Tulsa, Oklahoma: The Hum of the Heartland

Where there is generational tragedy, there are also heroes and a community building harmony and repairing fractures through music. In this episode, host Will Dailey guides you on a trip from a town engulfed in terror to a city repairing itself one song at a time, either with the Shakespeare of songwriting or a community invested in the power of music — all while weaving the stories of iconic rockers like Leon Russell and groove pioneers like the GAP Band as they define the sound track for the hum of the heartland.

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Episode Transcript

Speaker 1 (00:01):
If you're listening to music through a portable speaker, you
shouldn't have to sacrifice great sound. That's why I love
my Sonos Rome. I can listen to J J Kle's
naturally or Leon Russell's Carney, and here the Tulsa sound
the way it was meant to be heard. Experience the
best sound anywhere, everywhere. Was Sonos Rome, the Ultra Portable
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(00:23):
COM to learn more and shop Rome in three new
exclusive colors. Double Elvis in the Greenwood Archer Pine Band.

(00:45):
It's one of a handful of all black groups packing
crowds into the sweatbox clubs that lined Admiral Street, downtown
Telsa's unofficial dividing line between the north and south side,
between black and white. The line was usually rigid, but
it could blur a bit on admiral on the weekends,
especially when the band with the comically long name started
pumping out in an undeniable, irresistible groove. The long band

(01:06):
name on the Marquis would not have meant much to
the white couple's waiting in line. They may have recognized
the three words as three streets not far from here.
But to everyone else in line, the meaning could not
have been more clear. Greenwood, Archer and Pine, a k
a the Greenwood district, a k a Black Wall Street,
the richest black community in America until white supremacists burned

(01:31):
it down to the ground in a sixteen hour violent
terrorist attack urged on by city leaders. Fifty years later,
on the south side the massacre was completely forgotten. It's
not that there weren't signs, they just didn't see them,
even when they were in big black letters on the marquis.
Would I like to go to Tulsa? You Bet your

(01:52):
boots I would. Let me offer archer and I'll walk
down a greenwood. Take me back to Tulsa. Bob Wills
and the Texas playboys in and enterprising Tulsa oil magnate
named Cyrus Avery, along with two associates, proposed an audacious

(02:12):
plan for a new interstate running from Chicago through Tulsa
to Los Angeles. The iconic brute sixty six. Tulsa, long
separated by unflinching lines of segregation, was suddenly connected to
a surge of new travelers from all walks of life.
The city welcomed the new spending these travelers brought but
smuggled into the back seat, where the same cross cultural
connections city leaders had tried to stamp out with the

(02:35):
destruction of Greenwood, people carrying music, customs and the desire
for a connected life flowed through the city. Meanwhile, in Texas,
the fourth generation fiddler and band leader named Bob Wills
was imagining a new sound. Wills grew up poor, one
of the few white families working the cotton camps of Texas.
is so called black belt. Music was cheap entertainment and

(02:56):
the wills family passed the time with their neighbors trading
frontier fiddler songs for Old Texas Blues Numbers. Now will's
imagine amplifying that blend of music he'd grown up with
using horns, drums and a brand new instrument, the electric
slide guitar. He knew he was onto something, but his
first attempt nearly ruined him financially. It wasn't until nine
four that he finally procured a second chance. Poetically, it

(03:19):
was a midnight test broadcast for Tulsas K vo on
February nine when will stepped to the mic with his
new twelve piece band the Texas playboys. The band hit
their first downbeat, launched the Big Bang of Tulsa Music,
and that universe is still expanding to this day, with
stars like Leon Ross, J J K the gap, the
garth grows, the tractor Jackie Ed Davis, John Morland, J

(03:42):
D McPherson, John Fulton, St Vince Ronnie D Rangers, Jim Keltner,
Waymon Tisdale and Bell, Carl Radel, set Lee Jones Erin o'da, Jacobtober,
Steph Simon, Steve Prior, Paul, Benjamin Bank, Cut Dwight twill
and Nixon and Bob, because no way did we forget
handsome the sound Bob will's heard in his head in

(04:05):
nineteen thirty four. That not quite blues, not quite country rhythm.
Those lush jazzy arrangements and the raw energy of Dueling
fiddles in later guitars contain the building blocks of nearly
all the music to come out of Tulsa since fast
forward a few decades to the nineteen sixties and it
was called the Tulsa Sound, popularized by Leon Russell and

(04:27):
laid back Guitar Maestro J J Klee. By the early nineties,
red dirt music with groups like the tractors and the
red dirt Rangers. Today, these building blocks are evident in
the roots rock of songwriters like John Fulbright and guitar
slingers like John Benjamin, or the jazz hip hop hybrids
featured on the stunning two thousand and one fire in
Little Africa compilation, with more than thirty Tulsa artists participating

(04:50):
and produced by local hip hop impresario Steph Simon. Once
again we find ourselves in a city that needs to
surface and process trauma, and they to give voice, Guide
and energize the healing as a vibrant and diverse music scene.
And you can sure still honky talk and two step
around town, but like all of us and everywhere, Tell

(05:12):
USA contains multitudes. This is sound of our town. It
is a podcast about the music that shape the city
you are touching down in. It's also about finding, hearing
and experiencing its best live music happening right now. What

(05:33):
sounds and places of shape this city's culture and what
new sounds continue to define it. It's about getting together
in a room to listen and why that matters so
much right now. In each episode I'll introduce you to
the real places and sonic stories at going in a
particular town, so that your travel is enriched with music.
I'm your host, will daily. I'm an independent D I

(05:54):
y songwriter and touring artist. I've been doing this for
a while and, frankly, this show is all a reminder
to myself about how important live music is in our existence.
The business, the road, the country of it all. I
can kick you around, but the crowd never lets you
down when you come with some truth. And this is
episode eleven of Season One and we are visiting Tulsa, Oklahoma.

(06:22):
Rolling into a new city can be a lot. Returning
to a town where you have memories that have faded
can be even stranger. This show, and specifically this part
of the show, exists to alleviate those stresses, to welcome
you to a part of town that doesn't overwhelm or
a room or space that is the ideal jumping off
point for the city, spaces that might contain the very
reason for your arrival, and a little of the familiar

(06:46):
in a place brand new to you can go a
long way. So for your first stop, we'll bring in
two artists who never spent a lot of time in Tulsa,
but who are so amished, and not only the city's
current artists and culture boom, but the nation's and songwriting
as a whole. Incredibly, Tulsa is home to not one,
but two of the most iconic and important archives of

(07:08):
musicians in popular culture. Only a few years younger than
Bob Wills, Woody Guthrie was born in an hour south
of Tulsa in Okima, Oklahoma, in nineteen twelve. His work
as a poet, reporter and songwriter during the horrific dust
bowl of the nineteen thirties forever linked him with his
native Oklahoma, even though he spent most of his adult

(07:31):
life traveling or living on either coast. In the Woody
Guthrie Center was open and Tulsa's art district, and today
it hosts a public museum with permanent exhibits on the
life of Guthrie, as well as rotating exhibits on songwriters
who share his mission of diversity, justice inequality. It also
hosts regular lectures, special events and concerts with the likes

(07:53):
of Lucinda Williams, Alison Russell and John Doe. There are
even exhibits to the many artists who are indebted to
gut three, including a springsteen section whose town we visited
earlier this season. Yeah, it's all connected, and be sure
to grab a headset for the dust bowl exhibit. It
elevates the whole immersive experience. But our first stop isn't

(08:14):
complete without including the center celebrating a bard who was
an absolute woody Guthrie obsessive. Bob Dylan moved to New
York at Nineteen to track down Guthrie and Legend has
it he even befriended the singer songwriter who is near
death from Huntington's disease. So it is quite lyrical that
in May of the Bob Dylan Center opened next door

(08:36):
to the Guthrie Center. The spirit is in the neighborhood
when you land and tells so. They let you know
you are in the vicinity of the Shakespeare songwriting with
signage in the airport and on the highway. But it's
the momentum connection of going from Guthrie to Dylan that
makes the giant sixteen foot iron sculpture that greets you
upon entering even heavier. It's not a song or a

(09:00):
photo of Bob or a lyric or a Hologram that
greets you, but a completely different art medium entirely that
he created, that you can touch and push and pull on.
It is a gateway into Dylan right away, telling us
that the artist is not just one thing, a slave
to their own brand, feeding an algorithm, and maybe Tulsa

(09:22):
isn't either. The Bob Dylan Center is an immersive experience.
Your first moment after checking in is a twenty two
minute film by Jennifer Lebou with three giant screens wrapped
around you, getting you hyped up and choked up for
the rest of your journey through, like diving into all
of his versions of joker man, because yes, sometimes you
do pull songs down from the heavens, like towns Van's aunt,

(09:43):
and sometimes it's a lot of work bending sounds and
words to your will. This exhibit allows you to see
all of Dylan's work and versions of joker man, and
there's a recording studio with an actual board where you
can play producer and you can fade and Pan and
mute through all the tracks of a song in Solo,
out all the musicians and their unique performances that make

(10:03):
a single song come to life. There was a jukebox
curated by Elvis Costello. Yeah, it's strange that a living
deity who walks among us, who is still on tour,
a guy who didn't even show up for his Pulitzer,
has his own museum. But like all of the art
we absorb, once it's amplified, it is bigger than the artist.
This special First Stop Combo sends you off into Tulsa

(10:25):
with that perspective, a space that will forever pull dylan
heads and the Dylan curious into this mighty city, where
they will also feel the weight of our nation's struggles,
struggles that these two artists put into song, gifting us
with a connection to navigate it and move forward. Everything
is a continuation. All of US connected and all of

(10:46):
us carry responsibility for that connection when we go out
into town. So up next we'll take you to a
little juke joint with a lot of history and music
every night of the week. Why has more than one
beatle made their way to an English pub in the

(11:07):
middle of Tulsa, Oklahoma? Well, we'll find out when we return,
because I get to make the rules. We're going to
bend them a little for our coveted no cover spotlight.

(11:29):
The colony is free most nights, but occasionally they will
throw a cover at you, but usually it's less than
five bucks and you are strongly encouraged to tip the band,
so bring some folding money. This grimy little British pub,
located in a strip mall parking lot far from the
glitz of downtown nightlife, has an incredible history. First Open

(11:49):
in nineteen under a different name. It gained local legend
status in ninety two when Leon Russell bought the club
after opening church studios nearby. And yes, we'll get to
church studios nowadays. Grab a tray of beer and slide
into one of the old time wooden boots. If you
hang around long enough, you'll hear the stories of jaw

(12:10):
dropping impromptu post recording session jams with Russell and Eric Clapton,
Taj Mahal and George Harrison. It's hard to separate fact
from fiction, but what's indisputable is that the club continues
to stand as a monument to the same Tulsa sound
pioneered by Bob Wills, Russell and so many others. The
colony captures the local music field of this town on

(12:31):
Friday and Saturday nights, an up and coming local band
tests are metal on the tiny corner stage, and the
rest of the week is anchored by residencies, including local
guitarist Paul Benjamin's Sunday night thing. Benjamin is among the
best the latest crop of Tulsa guitarists to follow the
legacy the likes of J J cale, Jesse Ed Davis
and Steve Pryor. In his long running Sunday night show

(12:53):
features special guests every week and enough instrumental firepower to
blow the roof off the tiny club with the huge
history tucked away in Tulsa's midtown, a spot that is
reasonab enough alone to travel to Tulsa two rooms to

(13:14):
get your face melted in Tulsa. The Mercury Lounge will
no doubt feel familiar to anyone who has spent time
in Austin Open in two thousand and nine. It is
a consistent venue among an ever changing lineup of bars
and restaurants in the eighteenth in Boston district. With open
garage doors that spill out onto a front patio. The
small squat building retains the feel of the mechanics shop

(13:37):
it was originally band stickers are plastered on just about
every surface inside the building, which is dominated in the
center by a large square bar from which bartenders dispensed
an endless array of fireball shots and PBRS. To the
right is a small stage with a huge face smelting output.
Over the years, Tellson's have been able to see songwriters

(13:57):
like John Morland hone their craft before a track acting
national attention, or artists like Seth Lee Jones and Jacob
Tovar bringing the tulsas sound lineage to a new generation. Plus,
there are frequently nationally touring acts. And Look, heaviness is
the precursor to having one's face melted and, like all things,
over time the origin mutates to include someone with a

(14:20):
Solo Guitar or DJ booth doing the melting. But we
need to always be aware of the beginning, the history,
the true source of the heaviness. That's why, in the
Kendall Whittier neighborhood, it's important to fit the wittier into
your live music plans. Nick Flores has turned this room
into a hard rock haven for fellow Tellson's who want

(14:42):
to thrash. In addition to local metal, rock and punk bands,
the club has hosted hardcore legends death before dishonor in
up and coming punk acts, like Mannequin Pussy, all beneath
the shine of a stamped tin ceiling and against the
wall those vintage of Vira and Alice Cooper theme pinball
machines that oddly make me feel right at home. I

(15:04):
don't know what that says about me, but with so
many corporate venues and high ticket prices around the country,
slapping the bumpers for Alvira with a cheap beer, heavy
riffs and a guttural scream starts to feel like a
rare luxury. By starting your time in the reverence of

(15:27):
our first stops, it tunes you into the listening muscles
that are so atro feed in our tyranny of content,
and after some time with some Guthrie and Dylan, maybe
some headbanging at the whittier, you're ready to sit down
and really listen. Exists in the silences in between the notes?
A new entry to the scene is low down, a

(15:49):
classic New York Style Jazz Club opened earlier this year.
It boasts one of the more upscale vibes in town,
with cocktail table seating alongside more traditional jazz. Checkout series
like Jazz and Little Africa, which features local guitarists Chris
Combs collaborating with Tulsa's leading MCS like Steph Simon and
king cut on nights that pushed the ever evolving Tulsa

(16:11):
sound into new sonic terrain. And most of the music
and Tulsa has been made in tiny juke joints where
the band doesn't ask the crowd to quiet down so
much as they turn up until the music is all
you can hear. But even the most die hard music
fans gotta take the ear plugs out and take in

(16:33):
something beautiful in front of a hushed and reverend crowd.
Longtime local songwriter and folk DJ Scott Acott has been
running just these type of events for years under his
house concert unlimited banner. If you're lucky enough to pass
through town when a show is on the calendar, snap
up a ticket and see folk veterans like Ray Bonneville
or Tim Easton, and make sure you bring food, beer

(16:56):
or wine for the pot luck and feel that evolutionary
sonic line from your first steps in the spiritual cerebellum
of Guthrie and Dylan to the songwriter right in front
of you as they weave stories familiar and forgotten. We've

(17:19):
arrived at the Vatican of Tulsa, Oklahoma, and it can
be no other than kine's ballroom. For nearly ninety years,
the House that Bob Wills and the Texas playboys built
has stood nearly unchanged. It's still boasts the spring loaded
maple dance floor, iconic neon signage in an unmatched mojo

(17:39):
apparent to any music fan who enters these hallowed halls.
And MOJO has a frequency all its own. So let's
tune our cosmic radios to it for a moment here
at kines and let the years roll from left to
right across the dial. A now, friends here's will take
it away, boys, take it away, happy New Year's Eve.

(18:03):
Cos McCain's radio coming to you live from Kane's ballroom
at four hundred and twenty three North Main Street in Tulsa.
Good riddance to nineteen thirty five. We say. It's been
another tough year, but from Bakersfield to Baton Rouge, one
bright spot has been the good times brought to us
by Bob Wills and the Texas play boys. Ever since
their first broadcast last year, they've ruled the airways with
that new Western swing that only they can bring. And

(18:26):
for the very first time tonight they'll come to you
live from Kane's ballroom. Crank Foun dial just a bit
to the right. In the nineteen thirty six. They'll be
coming to you live from Kane's five times a week
at noon and on Thursday and Friday nights, all pumping
out five thousand wats. Across the American southwest. Bob Wills
and the Texas playboys are the hottest band in the
land and tonight at Keynes there will be fifteen hundred

(18:47):
pairs of boot heels on the dance floor to kick
off this party. It's a party that Bob and his
brother Johnny Lee will keep taking back to Tulsa until
the nineteen fifties, when the signal finally starts to fade
and it's time to change the champ. Summer's over, Daddy O.
IT's time to go back to school in nineteen fifty
nine here on Cos McCain's radio. So we got some

(19:09):
education of the rhythmic variety going down tonight. For you
have cats. The killer, Jerry Lee Lewis is in town
and he's got that old swing from mom and dad's,
Bob will's records souped up with a whole lot of
shaking going on kicking off the night, or some Tulsa
boys playing a song for you, including newcomers Claude Leon
Russell on piano and Johnny J J Klee on Guitar.

(19:30):
Slide your dial a decade or so to the right
and that Tulsa sound is drawing everyone from George Harris
and to Tom Petty and Eric Clapton to record and Tulsa.
All that electricity, that energy, that amazing music starts right here.
Something about the way these telsa boys are laying down
that beat, not quite country, not quite blues, gets Jerry
Lee feeling all right. He hires the band on the

(19:52):
spot for the rest of the tour. They hit L
A and make history with the wrecking crew and come
back home to put Tulsa on the map. Wild Times
to come. But if we're counting down the wildest night
in Kane's history, then it's January. Eleven, seventy eight. You're
number one with a pistol, you've got a tune to
cos mccaine's radio and it's a snowy night here in January. Eight.

(20:16):
So beat carefully, you rotten little rockers, when you're hauling
those econoline vans downtown, because the band your preacher loves
to hate, the sex pistols, is about to hit the
stage like a wrecking ball. So bring three dollars cash,
walk past those Jesus Saves Banners and hit the spring
loaded Florida Pogo your brains out, along with Sid Johnny
and the gang. Sid Vicious is looking pretty vacant. But

(20:38):
don't worry. The band rips into a brawling riot. Is
set leaving their marked in Kane's history. And Sid, well,
he leaves his mark in a more literal way, punching
a hole in the backstage wall on the way out.
In the end, less than a thousand of you teenage
anarchists are gonna brave the weather and the protesters to
buy a ticket, but after the band breaks up three
days later, at least a hundred cosin will say they

(21:00):
were there. Lucky you got that ticket stubbed to prove it.
You didn't lose that ticket. Stuff right. Well, thanks for
listening to Cos McCain's radio. Join US later this week
for ladies professional wrestling on Thursdays and pig races. On
Sunday it's Cos McCain's ballroom, all the way on the

(21:25):
right side of your dial. October two thousand and nineteen.
You heard it here first, Jack White Jest declaring Kine's
ballroom is his favorite place in the world to play.
His band, the rack and tours that kick came off
their latest leg of their reunion tour with the sold
out three nights stand. Rumors are buzzing. The shows are
being recorded for a live album on White's third man records,
and the crowd has already started to pour in. They

(21:48):
walk in under the same red and white neon sign
that has seen a thousand shows. They passed the front
bobby and the whole punch by Sid vicious. Their shoes
scuffed the wooden dance floor that's been scuffed by so
many other boots over the last ninety years. The lights
dim before a split second before the band kicks into
a roaring night at rock and roll. All we here

(22:09):
is Mojo, a frequency you can tune into a canes
ballroom forever. There are some great spots worth visiting in

(22:37):
Tulsa that might not pop up on your venue search,
like Guitar House of Tulsa a must for vintage guitar freaks.
You prouse immaculate vintage gear, including guitars formerly owned by
J J Kale, and owner drew WYNN as a wealth
of information on musical instruments in Tulsa music history. And
if you're traveling with kids, plan to make time for

(22:59):
the gatherer place, a one of a kind complex filled
with a variety of playgrounds and skate parks that you
may find yourself returning to more than once. For a
true hidden gem on the music scene, though, check out
Horton Records, a local nonprofit label that supports local artists
with the recording and management needs. The label hosts some

(23:19):
great concerts in the unlikely setting of Tulsa's local VFW
post five, seven seven. The homey, intimate space almost feels
like a miniature Kane's ballroom, the perfect setting for Horton
records monthly concert series and events like their annual tetown
glitter down and midnight Chuggle, a mix of concert, dinner
party in late night jam that features modern Tulsa sound

(23:41):
purveyors like Jesse Acock, Seth Lee Jones, Dustin Pittsley and more.
If all this talk is giving you the urge to
live in Tulsa time for a few days longer. Let's
give you a couple of highlights to plan your trip around.
On November five you've got a great opportunity to see

(24:02):
Kane's ballroom packed with Tulsa talent for the annual Horton records,
rock and folk and Chili Cook off. There's a chili
contest for the pros plus musicians division and this year
the night will end with the tribute to the legendary
guitarist J J Kale. TELSA Mayfest, the Free Annual Street Festival,
will return for its fiftieth year May, sixth and eighth,

(24:23):
with visual art, street vendors in three stages of music
spread throughout downtown, featuring local performers and headliners like Tulsa's
own Hansen and Jason Isbell. And speaking of free, check
out free concerts may through October at Guthrie Green, directly
across from the Woody Guthrie Center, always featuring local artists

(24:44):
alongside touring acts like Marcus King and Sonny Landrath. In
mid July had an hour south of Tulsa to woody
Guthrie's hometown of Okema for the annual Woody Guthrie Folk Festival.
Woody fest to the locals and experience of Folk Festival
and a fitting tribute to the pay turned saint of
Oklahoma music and for the next generation of Oklahoma movers
and shakers. The Dreamland Festival, put on by Steph Simon

(25:08):
and the crew behind Tulsa's seminal hip hop compilation fire
in Little Africa, just kicked off the first annual Dreamland
festival this fall, which features a range of hip hop,
jazz and panels on the music business and equity. In
the edition promises to build on this expansive vision even further. Now,

(25:30):
in every episode, I do like to prepare you for
your trip, not because I want to give you more homework,
but because I just want to complete the experience for you.
I'm going to assume that you have an outstanding gap
band playlist for your headphones while you're walking down the
streets of Tulsa, that you spun Lee on Russell and
J J Klee. While you're packing, you could dive into
another reading of the outsiders for a profound portrait of

(25:51):
Tulsa in the nineteen sixties, as written by s e
Hinton at the age of sixteen. There's the autobiography I
am Charlie Wilson and where the gap band founder with
the timeless voice takes a journey through all his adventures
in Tulsa and beyond with artists like stevie wonders Snoop Dogg,
in the rolling stones and the highs and lows of
a life in a business that can be as punishing

(26:13):
as it can be rewarding. What I'm most excited about
is my preorder, maybe a regular order, depending on when
you're listening, for the definitive biography of the legendary Leon Russell,
written by my friend Bill Janovitz, pages that are sure
to illuminate an artist who helped bring Tulsa's sound to life, who,
rather quietly weaved and tied people in music together, from

(26:34):
the gap band all the way to Elton John and
George Harrison. And in two thousand twenty one fire in
Little Africa brought together the top rappers, singers, musicians and
visual artists in Oklahoma to commemorate the Centennial of the
ninety one massacre. Over thirty artists took over the Greenwood
Cultural Center and fittingly, the home of tape. Brady, the

(26:55):
mastermind behind the terrorist attack and fire in Little Africa,
created an incredibly album in a short documentary. The music
is a seminal piece of work and waiting for you
on all platforms. By seventy the greenwood archer prime band
had shortened their name, but even as the gap band

(27:15):
they still failed to gain traction beyond those five hours
sweat drench gigs on Admiral Street. One night a crowd
of drunk white boys stumbled into the club for the
last two sets. Drunk or not, they couldn't help but
be blown away by the same hypnotic groove that had
been mesmerizing dancers all night. As the band packed up,
the Scrawnye leader of the group, wearing mirrored shades despite

(27:35):
the late hour, approached the band's lead singer, Charlie Wilson.
A lifetime in Tulsa taught charlie to tense up, but
instead of malice the man held out his hand in Brotherhood.
Hell of a show, he said, and with that he
was gone. But a week later Leon Russell came back
dead sober and watched the full five hour show. He

(27:56):
hired the gap band to back him on the road
and in the studio. When he returned to Tulsa full
time to open church studios in nineteen seventy two, his
bombastic arrangements and skill in the studio, coupled with their rubbery,
expansive Funk, was a match made in heaven, a group
of Tulsa boys speaking the same musical language in an
inspired pairing that would eventually lead them all to worldwide stardom.

(28:19):
Church studio still stands today as both a monument to
the past glories of Tulsa music history and, equally important,
a working studio committed to bringing in top producers to
work with local talent and nurture in the next generation
of Tulsa it's a must visit for fans of Russell
gap band and music history as a whole. Over the
nineteen seventies, artists like Tom Petty, Willie Nelson, Taj Mahal

(28:41):
Eric Clapton frequented Tulsa to record at Church studios with
Russell and many more later. It was owned by Stephen Ripley,
the roots rock band the tractors, and has recently been
renovated as a working studio and museum dedicated to Leon
Russell's legacy. The music boom and Tulsa did not start
by accident. It's built on the blood and sweat of
hard working musicians, from Bob will's up to today. Institutions

(29:03):
like the Guthrie and Dylan centers have added momentum, and
hard working nonprofits like Horton records tell us a creative
engine and to Tulsa Film and Music Coalition have provided funding,
mentorship and focus on creating and celebrating an inclusive and
diverse music ecosystem that has always existed, if sometimes only
in the shadows. One more thing. Bob Dylan said life

(29:33):
is about creating things and creating oneself. Dylan is not
even involved with the Bob Dylan Center. He played three
blocks away before it opened and didn't even visit. He
did go to a minor league baseball game, though. Classic Bob.
Too busy creating the self to reflect. He is happy
with the archive and its connection to Guthrie and indeed

(29:55):
he's glad the center is pulling in people where we
need it most, as he puts it, in the casual
home of the heart land. Well, that's episode ten of

(30:23):
season one for sound of our town. We have twelve
episodes for you this season and there's only two more left.
Where are we gonna end up? To find out next Thursday.
What I'm gonna ask you to do between now and
then is leave us a review on apple or just
grab one episode that you really love and share it
with someone you really love or someone you know who's
going to one of the cities we cover, or someone

(30:44):
who lives there and just needs a little bit more
sonic adventure. If you want to chat about the music
scene in your city, hit us up on instagram at
double Elvis and at will daily official, or on twitter
at double Elvis F M and at will daily. Sound
of our town is a production of double elvis and
I heart radio. The show is a executively produced by
Jake Brennan, Brady Sadler and Carl Karioli for Double Elvis,
production assistance by Matt Bowden. The show was created, written,

(31:07):
hosted and scored by me will daily, additional writing on
this episode by Patrick Coleman. For sources, see the show notes.
For more of my music, you just gotta enter will
daily on any of the music platforms that you enjoy.
Just spell daily D A I L E Y. You
can also visit us at sound of our town pod
Dot Com and will daily Dot Com. Special thanks to
Chris Combs, Jesse ACOCK, Brian Horton and Steve Jenkins. All Right,

(31:29):
I'm off to the next town. I'll see you soon
and thank you for your ears.