This post contains my complete running coverage of this annual conference and festival ...
© Tulsa World
Tulsa band Fanzine gets a chance to shine at SXSW showcase
By Thomas Conner 03/19/2000
AUSTIN, Texas — The sound man at Opal Divine's Firehouse
was filling the pre-show dead time with his own selection
of classic-rock greatest hits: a couple of cuts from the
Eagles' "Long Run" album, a smattering of Zeppelin, a lot of
Journey. A few minutes before showtime, he played Cheap
Trick's live cover of "Ain't That a Shame," and Fanzine
drummer Don Jameson started air-drumming.
"Oh, yes!" he said, tapping into the song's lengthy
introductory groove. "This is what it's about, right here.
It's not, 'Won't you step back from that ledge, my friend' "
— making a face, making fun of the Third Eye Blind hit
"Jumper" — "It's about the shaking of the booty. It's about
being larger than life . . . There isn't an arena big
enough to hold us."
This weekend it wasn't arenas, just a small club patio
on the edge of Austin's hottest nightclub scene and in the
middle of its yearly music-industry lottery.
On Wednesday night, Jameson and his Tulsa-based rock
band, Fanzine, kicked off the South by Southwest music
festival, an annual congregation of music-business talent
scouts and international media all searching for the Next
Big Thing. Nearly 1,000 bands — a record — from around the
world were scheduled to play hourlong sets in clubs
throughout Austin this weekend, and Fanzine had the
daunting task of playing in the first showcase slot on the
first night of the festival. In just a few hours, and
certainly over the four days of the festival, these four
players would learn what, indeed, it was all about.
It's all about the gig
South by Southwest is basically a live-music mall.
"Buyers" from record labels, management companies and music
magazines stroll up and down Austin's nightclub-lined Sixth
Street and shop for the hottest new fashions in pop music.
So when your band is fortunate enough to land a showcase
here, you want everything to be perfect. For Fanzine,
it very nearly was.
"How lucky are we to be playing right before the
Mayflies?" Jameson asked when the band finished sound check.
The Mayflies, an up-and-coming pop band from Chapel Hill,
N.C., were listed by many SXSW forecasters as one of the
most interesting acts to see this year. They would thus be
drawing a crowd of scouts and record company reps, and many
of them would come early — and hear Fanzine.
"We're blessed tonight. This feels good," Fanzine singer
Adam said before the show.
The band arrived in Austin on Tuesday and immediately
went to work with staple guns and smiles, tacking up
posters advertising the Wednesday night gig and thrusting
handbills into the palms of any passers-by.
"We came all this way, I just want someone to see us,"
Jameson said. "Tonight's all about being seen — eyes on us."
And, of course, ears.
It's not about the gig
Still, Jameson and the other Fanzine players weren't
expecting miracles. Their set coincided with the Austin
Music Awards — a ceremony honoring the best of local talent,
much like Tulsa's Spotniks — the big event of Wednesday
night. The band's 24 hours in town wasn't a lot of time to
spread the word about its showcase. Most music reps and
media don't arrive until late Wednesday or Thursday,
anyway. "I really expect very little tonight," Jameson
said. "It's the first night, and this club's off the beaten
path, but this sure is great to put (in the press kit). It
means we've been chosen among some kind of selected upper
The World Wide Web was certainly an aid in advance
promotion. Word of the showcase spread quickly on, oddly
enough, Web sites and newsgroups for fans of the Toadies.
Plus, Tulsa radio music directors e-mailed their record
company contacts en masse, advising them of the Fanzine
One of them, KMYZ 104.5-FM music director Ray Seggern,
attended Wednesday's show. Seggern is an Austin native,
having worked with the city's popular modern rock station
for several years. He knows people, and he dragged as many
as he could with him to see the Tulsa band.
But even Seggern was realistic.
"It's not about the gig," he said. "The gig is the least
important part. (What's important) is the networking, the
experience, the mindset. Just being here and wearing a
badge is important."
Case in point: Hanson. The young Tulsa trio spent
several days at SXSW early in the '90s. Too young to even
play in the local bars, they strolled the streets and
softball-park bleachers, singing for anyone who would
listen. An astute music manager did, and the rest is
It's about support
For Fanzine's show, though, Opal Divine's was packed.
Most importantly, the crowd stayed and stared. Many SXSW
showcase audiences often are indifferent groups of jaded
music-industry mavens concentrating on wheeling and dealing
with other industry folk rather than listening to the
bands. Fanzine's crowd, though, stopped, looked and
listened. The band was on point, too. Tighter than
they've been in many months — and fueled by more adreneline,
no doubt — they tore through 40 minutes of their
groove-stuffed, flashy and unrelenting rock 'n' roll. Adam
threw off his bright orange jacket ("You like me mack?") by
the third song and was soon shaking his tambourine all over
the club's outdoor wooden deck and dancing with Beatle Bob,
an eccentric music-industry analyst who came to the show
and danced his trademark swingin' dance.
Many in Wednesday night's crowd were Tulsans, checking
out their hometown band on Austin's turf. Tim Kassen, a
Williams Company agent who also books bands for Tulsa's
Bourbon Street Cafe on 15th Street, was in town and said he
made a beeline to Fanzine's show. "Nobody performs like
Adam, with all that energy," he said. "Heck, if I had the
money, I'd sign them."
Also looking on were T.J. Green and Angie Devore, the
husband-and-wife team at the helm of new Tulsa band
Ultrafix. They weren't scheduled to play in Austin this
weekend; they came down just to attend the conference and
meet music-business folks and other musicians. They had
planned to arrive in Austin on Thursday but came a day
early to be present for the Fanzine show.
"It's all about support, man," Green said.
By George, we got us a rock show
By Thomas Conner 03/19/2000
AUSTIN, Texas — When South by Southwest occurs each
March, the Texas capital is literally overrun by music
businesspeople and musicians. How invasive is the
conference? Just ask presidential hopeful George W. Bush.
When the Texas governor realized he was going to sweep
Tuesday's second big round of Republican presidential
primaries, his campaign staff decided to book a local
ballroom to host the celebration and inevitable victory
But they couldn't find one. Every ballroom, theater and
public venue in town was booked up with SXSW events. Bush
and his supporters wound up in far northwest Austin,
patting themselves on the back in a gymnasium at the Dell
Jewish Community Campus.
Talk about rocking the vote.
Rangers in command
Storms raked the Texas hill country late Thursday
afternoon. The Ray Price show in the park surely was
doomed, so we headed for indoor shelter. The fact that it
had tortillas, margaritas and the Red Dirt Rangers made it
The Oklahoma roots-music band played the first of its
five SXSW-week gigs ("Six," Ranger John Cooper said later — "We
actually got one that pays!") at Jovita's, an authentic
Mexican restaurant south of downtown Austin.
And I mean authentic. The walls were arrayed with rich,
colorful murals, mostly depicting masked rebels in olive
drab, including a giant portrait of Che Guevera. The tables
were so sticky we had to paper them over with copies from a
stack of someone's Spanish-English poem entitled
"Crossroads." Our waitress had two breathtaking parrots
tattooed on her shoulder blades.
As the storm pelted Jovita's corrugated skylight, the
Rangers blasted through their typically invigorating set of
Okie rock 'n' soul, opening the show with two Woody Guthrie
covers, "Rangers' Command" (the title track to the Rangers'
latest CD, recorded in Austin) and "California Stars" (one of
the Woody lyrics put to music by Billy Bragg and Wilco) — a
nod to Woody's younger sister, Mary Jo Edgmon, sitting in
Also watching the Rangers was fellow Stillwater native,
now Austin-based songwriter Jimmy Lafave. The Rangers also
played his song "Red Dirt Roads," rocking it more than Lafave
probably ever envisioned and using it as a sparring match
between electric guitarist Ben Han and new steel guitarist
Roger Ray, also of Stillwater's Jason Boland and the
Stranglers. Whoops and yelps all around.
This ... is Wanda
Conversation overheard on the sidewalk outside the
Continental Club, Thursday night in the freezing cold,
waiting in vain to get inside and hear Oklahoma City
rockabilly queen Wanda Jackson:
She: "We'll never get in."
He: "They're full? At eight o'clock? Who is this woman?"
She: "I don't know. She looks like Loretta Lynn."
He: "Loretta Lynn never had a stand-up bass player like
She: "Can you see her hair?"
He: "That's all I can see. I could be back at the hotel
and still see that hair."
She: "It's not that big."
She: "Nothing. I was wrong."
Talking 'bout Tulsa
Tulsans protested the derogatory mention of the city in
a recent Best Western ad campaign, but our hometown creeps
into the world's consciousness in strange and mysterious
Take, for example, a song by Astrid, a spunky and
tuneful guitar band from Scotland. Near the end of the
band's hard-hitting showcase, they played a song called
"Cybersex," which the singer was good enough to point out "is
about cybersex." The refrain, from the point of view of the
narrative's libidinous web surfer: "It's 3 p.m. in Idlewild
/ Kansas, Tulsa, Arkansas."
Norman band Starlight Mints were lucky enough to land a
SXSW showcase this year, but it was nearly ruined by
equipment problems that delayed them 20 minutes — nearly
half of their allotted playing time. (And SXSW showcases
begin and end on time, or else.)
Still, the embryonic rock band impressed a capacity
crowd at the intimate Copper Tank North club with its
herky-jerky melodies and noises. My notes include this
absurd but revealing description of the band's music:
"Gordon Gano (Violent Femmes) singing, Thurston Moore (Sonic
Youth) on guitar, chick from the Rentals (Maya Rudolph) on
keys, all aboard a carousel at Wayne Coyne's (Flaming Lips)
For the record
While SXSW takes over Austin with live music, another of
the country's biggest musical events occurs here at the
same time. This one involves recorded music: the annual
Austin Record Convention, the largest new-and-used record
sale in the country.
Hundreds of record dealers from all over the country
huddle over tables in the Palmer Municipal Auditorium and
hawk more than a million CDs, LPs, 45s and even 78s. With
the world's music business leaders in town, these dealers
have to face a particular and knowledgeable clientele.
"This is the reissue, though. See, it's dated '92. You
don't have the '84 original with the six extra versions?"
That's pretty standard discussion fare at the
convention. One dealer from Minnesota boasted a
pristine, still-wrapped copy of former Tulsan Leon
Russell's "The Wedding Album." Asking price: $100.
A C-note? Has he heard it?
"No, but my books tell me that's a steal."
A rose by any other name ...
Part of the fun of perusing the SXSW schedule is the
humor and daring of some of the band names. The chucklers
on this year's list: Alabama Thunder Pussy, ... And You
Will Know Us by the Trail of Dead, Bastard Sons of Johnny
Cash, Betty Blowtorch, Camaro Hair, Del the Funky
Homosapien, the Dino Martinis, Fatal Flying Guilloteens, I
Am the World Trade Center, Man Scouts of America, Maximum
Coherence During Flying, the Psychedelic Kinky Fellows,
Roar! Lion, Sci-Fi Uterus and the Tremolo Beer Gut.
Food for the soul
If you want music media to come see your band, set up a
free buffet. A table of sumptuous Texas barbecue and an
absence of cash registers filled La Zona Rosa with SXSW
registrants Thursday afternoon to see the Nixons open for
Texas guitar hero Ian Moore. Greasy hands clapped for the
Nixons' timeless (as in, stuck in 1993) grunge rock.
The band sported a new record label (the showcase sponsor,
Koch Records), new songs ("P.O.V." and the wildly cheery
"Blackout") and, well, a new band. Singer Zac Malloy is the
only original Norman-native member left, having jettisoned
the rest of the crew for a new batch of Dallas-based
The Nixons started in Norman as a cover band, scored a
modern rock hit early in the '90s with "Sister" and now are
based in Dallas. A new album is due April 11.
'What about the amps?'
Austin is full of colorful, sometimes downright
eccentric, characters, so when we noticed the guy talking
to himself on Fourth Street, it was no big shock.
He stood in the hot afternoon sun, pacing in circles,
gesturing wildly and talking, talking, talking — by himself.
"What about the amps?" he kept asking. "Where are the amps?" We
skirted him just off the curb, thinking to ourselves, "So
young, and already so nuts." Then we noticed it.
The earpiece, the hidden microphone — a hands-free cell
SXSW snapshots: The high, mighty and downright loony go wild in Austin
By Thomas Conner 03/22/2000
AUSTIN, Texas — More than 30 years after his death,
musicians — and, indeed, Americans — are just now figuring
out what Woody Guthrie was about.
Greg Johnson, owner of Oklahoma City's revered Blue Door
nightclub, summed it up ably during a South by Southwest
panel discussion entitled "Made for You and Me: Woody
Guthrie's Dust Bowl Legacy."
"Woody was about freedom and community," Johnson said. "He
was about propping people up. Bruce Springsteen used to say
it this way: 'Woody was about the next guy in line.' "
Veteran music journalist Dave Marsh led the panel, which
also included Austin-based songwriters Jimmy Lafave and
Michael Fracasso. The star of the panel, though, was
Guthrie's youngest sister, Mary Jo Edgmon, who regaled the
crowd with homespun tales of her proud father, her
misunderstood mother and her iconic older brother. "I
was reared on music all the way up to here," Edgmon said,
pointing over her head. "Woody taught me chords on the
guitar. I got really good at that C chord, I guess it was."
Edgmon spoke proudly of the "1,000 percent turnaround" in
America's perception of Woody, particularly in his Green
Country hometown of Okemah. She said she's thrilled to see
the misunderstandings about Woody's political and spiritual
beliefs clearing up.
"I want the world to understand that the Guthrie family
was not trash, that Woody was as good a man as there is,"
Lafave and Fracasso both punctuated the panel session
with performances. Fracasso sang Guthrie's "1913 Massacre"
and one of his own songs directly inspired by Woody's
songwriting (Fracasso's chorus: "From the mountains to the
valleys / from the prairies to the sea / If you ain't got
love, you ain't got a nickel"). Lafave sang a song about
Woody called "Woody's Road," written by acclaimed Oklahoma
songwriter Bob Childers, and then closed the afternoon
event with a rendition of Guthrie's "Oklahoma Hills," joined
by members of the Red Dirt Rangers and Edgmon herself.
Paint the town Redd
Austin's Top of the Marc is a clean, classy place — not
your usual SXSW mosh pit. The clientele shows the proper
amount of cuff, and the bar has drambuie. Festival
organizers couldn't just stick another all-girl Japanese
punk band in here. They needed class. So they called
upon Charlie Redd and his boys.
Decked out and dynamic, the Full Flava Kings brought
Redd back home in style. "Bring it on home, y'all!" Redd
would shout in a song's closing jam, though it was unclear
which home he was referring to — his native Austin or his
new Tulsa HQ. Either way, his Austin friends and fans saw a
new Redd on Saturday night: more groovy, more gravy and
drizzling a more honeyed baritone over the band's dense
rhythm-and-funk. In addition to charter Kings Dave
Kelly on guitar, Brian Lee on keyboards and Stanley Fary
beating the drums mercilessly, the Full Flava Kings debuted
new guitarist and veteran Tulsa funkmeister Travis Fite
(Phat Thumb) to the Austin crowd.
Their response? Ask the female stranger who tried to
start The Bump with me during the show.
Here come the brides
Tyson Meade, the colorful leader of the Norman-reared
Chainsaw Kittens, used to wear dresses on stage as a rule.
After his Friday night SXSW showcase, he took the fixation
to a bold new level by getting married to another man in
full white-gown fabulousness.
Before the next band (the bizarro but like-minded Frogs)
took the tent stage outside the Gallery Lombardi Lounge,
Meade reappeared in a wedding processional that parted the
crowd. The wedding party included several maids, matrons
and misters of honor in various degrees of Mardi Gras-esque
garb, all of whom surrounded the officiating Hindu priest
for the brief ceremony.
In a flurry of toasts and funny-but-heartfelt vows,
Meade and Skip Handleman Werner — who was always preceded by
the mysterious title "international pop star" — were
pronounced unlawfully married. They smooched, and the
wedding party bunny-hopped from the venue as "Y.M.C.A."
Reports of this high camp should not overshadow news of
the Kittens' triumphant return. Still without a record deal
after the sad demise of the Smashing Pumpkins' Scratchie
Records, the Kittens blasted back into action Friday night
with an explosive set of old and new glam-punk songs.
Meade, juiced by pre-wedding jitters, took the stage in a
royal blue feathery jacket and furiously belted and
screamed his way through the serrated set of Kitty classics
reaching all the way back to the band's debut album,
I can't chaaange
Billy Joe Winghead's lead singer, John Manson, took out
his personal angst about Meade's marriage (he was
distraught over not getting to, um, kiss the bride) through
BJW's two sets of roadhouse rock. The OKC-Tulsa band
blew into Austin late Saturday and played back-to-back
shows at the Hole in the Wall, a University of Texas
hangout, and Cheapo Discs. Shoppers at the latter venue
were typically unfazed by the blaring band over in the
corner — until they played "Free Bird."
A cliche request that normally turns off young rock
audiences always turns heads when its coming from the
five-piece Billy Joe Winghead. Tulsa bassist Steve Jones
sings over the guitar grind while Manson waves out the
melody on his green theremin. Amid the band's repertoire of
songs about rest-stop sex, doomed B-filmstars and car
salesman lingo, "Free Bird" is practically the crown jewel
and always a crowd pleaser.
Hit me with your best shot
Readers of the Austin Chronicle voted David Garza the
city's second-best musician of the '90s. (Ask a blues fan
who was first.) It's not simply because he writes
well-rounded pop songs and executes them gracefully on
record with his band; it's that he really doesn't need his
band at all.
On the Waterloo Park stage late Saturday afternoon,
Garza held his own with only his pretty red Gibson guitar
to keep him company. Songs that on record seem pieced
together by clever arrangements of drum machines, acoustic
guitar and Garza's versatile voice — like "Discoball World" --
evened out in frenetic and energetic solo jams. Near the
end, he took requests, cheerfully tearing his fingernails
off by barreling through "Take Another Shot."
Thank you, sir, may I have another?
The good, the bad, and the ugly
Rumor of the week: That Neil Young was the mysterious
"special guest" billed immediately before Steve Earle's
Friday night set at Stubb's. Young was in Austin for South
by Southwest, but not the music part. His latest concert
film, "Silver and Gold," was premiering. The special guest
was Whiskeytown singer Ryan Adams.
Patron saint of the festival: Doug Sahm. The drive-train
for the Sir Douglas Quartet may be dead but he hasn't left
Austin. From two star-studded tributes to him — one at
Wednesday night's Austin Music Awards (featuring Shawn and
Shandon Sahm), another Friday at the legendary Antone's
blues club (featuring former bandmate Augie Meyers and,
straight from the where-is-he-now bins, Joe "King" Carassco) --
to posters in Mexican restaurants advertising prints of his
portrait for sale, Sahm has edged out Townes Van Zandt as
the bandwagon who bought the farm.
Best TV footage no one could use: Steve Earle's Thursday
morning keynote address. Earle delivered his words of
wisdom wearing a T-shirt that read, "I'm from f—-ing outer
Comeback of the week: Former Byrds icon Roger McGuinn,
whose Friday night performance brought overplayed standards
back down to earth with grace and style.
Best T-shirt: "My lawyer can kick your lawyer's ass."
Most shameless self-promotion: Dallas rap-rockers
Pimpadelic not only drove around downtown blocks in its
giant tour bus with the band's name emblazoned along the
sides, the band also spent its free time walking around
Austin with dancers it hired from the Yellow Rose strip
club, all of whom, of course, sported tightly cropped
T-shirts bearing the band's name. Watch for the band's
debut on Tommy Boy Records.
Most prominent foreign country: The Netherlands, buoyed
by waning interest in the annual Japan Night and extensive
lobbying by the Dutch Rock and Pop Institute.
Best non-SXSW show: Austin's ear-splitting Hotwheels Jr.
on Friday afternoon in a tiny CD shop way out in north
Austin. They spell it r-a-w-k.
Favorite new discovery: Scotland's newest guitar pop
band Astrid, with a debut album, "Strange Weather Lately,"
out now on Fantastic Plastic Records.
Best diversion on the way to another gig: The strolling
horn band Crawdaddy-O, which braved the frigid cold
Thursday night livening people's steps with funky Dixieland
jams, including — at Adam of Fanzine's request — some
sizzling James Brown.
BY THOMAS CONNER
© Tulsa World
Twenty years ago, "Star Wars" creator George Lucas would
not have returned a phone call from a guy called "Weird Al"
Yankovic. Packages bearing such a moniker likely would have
been routed to Skywalker Ranch security.
Today, though, everyone knows "Weird Al." He's famous.
"I've skewered enough famous people that they kind of
know who I am now. Sometimes that helps, sometimes not,"
Yankovic said in a conversation this week. "At least now I
get phone calls returned."
Even with George Lucas,
though, Yankovic was nervous. Just because he's sold more
comedy albums than anyone else didn't mean Lucas would sign
over permission to skewer the context of "The Phantom
Menace," which Yankovic does in the first track on his
latest album, "Running With Scissors." The song, "The Saga
Begins," recounts the tale of young Anakin Skywalker to the
tune of Don McLean's "American Pie" ("So my, my, this poor
Anakin guy / may be Vader someday later / now he's just a
Yankovic recorded the song, set a release date for the
album and booked the tour. Then he sent Lucas a tape of the
song. Fortunately, Lucas loved it.
Song parodies are Yankovic's stock in trade, and over
the last two decades his witty gag covers have established
the largest and longest career for a musical humorist. From
his first parody — turning the Knack's "My Sharona" into "My
Bologna" — to his latest transubtatiation — turning the
Offspring's "Pretty Fly for a White Guy" into "Pretty Fly for
a Rabbi" — you haven't really made it big until "Weird Al"
makes fun of you.
"I've never made fun of the actual performers, though — I
mean, nothing mean-spirited," Yankovic said. "It's all in
fun, and most of the artists are very positive about it.
It's not about them, really." Sometimes the fans of the
artist being parodied don't think so, though.
"Well, there's one letter in a hundred from someone who
completely misses the point. They say, 'How can you make
fun of Michael Jackson or Nirvana?' But they're the ones
who gave me permission to do it, and they think it's very
funny," Yankovic said.
"Weird Al's" passion for parody began when, growing up in
California, he discovered "The Dr. Demento Show," a popular
weekly show of humorous music that just celebrated its 30th
year on the air. Tuning in each week, Yankovic heard the
musical wits of Spike Jones, Tom Lehrer, Stan Freberg and
Allan Sherman. He was hooked.
"Comedy and music were the two driving forces in my life,"
he said. "To have them together, I thought, would, well,
save a lot of time."
Yankovic saw Dr. Demento as a "kindred spirit," and when
he was 13, Dr. Demento spoke at his school. He was
conducting a song contest at the time, and Yankovic gave
him a tape of his recordings he'd begun at home with
"I didn't win — the stuff was awful — but it was the first
thing I gave him, and I decided to keep sending him tapes.
I got better over the years, and pretty soon we kind of had
a relationship, and he played my songs," Yankovic said.
The first "Weird Al" song Dr. Demento played on his show
was "Belvedere Cruising," a pop song about the family
Plymouth. It was driven by Yankovic's trademark accordion,
and it received great feedback from listeners. The song
that set him up, though, was "My Bologna" in 1979. Not only
did listeners love it, the Knack themselves enjoyed it and
persuaded their record company, Capitol Records, to release
the song as a single.
After that, all chart-toppers were targets. Queen's
"Another One Bites the Dust" became Yankovic's "Another One
Rides the Bus." Joan Jett's "I Love Rock 'n' Roll" became
Yankovic's "I Love Rocky Road." Toni Basil's "Mickey" became
"Ricky," satirizing both the hit song and the TV show "I Love
It was the latter song that ensured Yankovic's immense
stardom. The humor of the song could now, in 1983, be
amplified with visuals via the fledgling MTV music video
network. Yankovic's relationship with MTV would become his
main source of success — and excess.
"We've had a symbiotic relationship," Yankovic said. "It's
often difficult for me to get into radio playlists, but MTV
loves to put my videos into rotation, so people have always
known that I've had a new album out. Plus, you get more
dimensions to the humor. Background gags and sight gags
allow you to flesh out the humor a lot."
Since then, Yankovic has resurfaced just in time to
remind us that pop stars are not gods and can be taken down
a peg or two. He's been rewarded for his efforts, too,
winning Grammy awards for his note-for-note (and, in the
videos, scene-for-scene) versions of Michael Jackson hits --
"Eat It" (Jackson's "Beat It") and "I'm Fat" (Jackson's "Bad").
"I've been lucky, but I think what I do is important on
some level. We need satire in the culture to keep balanced
and keep things in perspective."
"Weird Al" Yankovic performs 8 p.m. Thursday at the
Brady Theater, 105 W. Brady St. Tickets are $28 at the
Brady box office and all Dillard outlets. Call 747-0001.
Tulsans remember Al, filming of `UHF'
Tulsans know "Weird Al" Yankovic a bit better than most
Americans because, as his career took off, Yankovic wound
up here filming his first — and, so far, only — feature film,
In 1988, Yankovic shot the bulk of the film in the
then-vacant Kensington Mall on 71st Street (now the
Southern Hills Marriott hotel). The film — about a TV
station owner who tries to keep his UHF channel alive by
programming very off-beat shows — co-starred quirky "Saturday
Night Live" alum Victoria Jackson and was the film debut of
future "Seinfeld" star Michael Richards.
"We got a really good deal on the use of an empty mall
there, so we were able to rent it and set up nearly all of
our soundstages there," Yankovic said. "Almost all of the
interior shots were filmed there, plus we did some exterior
things around town."
Other locations used throughout Tulsa included the
former Joey's Home of the Blues club, where fans of the
fictional station protested, and Woodward Park, where
Yankovic was made up as Rambo for a slapstick fight,
complete with bulging, latex muscles. The First Christian
Church downtown was used as a city hall building. Tulsa
songwriter Jerry Hawkins ("I'd Be in Heaven in a Truck") was
one of the many local extras hired for several scenes in
"UHF." He remembers some of the goofy fun on the sets.
"They had the `Wheel of Fish,' a parody on the `Wheel of
Fortune' (game show)," Hawkins said. "As the show host would
ask the contestants, 'OK, now, which do you prefer — the box
on the table containing some terrific prize or the fish on
the spinning board on the wall?' We, as extras in the
audience, would yell out ... 'The fish! The fish!' It was a
Hawkins also recalled the "incredible amounts of
attention" Yankovic got around town, "and all without saying
much at all and without doing much."
"He was one funny dude," Hawkins said, and "definitely
Yankovic said he's been too busy with the current tour
to think about making another film, but he enjoyed his
Tulsa experience. "I loved it there," he said. "We spent
the whole summer, despite that insane heat."
These online "clips" reproduce a self-selection of my journalism (music etc) during the last 20+ years. It's a lotta stuff, but it only scratches the surface. I do not currently possess the time or resources to digitize the whole body of work. These posts are simply a bunch of pretty great days at the office.