loved that security. But, I also loved being a kid… Oh, and I loved the sky. That open sky.”

That great open sky opened up a world of possibilities for the young O’Hara, who took a budding love of music and turned it into a flourishing Broadway career, where she currently performs in the starring role of Nellie Forbush in the Lincoln Center Theater revival of South Pacific, and where rave reviews have culminated in her third Tony nomination, this time for Best Performance by a Leading Actress in a Musical.

“When I started to sing – in church, school, or around town with my sister, Anne – I had no idea it would end up being my life,” O’Hara says. “I just know I loved it. It felt more right than anything, and it was supported by my family.”

After four years of studying opera at Oklahoma City University under the tutelage of Florence Birdwell, and venturing north for two years of summer stock theater in Wichita, Kan., O’Hara headed to the Big Apple.

Kelli O’Hara stars opposite Harry Connick Jr. in the 2006 Broadway production of  The Pajama Game.
Kelli O’Hara stars opposite Harry Connick Jr. in the 2006 Broadway production of
The Pajama Game.

“Going straight to New York City instead of going to grad school for more opera study was definitely something risky,” says O’Hara. “But I made that step – with the dramatic and memorable support of Birdwell and my parents – and, I’ve never looked back (except I miss them terribly).”

Stepping onto her first Broadway stage in 2000, in Jekyll & Hyde, where she served as a replacement for the character Kate, O’Hara’s debut smoothly catapulted her into subsequent roles, including: Young Phyllis in Follies (2001), Susan in The Sweet Smell of Success (2002), and Lucy Westenra in Dracula, the Musical (2004). In 2005, O’Hara created the role of Clara Johnson in the critically acclaimed musical The Light in the Piazza, and then she starred as Babe Williams opposite Harry Connick Jr. in The Pajama Game (2006). Collectively, the performances have garnered nine impressive nominations for the barely 32-year-old actress, including Tonys, Drama Desk Awards, Outer Critics Circle Awards and Broadway.com Audience Awards.

It was during their run in The Pajama Game that Connick began nudging O’Hara to segue from Broadway cast recording CDs, into a more personal adventure.[pullquote]“We all tend to imagine things much grander than they ever are when it comes to dreaming, but I have to admit… Carnegie Hall made me weep,”[/pullquote]

“We found we loved similar music, we talked a lot about different styles and what we could do with them,” O’Hara says. “Pretty soon, he was encouraging me to make my own solo album, and he said he would help. I would have been crazy to say no.”

That collaboration manifested in the recently released Wonder in the World, an album featuring O’Hara’s unpretentious and highly lauded voice, which has been compared to Norah Jones and Emmylou Harris. She sings a variety of songs – some of which she wrote – along with popular standards like Fire and Rain, Make Someone Happy and a particularly unique and jazzy rendition of Spooky. In addition to his musical arrangement and orchestration, Connick joins O’Hara in the cover song duet.

“We had great fun working together. Harry is a musical genius,” O’Hara says. “Literally – like a child prodigy – the whole works. That was pretty intimidating at first, but he’s also very generous and allowed me to have my own voice. Working with him and his top notch musicians was the gift of a lifetime, to say the least.”

It’s hard to imagine O’Hara being intimidated by any performer with such an imposing resume under her belt. In addition to her starring roles on Broadway, O’Hara has a recurring role as Leslie in the soap opera, All My Children, and has just finished filming two pilots for NBC – Blue Blood and All Rise. She has performed at Lincoln Center as part of the venue’s American Songbook Series, as well as with Marvin Hamlisch at the Kennedy Center. Last year, she debuted at Carnegie Hall with conductor and pianist Rob Fisher and the New York Pops.

O’Hara portrays Nellie Forbush in the critically acclaimed revival of South Pacific. Her performance was nominated for a Tony Award.
O’Hara portrays Nellie Forbush in the critically acclaimed revival of South Pacific. Her performance was nominated for a Tony Award.

“We all tend to imagine things much grander than they ever are when it comes to dreaming, but I have to admit… Carnegie Hall made me weep,” O’Hara says, while comparing her various performance experiences. “My first time on Broadway was different in that I was thrown into an already existing show where I learned the part away from the cast and then kind of got thrown on…. no big fanfare. I’ll never forget it, but it was different than I imagined. Since then, however, I have experienced the most intense emotions when stepping onto a Broadway stage. The butterflies, the gratitude, etc. It has overwhelmed me many times. I just remember to pinch myself… quite often. With every new show, I know even more how lucky I am.”

Among her recent good fortunes, O’Hara cites her marriage to singer-songwriter, Greg Naughton. The couple wed last summer in a mountainside ceremony in Vermont, after a five-and-a-half-year courtship.

“Greg is my wonderful guy – he truly is,” says O’Hara. “He comes from a theatrical family (he’s the son of Tony Award winning Broadway and film actor, James Naughton), so we understand each other very well. It certainly makes this crazy business easier.”

With a career that has quickly become a whirling dervish of extraordinary opportunities coupled with high acclaim and frequent award nominations, how does the celebrated headliner feel about her latest Tony nod?

“I hate to say it’s validating because we should never do what we do for that reason, but in a way, it is,” O’Hara says. “It makes you feel like you don’t suck. But, it’s important to take it with gratitude, realize where you’re lucky, and then get back to work.

“The work never ends.”

A Conversation with James Garner

When a woman exited a parking space on a busy Los Angeles street, 25- year-old James Gamer pulled in and destiny won by a nose. “Years earlier, I met a guy who later became a successful producer. He told me I should be an actor,” recalls Garner. “One day, I went downtown to apply for work in the Arabian oil fields but they didn’t need roughnecks. I drove up LaCiencia Boulevard, saw my friend’s name on the side of a building and thought maybe I’ ll stop. If the lady hadn’t pulled out of that parking place, would I have become an actor? I’m not sure I would have gone around the block looking for a place.”

Fifty years later, Garner is going strong in the profession he chose so serendipitously. His versatility has earned him an amazing list of credits. Popular television shows, numerous successful movies, even hit commercials. He’s played dramatic and comedic roles with equal ease. He was one of the first actors to move easily from television to movies and back again.

And, his leading ladies say he is the best kisser they’ve ever kissed, on or off screen.

“I heard several sweet ladies have said that,” Garner admits, chuckling. “I guess I’ve passed the kissing test.”

Whether be likes it or not (and he doesn’t), James Gamer is a superstar.

“I never really wanted to be an actor, I just didn’t like the idea of showing off like that,” says Garner candidly. “I had read those fan magazines and I thought ‘what a bunch of dimwits’.”

Garner is remarkably unpretentious in light of his success, and has seen very few of his own movies.

“I don’t like to watch me,” he explains simply.

Garner has an utter lack of egotism and a down-to-earth attitude that seems typical of Oklahomans. He shies away from saying his childhood was difficult, though he grew up in Norman during the worst of the Depression.

“People ask me where we lived in Norman and I tell them I lived in a lot of places,” Garner jokes. “Every time the rent came due, we moved. But everyone was poor. It was all I knew.”

His father left Oklahoma for California, leaving his 14-year-old son on a dairy farm in Hobart.

“l didn’t like it there so I left,” relates Garner matter-of-factly. “I had to put a roof over my head and eat. There were times when I was a bit of a vagabond.”

Yet, learning harsh lessons early put him at an advantage in a tough business.

“I’ve never been afraid of not working. I always knew I could do something,” he explains. “I’ve turned down roles I knew weren’t right for me and I had my reasons at the time. If someone else succeeded in the role, power to ’em. But I didn’t see myself doing it and I knew something else would always come along.”

Garner is an original in a business populated by people addicted to the limelight and willing to do anything to stay in it. In 1960, Warner Brothers suspended Garner during a writer’s strike and he walked away from the television show Maverick, which was at the height of its popularity. The powerful studio sued him for breach of contract. Garner hired the same attorney who represented Olivia DeHaviland in her lawsuit against Warner Brothers.

“Everyone said, you can’t go against Warner Brothers. They’ll blackball you and you ‘ll never work again,” Gamer recalls. “I said, okay, then I’ ll do something else. But I won the lawsuit and I worked again.”

Garner’s approach to his craft is equally pragmatic.

“I’m always nervous, but you want to make it look easy, make the audience think it’s the first time you’ve ever said these words,” he explains. “I go to work, say the words, hit my marks and try to tell the truth. That was Spencer Tracy’s way and that’s about all there is to it.”

Gamer’s latest movie, The Notebook, will be released June 25. Based on Nicholas Sparks’ best-selling book, The Notebook is about the everlasting power of true love. It is set in two time periods and Gamer and Gena Rowlands play the present-day Noah and Allie. The young Noah and Allie are played by Ryan Gosling and Rachel McAdams. Stillwater native James Marsden of X-Men fame is also in the cast.

The movie was directed by Nick Cassavetes, the son of Gena Rowlands and the late John Cassavetes.

“My wife Lois and I have been married 48 years, and I’m sure it helped me in this role. Deep down, actors draw on life experiences without realizing it,” Gamer says. “The Notebook is a very warm, loving story. I heard they were running out of kleenex at the sneak preview.”

Garner says he gets letters every day from fans of his hit television shows Maverick and Rockford Files. Younger television viewers know him as Jim, Cate’s father in Eight Simple Rules. Gamer joined the show following the death of John Ritter, who played Cate’s husband.

“It was difficult coming on the show after John Ritter died, but the people are wonderful and we gelled very quickly,” he relates. “There will be another season and the producers seem optimistic.”

Gamer has nieces and nephews in Oklahoma and visits here several times a year. When he turned 70, he sold the California ranch he bought as a place to retire. “I thought Lois and I would live quietly on the ranch, but now I don’t see any point in retiring. People who retire die quickly. I can’t tell you how happy I am to be in Eight Simple Rules. The people are wonderful and I love going to this job,” he concludes. “To do this at my age, well, you just don’t get a chance like that very often.”