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The nominations are in. These are the 10 songs chosen as Oklahoma Rock Song finalists. Official voting ends on Nov. 15 and the winner will be announced in May.
Which one of the songs do you think best represents the state's rock legacy? Am I crazy for thinking the song's lyrics ought to contain some direct reference to Oklahoma?
+joe
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Yesterday I was invited to meet "American Idol" Top 7 finalist Kristy Lee Cook at the KTST-FM 101.9 The Twister radio offices here in OKC. As Gazette's Marketing Director, I don't often get to attend these exclusive events, but I had an in... (and no one else could go.) The Top 10 finalists from this season's show are now in OKC for the American Idols Live! tour, and they'll perform at the Ford Center tonight. Kristy Lee Cook, the country-singing Idol with snappy (read: weird) comebacks for Simon, signed with 19 Recordings/Arista Nashville in July and is now promoting her new album, "Why Wait," which drops September 16.
With one acoustic guitar player and her Arista rep, Kristy strolled into the station's conference room just after noon and gave our intimate group of media some photo opps, autographs, casual interviews and a few a capella performances.
Kristy told us about her first single, "15 Minutes of Shame." Although she doesn't write the songs on her album, she made it clear that she chooses all of them carefully and that they each have a special meaning. This one is a revenge song. When she first heard it, she felt it was written about her ex-boyfriend: the liar. And she told us his name, but I guess I'll be nice and not publish it.
Before she left, someone in the group asked her to sing some of "Amazing Grace," which she said she has not sung since the auditions in Philadelphia. She obliged and it's been stuck in my head all afternoon.
Kristy also told us about her experience being on American Idol and what the whole audition process was like. Here are some tidbits:
- The audition where the contestants meet Randy, Paula and Simon is the third or fourth one, so lots of people have been weeded out before then. They only keep the really awful and weird ones for entertainment value.
- She enjoyed meeting and working with Dolly Parton who taught her how to use her acrylic fingernails as a musical instrument.
- Mariah Carey wouldn't let Kristy pet her dog. The handlers were all, "Uh, don't touch the dog."
And yes, I'll be at the concert tonight, so stay tuned for an update on Friday. I'm sure I'll being gushing about everyone EXCEPT Archuleta.
Although she has a pretty squeaky clean image, I know Kristy has a bad girl side... (or I want to believe she does.) Tell me which songs you think would be awesome to hear Kristy sing. I'll start you off with Joan Jett's "Do You Wanna Touch Me There."
How fun would that be to hear tomorrow night?
+jill brown
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The last time I was witnessed Nine Inch Nails live — I chipped a tooth.
It was 1994 and I spent the better part of a month concocting an elaborate rouse for my parents, who I assumed would have a problem letting their 8th-grade son travel across state lines with a bunch of high schoolers.
A copy of “Pretty Hate Machine” had blown my 14-year-old brain — and Friday night’s NIN show at the Ford Center melted my 28-year-old mind.
Despite its fairly lackluster attendance (a Ford Center mop-pusher estimated the crowd at around 7,500. She hates John Mellencamp so I trust her implicitly) the crowd at Friday’s show was enthusiastic, eager and rewarded with one of the best live shows I have ever seen.
Starting with songs from “ The Slip,” Reznor led the four-man outfit through the ambient “999,999” and the buzzsaw “1,000,000.” By the time “Letting You” stormed in with industrial mania, the crowd was in full frenzy. “Discipline,” with its dance-pop drums and sickly synthesizer hooks is easily one of the best offerings on NIN’s latest album (which Reznor has released for free as a digital download), a studio success which works even better live.
Bathed in red, Reznor issued the undulating, guttural “Closer” — the band’s sexually raw signature from “The Downward Spiral” — to a frantic crowd reaction.
Better still was “March of Pigs,” the act’s manic industrial freak-out, which galvanized Friday’s audience, encouraging the crowd to scream along with the anthem of discontent.
The stage show, washed at times with interactive screens, furious strobe lights, beams of color or shadowy spotlights, was as subversive as the band’s live set and a truly wondrous display of stage technology. Pixilated, translucent screens descended to bury the band in a sea of static and digital haze, and, like a silent band member, interacted with Reznor and the group, changing colors and shapes to respond to songs and the band’s touch and proximity. Using three screens, the presentation often gave the illusion of depth, with the band performing amidst the visual chaos.
A stripped-down atmospheric set, performed with acoustic and orchestral instruments was interesting, but largely served as a breather before impeccable renditions of “The Hand that Feeds,” “Terrible Lie” and “Head Like a Hole.”
The band returned for a five-song encore, which included “God Given,” “The Good Soldier” and “Echolplex,” the beat of which was formed from a giant live step sequencer projected on the stage screen. The stripped-down “Hurt” was haunting and beautiful and easily proved that even without the layers of programmed industrial beats and synthesized atmosphere, Reznor, at his core, is a melody maker.
With record label battles and decades of experimentation under his belt, Reznor has amassed a loyal army of devoted fans who prefer to get their fix straight from the source, rather than shooting the diluted doses previously sold on the radio and MTV.
Hopefully Nine Inch Nails can translate ideas like free albums and label-shunning into an equation that brings shows like Friday’s around more often.
+joe
photo: via erincarter's flickr
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An open letter to the metro’s music scene, penned by Justin Rice, the frustrated singer/guitarist of Norman rock band Student Film, has garnered a flurry of Internet discussion and publicized commentary from local performers, fans and rock ’n’ roll followers.
In the 1,000-word manifesto, Justin lamented some of his band's wasted tour efforts and record-label courtships, and advised local bands not to chase the “illusion” of a thriving city music scene.
In the letter, he also called out two local acts: Stillwater-born Colourmusic and OKC’s Stardeath and White Dwarfs — groups with successes he assigns to being “products of privilege,” having been “sanctioned” by World’s Fair Label Group Inc., the Edmond-based record label and management outfit co-founded by The Flaming Lips’ manager Scott Booker.
Justin e-mailed us the letter on July 16, the same day he posted it in the discussion forums over at oklahomarock.com. Since then, the discussion thread has swelled to more than 16 pages and has received more than 10,700 views.
The Gazette ran a portion of Justin’s letter as a letter to the editor in July 23’s paper. Here is the text of that letter:
We are in the sixth year of Student Film. Like most bands, we were initially outsiders — not part of the artsy OKC elite. We couldn’t even pay anyone to let us play their venue (we actually tried).
We used to say things to each other like, “if we could just get a show with Little League Hero, Twenty Minutes to Vegas, Ambassador Bill, or The Fellowship Students …” We looked up to these bands, not just because they made cool music, but because they were a symbol of what OKC thought it would become: the next great scene. This was and remains nothing more than an illusion.
There was a warning given to us: “Be careful, you will wear out the OKC audience. You will be loved quickly, but forgotten quicker.” Sure, sure, whatever.
However, just a few years later, I severely wish we would have heeded the warning. For we did indeed wear out the OKC audience. We played regionally and went on several small tours, but the vast majority of our shows were local. And naturally, people can only stand to see your band so many times. We were even looked at by Sony and other labels, though that eventually turned into nothing.
I have grown tired of being told over and over by burned out 40-year-old Gen Xers that if we just toured more, we would have “made it.” This is logically equivalent to saying, “if you work hard, you will get ahead.”
Both claims are silly because both claims come with no guarantee. Take, for instance, El Paso Hot Button. It would be difficult to find a rock ’n’ roll act from OKC that has worked harder than Mickey Reece. He is almost always out on the road and he puts out more material than Moses did. But he hasn’t “made it.”
To further my point, consider two bands, Star Death and the White Dwarfs and Colourmusic. Intending no personal offense to the individuals that comprise such acts, I must say it: They and their success are the products of privilege. Their music is inferior to the majority of OKC bands, but they are sanctioned by World’s Fair. When OKC bands got word that World’s Fair was in town, we got excited.
OKC bands, listen to what I’m telling you now: World’s Fair is not here to help out the OKC arts scene. Can we blame them? The music industry is tanking right before our eyes and we were all foolish enough to think that World’s Fair would gamble on a bunch of fellow Okies? Let them do their thing and quit bothering them with your brilliant demos. Life is too short and establishment only has time for the things that generate profit, which good art rarely does. Whether or not your band makes it is solely a matter of luck. Can anyone really deny this?
Only fools expect to flourish. So then, what is an OKC band to do? I will repeat the old cliché: “art for art’s sake!” Create, press on, play a ton of shows, wear out your audience if you must, write what comes naturally with no pretensions, record as many songs as you can, run up ridiculous band tabs at shows, tip your bartender, don’t piss off the sound man and most of all, enjoy it! —Justin Rice
Which prompted this critique and response from former Stillwater resident Nathan Lankford:
I’ve spent the last decade traveling back and forth between Oklahoma and Austin, Texas. The benefit of this is it showed me what it is like to truly ignite a music scene.
I think Student Film has it all wrong (Letters, Justin Rice, “Advice for OKC bands,” July 23, 2008, Gazette) — I know it. First, World’s Fair by no means claims their mission is to support local music. They are in the music business and never claimed to take over Oklahoma. Ideally, you would love if they supported local music to the maximum, but it’s not feasible in the current industry; thus, they chose bands they believe were going to do something.
Second, one of the bands, Colourmusic, did not just pop out of nowhere thanks to the money. Ryan Hendrix has been a musician in Oklahoma as long as I have been here back in ’98, just not always in the forefront. He and his band worked hard and had garnered a following all over Oklahoma prior to signing with World’s Fair.
I find it interesting that a band that works hard, tours, makes their own merch, creates a show and always supports local acts can catch flack.
And third, I think Student Film’s claim to “support local music” via their MySpace Page is completely contradictory to the reaction in Mr. Rice’s letter to the editor. He points out two bands, both from Oklahoma, and calls them out. He says they are bands of privilege. However, you don’t see Colourmusic with loads of money in their pockets; and you especially don’t see them complaining about other local Oklahoma acts.
You see, this is where Student Film went wrong. They, as a band for “six years,” should know that scenes are built on camaraderie. I use my hometown of Austin to show a comparison. That town is successful because the bands support one another. Sure, they might not like the music the others make, they might not even like the band, but they always support each other.
Clearly, Student Film is searching for something else besides just playing music. Justin Rice seems to want to make it big, but he doesn’t have the right attitude. He insists on being disgruntled about his lack of success, and taking it out on others. My suggestion to him is that he listen to his band and realize that there just isn’t a lot of room for a tired college-rock act straight out of the mid-Nineties.
My advice to Oklahoma, if you really want a music scene, is that you go out to the shows, make friends with the bands, buy merch and start your own band. Don’t be like Justin Rice and sit at home and complain because there are loads of bands that never make it out of their parents’ garages. —Nathan Lankford
Tomorrow's paper will contain the following reply from Justin:
Where to start? Since my letter (“Advice for OKC bands,” July 23, 2008) made it into Oklahoma Gazette and on OklahomaRock.com, I have received a wide range of responses. They range from “you’re an a--hole” to “way to have some stones.” The funny thing is that I find myself continually responding to things that I either didn’t say, or to people who didn’t understand what I was saying. A wonderful example of this is Nathan Lankford, whose response (Letters, ‘Student’ critique,” Aug. 6, 2008, Gazette) made it all the way up from Austin, Texas.
Mr. Lankford gets plenty of jabs in at my band. He implies that Student Film didn’t go out on the road, make our own merch, work hard, etc. He even puts quotation marks around the number of years that we have been active. Who is this guy, really? And when did he become an expert on the inner workings of Student Film? I can’t respond to Mr. Lankford because one can’t adequately respond to empty, meaningless statements. Instead, I would like to address two things that need some clearing up.
The letter I wrote was my opinion, not anyone else’s in Student Film. Some of the guys are up to their ears with pissed off Colourmusic fans getting in their faces about something that they didn’t say (and don’t necessarily agree with). So please, the next time you see someone in my band and feel the urge to waste his time with this, please think twice. (Mr. Lankford is a good example of this with the way he refers to my opinion as “Student Film says.”)
When I say that a band’s success is a product of privilege, I don’t mean that they have loads of cash in their pockets. I mean that they have a benefit that most bands don’t have. Having World’s Fair/Great Society backing you seems to be a privilege. The question is: Who deserves it? I have my opinion, and so do other people. Obviously, there is a lot of disagreement on this one. When one person says, “This band worked for ___ years, so they deserve to get signed,” then someone immediately responds with, “no, their music sucks!” And on and on we go. —Justin Rice
Chime in.
What do you think? Does Justin have a point? Are local bands and performers chasing an "illusion" of a thriving local scene? What's keeping the metro from being an Austin or Lawrence? What are bands and fans around here doing right... or wrong? What makes a great music scene?
Feel free to comment below or e-mail me directly. This is an ongoing debate worthy of discussion. +joe
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 Dfest is done for 2008, and I'm left with mixed impressions. There were 150 or so bands spread throughout the two-day festival, which is impressive. Excessive downtime between bands, lackluster crowds early Saturday and bands like Bait, make me think Dfest wants to be bigger perhaps it's ready to be. Crocodile (above), Samantha Crain, Three Penny Upright turned in great performances when I was there on Saturday, as did The Roots — once they finally took the stage, an hour late. And Zappa Plays Zappa further reminded me how much I hate guitar noodling and dreadlocks on white dudes.
+joe
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Want to hear something weird? Philadelphia's Genghis Tron sound’s like an a robot rampage at a basement hardcore show. Basically nothing like the above photo of the band. Something (mostly this video) tells me they would be a great live show, too bad they aren’t coming anywhere near Oklahoma.
Also: Best band name ever?
photo: sarah cass
+joe
photo: sarah cass
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 If you are gearing up for the latest Dr. Jones flick, " Indiana Jones
and the Kingdom of the Crystal Skull," why not check out one of the
cheezy serials that inspired its creators?
Okie Gene Autry starred in "The Phantom Empire," one of several serials
that inspired George Lucas ("Phantom Menace" anyone?) who wrote the
story concept for the "Indiana Jones" movies.
The first part of "The Phantom Empire" can be watched here. The other 11 parts are right here.
Or read OKG film critic Doug Bentin's take on the serials in today's Gazette.
+joe
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Today, organizers with Tulsa's Dfest announced this year's lineup, which includes national national touring acts like Ghostland Observatory, Zappa Plays Zappa, Edison Glass, Helmet and Paramore —an annoyingly catchy band that is 25% super cute.
A bunch of local bands will be performing as well, here are some highlights.
Admiral Twin
Blake O.
Callupsie
Cheyenne
Colourmusic
Congress of a Crow
El Paso Hot Button
Glister
Hush Hush Commotion
Ryan Lindsey
Red Dirt Rangers
The Uglysuit Unwed Sailor
Click here to check out the complete list of bands/performers for
Dfest, which is slated for July 25 & 26 in Tulsa's Blue Dome
District.
+joe
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Well, I was going to post the video for Aranda's original song "Dazed and Confused," to inspire you to check our the band's CD release show on Friday, but then I noticed the Oklahoma City rock band had been recorded performing Eagle-Eye Cherry's "Save Tonight."
Whiz, Bang! Instantly I was teleported back to high school... a much simpler time filled with Savage Gardens and Seven Mary Threes.
Watch. Enjoy. Remember.
Aranda CD release show [+] with 2AM [+] and No More Kings [+]
7 p.m. Friday
Diamond Ballroom Bricktown Ballroom, 8001 S. Eastern [map]
$10 at the door
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Pretty good lineup for Saturday's show at the Bricktown Ballroom Yes there will probably be a ton of young kids there wearing heavy eyeliner and American Apparel T-shirts — but that's pretty much every local show these days. Local rock band For the Atlantic is opening the show, and despite being young and relatively new—or because of it—are really nice guys and write some really catchy songs.
Here's the lineup:
Mayday Parade [+], My American Heart [+], The Graduate [+] and For the Atlantic [+]
7: 30 p.m.
Bricktown Ballroom, 103 E. California [map]
$14 at the door
Check out "The Process" video from My American Heart above.
+joe
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In case you didn't know, Oklahoma might have it's very own official rock 'n' roll song. As long as the song is written or recorded by an Okie - it's fair game.
Who do you think should rep the Sooner State in the rock realm? Here are a few suggestions:
 Oklahoma had Indians. Indians (some) used arrows. So I nominate OKC grindcore band Destroyer Destroyer and its song "Littered with Arrows.
Now defunct Edmond synth-pop band Euclid Crash actually has a song called "State Capitols," which you can't hear on this tribute page. But still. Mike Kennerty from the All American Rejects got his start here (back when he hated the Rejects) and the band was/is rad.
Does it 'rock?' - not in a classical sense, no. But since there isn't likely to be a an official Oklahoma smooth R&B song anytime soon, I nominate former Northwest Classen High students Color Me Badd and their song "All 4 Love." Can't you just imagine... 4th grade music classes learning it and all the cool acoustic remixes that would be used in state tourism videos?
Who would you pick?
Get your nominate on at http://www.oklahomarocksong.org.
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It's not a new, but it's a pretty cool from Norman indie rock band The Neighborhood. The song, "That's Okay" is from "Our Voices Choked with Fireworks," which you can get at Guestroom Records in Norman. Check out The Neighborhood's Web site or MySpace and check out a show. Next one is on Saturday March 29 with Student Film at VZD's.
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It's nearly impossible to find/remember the right combination of badge, wristband and guest list that grants you access to the fun parties down here at SXSW. As a ramblin' man, I find it irritating to plan my night out and make sure my name is on all the appropriate clipboards, but that seems to be the only way to make sure you don't have to pay for drinks.
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It's a crummy pitcure I know, but I didn't want to be one of those annoying pseudo-press camera people.
But dance-pop band The Fashion, which came all the way from Denmark to play a show on the roof of Maggie Mays, was the best part of last night's SXSW outing. According to the guitar player, the band should have something released in the US by August, but for now you can hear them online.
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"Rainbows Around the Sun," a film shot, acted, directed and produced by Central Oklahomans, is already getting good reviews from its SXSW debut.
The film is a retro-inspired psychedelic rock opera featuring metro singer Matthew Alvin Brown of the Fellowship Students and was directed by Kevin Ely and Beau Leland, and co-produced by Kim Haywood, an organizer of OKC’s annual deadCENTER Film Festival.
If you are in Austin for the festival this weekend, you can still catch a screening of "Rainbows" at 5 p.m. Saturday at the Alamo Draft House, 1120 S. Lamar
Check out the trailer above!
+joe
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If you are in Austin right now, you are probably having too much fun to read this—but for those making plans to catch the tail end of South By Southwest this weekend, here are some metro music makers to watch out for.
Asleep Audience… Dream!
1 a.m. Thursday, Rockin’ Tomato, 3003 S. Lamar
6 p.m. Friday, Plush, 617 Red River
5:30 p.m. Saturday, The Opera House, 2209 S. 1st
Colourmusic
11 p.m. Saturday, Mae’s Rooftop, 323 E. 6th
Dance Robots, Dance!
2 p.m. Thursday, Sansa Playground, 700 Dawson Rd.
4 p.m. Friday, United States Art Authority, 2906 Fruth
El Paso Hot Button
3 p.m. Thursday, Chuggin Monkey
5 p.m. Friday, Backspin Records, 4631 Airport
Evangelicals
10 p.m. Thursday, Mohawk Patio, 912 Red River
Luma
10 p.m. Thursday, Dizzy Rooster.
Rainbows Are Free
6:30 p.m. Saturday, Trophys, 2008 S. Congress
Check back for more photos and Okie-updates as the SXSW party reaches a climax this weekend. If you have any great stories or photos of you and your friends at the festival, lemme know!
+joe
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Congrats! You found Oklahoma Gazette's new local arts, entertainment and local scene blog! OKsee will hopefully give readers something to do at home, work or school after the Gazette racks have been emptied and allow us to share extra A&E stories, reviews, tidbits, photos and videos with you fine folks.
Browse around, have fun and tell me what you think. First person that does will win a framed platnium record from Jackie Moon, courtesy the fine folks behind the new Will Ferrell comedy "Semi-Pro." +joe
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