Hey everyone!

We are so excieted to put out our final edition of The Campus for the 2024- 2025 school year! I hope you all have enjoyed the paper as much as I have!

If you are interested in joing the OCU Media team for next year, please reach out to either our social media @media_ocu or email me at brooklyn.brumley@ my.okcu.edu! I can’t wait to hear from you!

I want to take a moment to apologize to both Nadia Tallroth and Kappa Sigma. In the last edition, in the “Meet Your Editors!” section, Nadia’s school was put in wrong. Additionally, in the word search, Kappa Sigma was spelled wrong. As always, please let us know if there arre any issues with any edition. We are open to any and all feedback!

Have an amazing summer and finals week!

Go stars!

– Brooklyn Brumley

Editor-In-Chief

Hi everyone!

It’s hard to believe we are almost done with the 2024-2025 school year! These past few months have been a whirlwind, full of deadlines, late nights, and nonstop to-do lists.

I know many of us, including myself, are currently experiencing extreme burnout.

Whether you’re a student trying to make it through finals, a staff writer wrapping up stories, or someone who is honestly just trying to keep it all together (trust me, we’ve all been there), I hope you take a second to sit back and reflect on how much you have accomplished this semester.

Finals season can be intense; during these moments of stress, it is okay to pause and breathe. You are more than your productivity; you deserve rest just as much as success.

A special shoutout to the team behind this publication:

Thank you for being you, for showing up, and for sharing your ideas and your passion for writing.

Each and every one of you constantly inspires me.

And to anyone reading this, thank you for letting us be part of your semester and trusting us to share your stories.

As I close this letter, I want to share something I keep reminding myself of.

As I wrap up my semester, I keep telling myself to let this season be both a pause and a promise. Even in those moments of uncomfortable silence or stillness, you are not hindering your progress; you are doing the opposite. While you may think you are not getting anywhere, you are actually growing and evolving.

Find your peace, and remember you can do more than you know. Wherever you may be at this exact moment, I hope you know you’re doing great things.

Here’s to finishing this semester strong, and I wish you all the best!

I am looking forward to hearing from each and every one of you! Find us on instagram @ media_OCU.

When Laurie Schneider sat down to do her master’s thesis in American studies, she never dreamed that she would one day share a nearly forgotten chapter of Jewish-American heritage.

Her debut novel, Gittel, follows 13-year-old Gittel Borenstein and her family, refugees from the deadly Easter program in Kishinev, who are starting over as farmers in a small Jewish agricultural colony in central Wisconsin in 1911. 

Though the story is fiction, it’s rooted in personal history.

“It was inspired by my great grandfather who spent five years in the little Wisconsin colony that I call Mill Creek in my novel.”

Schneider said a simple visit to the site revealed no markers or local memories of the colony; the once colony flourishing with lives was just silent.

Gittel is Schneider’s way of honoring those forgotten voices. 

The book tackles heavy themes, including antisemitism, generational trauma, and cultural assimilation and preservation.

The protagonist, Gittel, faces bullying from classmates while navigating her identity in a world that constantly presses her to change.

Schenider highlighted that one of the most prominent things that individuals living in a culture different from their own is the constant demand to dispose of their own identity.

“Do you relinquish your cultural heritage to fit in? And if you do, what’s lost? Do you give up what makes you YOU? Your food, your rituals, your faith, and your language in order to fit in, or do you hold tight and risk always being “other” to those around you? And is it even possible to hold onto your culture if there are only a few of you living in that place?’ 

Schneider also explores how trauma can echo across generations, how Gittel did not directly experience the Kishinev massacre, which was an anti-Jewish riot that took place in Kishinev from April 6, 1903 – April 21, 1903, but still felt the weight of it from her family’s caution and grief. 

“​​This kind of trauma strips away your sense of safety; it makes you watchful, always looking for the next incident, the next pogrom.”

Despite the novel’s historical setting and Schneider’s initial feeling that Gittel is just a picture of the past that she hoped to preserve, Gittel reflects the current realities of the world today:

“Look at what is happening with marginalized people today and the language we use to draw lines between us: aliens, illegals, undesirables, criminals.”

Schneider hopes that readers of Gittel will have compassion for others and compassion for the stories that may reflect a different narrative than the one they are used to. 

While Schneider’s family history influences her writing and storytelling, her background in poetry and her role as the senior cataloging specialist significantly shape her approach to writing.

“Prose has a rhythm, too, and deserves the same care I’d give to crafting a poem. Or at least that’s my personal goal. I read my work aloud when I’m revising. Always. Using language to create the kind of connection or insight we might feel when reading a poem is the same,”

Schneider explained that she constantly reads her work aloud during her revisions, is to ensure that she stays close to her characters and does not distort the story’s core. 

As the senior cataloging specialist at Dulaney-Browne Library, Schneider is surrounded by countless books every day.

She is reminded daily of the importance of finding what makes each story special:

“Even if it’s your story, you want your readers to see something of themselves in it, too.”

While Gittel may be published as an upper middle-grade novel, Schneider sees a story that pushes the boundaries and can transcend age groups:

“I’m primarily interested in creating an emotional connection. Age doesn’t matter.”

The story told in Gittel can provide a moment for others to see and reflect on how their history, beliefs, and identity can highlight one’s connection to their story. 

Schneider will be signing copies of Gittel at Best of Books in Edmond on Thursday, May 8, from 6 to 7 p.m.

Gittel is also available at the Dulaney-Browne Library and the Metropolitan Library. 

More information, including historical resources and downloadable lesson plans, can be found on her website at https://www.laurieschneider.com/ 

OCU, Red Earth MFA Alum, Heather Levy (Photo/Heather Levy)

Oklahoma City University alumna and novelist Heather Levy isn’t afraid to write about the hard stuff and take on storylines that many may deem complex.

A graduate of OCU’s Red Earth MFA Program, Levy has carved a distinct space in the literature world for bold, fearless, and emotionally driven contemporary fiction. 

“I love writing strong, complex female characters who’ve overcome trauma,” Levy said in her interview.

“One theme that’s carried through all of my novels, at least thus far, is the intersection of sexual trauma and finding empowerment through sexuality.”

Levy’s novels include Walking Through Needles, Hurt for Me, and her newest release, This Violent Heart.

Exploring these themes can be difficult for many, yet Levy manages it with clarity and compassion.

Levy hopes that readers take away an ounce of hope: “If there’s one thing I hope my readers will take away from my work, it’s that there’s always hope, even in the darkest moments in life.” 

Levy’s novels may focus on various intersections of trauma and empowerment, yet she doesn’t write for a specific audience. 

“I try not to write with any particular audience in mind,” she explained.” Instead, I focus on my character’s voice and where they’re telling me to go with the story.” 

Levy’s main reason for doing this is so the writing process can flow more organically.

“Attempting to write to appease a potential reader can sometimes stem that flow.” 

Levy’s path to writing was sparked at the age of ten by a 1988 sci-fi novel, Pamela Sargent’s Alien Child.

“It was the first time I read a book and thought, ‘I want to do this. I want to make others feel something powerful like this.”‘

Even though Levy was amazed and obsessed with Sargent’s books, she admits that sci-fi isn’t her usual genre, yet the emotionally driven characters and powerful storytelling stuck with her.

While her dream of writing started early, Levy never saw it as something she could earn a living from.

 “Most writers I know, even the successful ones, have day jobs because publishing is a fickle world, and you never know how well a book will do. You learn to enjoy successes, however small, when they come.” 

Levy’s time in the Red Earth MFA program helped her share her voice and enhance her skills as a writer, “I don’t think the program influenced my voice as a writer since I believe voice is something that’s innate within a writer, but the Red Earth MFA program helped me to hone that voice and make it stronger and tighter. Many new writers tend to overwrite, and I was no exception.” 

Levy credits individuals who helped her process within the program, “Working with Lou Berney and Allison Amend during the program taught me how to be more efficient with my words. “

Regarding literacy that influences Levy, her bookshelf is filled with talented writers, both classic and current, 

“Jane Austen had a lot of influence on me as a writer. For her time, she was so clever in how she slipped in critiques on the inequities between women and men.” 

Modern-day authors like Megan Abbott, Paulette Kennedy, S.A. Cosby, Jennifer Hillier, and Laura McHugh also inspire her with their powerful and voice-driven storytelling. 

Levy continues to write stories that challenge, comfort, and connect.

Her main goal is to remind us that silence may be uncomfortable, but finding one voice can give us immense power. 

As Levy continues to write, her readers will continue to find themselves reflected in the honesty of her pages. 

OCU’s Annual Easter Egg Hunt 2025 (Photo, MediaOCU/Addy Pepperman)

On Friday, April 18th, OCU held its annual Easter egg hunt with an excellent turnout.

Children showed up dressed in their Easter best and ready to hunt for eggs.

On both lawns of the quad, different age groups lined up.

Ready, set, go!

The children raced and collected as many eggs as their themed baskets could hold.

Parents and small children enjoyed posing and taking photos with the Easter bunny before and after the races commenced.

Bonus guests made their way to the quad to support and join in on the festivities.

Even President Evan’s!

The Dulaney-Browne Library is commemorating National Library Week on campus with various events and activities. 

Throughout the week, the Dulaney-Browne Library sold books that were available for purchase at a discounted price.

The library also hosted its “Food for Fines” food drive event, which allows students to donate non-perishable food items to support Skyline Urban Ministries. In exchange for donations, students can have their library fines erased at $2 per food item.

A key highlight of the week is National Library Workers Day on Apr. 8, which celebrates the contributions of library faculty.

The Dulaney-Browne Library observes this occasion by presenting special awards to its staff members.

Library workers can receive awards in different categories, such as the customer service award, given to a staff member who displays exceptional service, or the best display award, recognizing the staff member who created the most outstanding book display in the previous year. 

Another long-standing tradition at the Dulaney-Browne Library is the Graduation Book program, which began in 2007.

This program allows graduate students who have worked in the library for at least two semesters to select a book to be added to the library’s collection in their honor.

The selected book will also include a bookplate inscribed with the student’s name.

“I think it’s important to encourage people to do their best and to say thank you in a very public way,” said Dulaney-Browne Librarian Victoria Swinney. “[Graduation books] are a way to say thank you and also a way to get a different perspective on the library collection. It’s not a large number of books, but it does give a chance for someone who’s been working in the library and maybe seen a gap to say, ‘Oh, we really ought to have something like this.’”

A graduating Dulaney-Browne staff member expressed their excitement about being able to contribute to the library’s collection. “I’m super happy about it,” they said. “I’m so excited to have been able to recommend a book to be included in the library alongside so many other great students.”

The selected book is Alan Moore’s graphic novel Nemo: Roses of Berlin, which students can check out from the library. 

This decision follows years of budget cuts and downsizing efforts that have already created problems for students and educators. 

The reduction in staff has led to delays in critical services and has raised the fears of educators across the United States of America. 

The U.S Department of Education is essential to the teaching and education of American students and provides vital financial support for the American education system. 

It is responsible for gathering and analyzing statistics about American schools while ensuring compliance with Civil Rights laws. 

Truly, it is a significant agency in the continued education of  Americans. 

Its key functions include managing all federal student loans, distributing Pell Grants financing support and services for children with disabilities, and administering the Public Service Loan Forgiveness program. 

These essential services maintain equitable access to education, especially for underserved communities. 

At the same time, conservative Republicans around the country have celebrated the executive order, which reduces federal oversight and efforts to privatize education in America, and most other executive orders handed down by President Donald Trump. 

Critics, including teachers, parents, and school officials, warn that dismantling it could disrupt services. Widening educational disparities affect rural communities where resources are already scarce. 

The loss of federal funding and support could make it even harder for these areas to provide quality education. 

What does this mean for Oklahoma? 

Oklahoma’s student-teacher ratio is currently approximately 18 to 1, which means 18 students per teacher per classroom. This number will likely increase as schools can support fewer teachers, leaving the remaining teachers with more students and responsibilities. 

Advocates argue that education support programs, such as those provided through Individualized Education Plans (IEPs) and financial aid, are essential to ensuring that individuals have equitable access to education.  

The U.S Department of Education is at risk of being dismantled, which could jeopardize students’ academic futures. Many count on the various programs provided by the U.S. Department of Education.

Students and Professor Haslett pose with their awards at the Oklahoma Broadcast Education Association (OBEA/Mass Communications)

Oklahoma City University’s student media programs continue to shine, receiving multiple honors from the Oklahoma Press Association (OPA) and the Oklahoma Broadcast Education Association (OBEA) this spring.

The student newspaper, The Campus, earned top recognition in the 2025 OPA Better Newspaper Contest, competing in Division 8 for College News Media.

The publication was awarded either second or third place in the Editorial Writing and Digital Media categories.

While Digital Media is not factored into the Sequoyah Award point system, the recognition still marks a substantial achievement in adapting journalism to modern digital platforms.

“These awards reflect the hard work, talent, and dedication of our student journalists,” said Beth Adele, Director of Mass Communications at OCU. “It’s exciting to see their efforts acknowledged on such a competitive stage.”

In addition to the OPA accolades, OCU’s Mass Communications students also performed well at the 2025 Oklahoma Association of Broadcasters Student Day and the OBEA Outstanding Achievement in Student Broadcasting awards.

The event, which included seminars and a career fair, showcased the state’s brightest media students.

OCU students won awards across several categories:

• Sports Story: 1st place – Devin Anthony Ellington and Sam Taulapiu for “OCU Stars Baseball”
• Esports Tournament Coverage: 2nd place – Kohana Braswell and Eleanor Little
• Short Documentary: 2nd place – Hannah Miller for “Movement OKC”; 3rd place – OCU TV Field Production for “Stop Motion Creation”
• Public Service Announcement: 2nd place – Hannah Miller for “Thank You for Your Sacrifice”; 3rd place – OCU TV Field Production for “Mental Health in Athletics”
• Sports Magazine/Talk Program: 2nd place – Paige Wood for “Mack Chat”
• Sports Play-by-Play: 2nd place – Caleb Pollard for coverage of “NECC Overwatch Division V Finals”
• Long Documentary: 3rd place – Brooklyn Brumley and Kyah Alexander for “Animation Capstone Creation”
• Feature News Story: 3rd place – Landon Simms and Jordan Hanes for “Table Tennis Tournament”

These accomplishments reflect a growing legacy of excellence in media at OCU, with students gaining real-world experience and state recognition.

OCU Artist-in-Residence Diana Haslett served as the 2024–25 OBEA president, and Dr. Beth Adele was elected as the 2025–26 president.

Together, the awards highlight the strength of OCU’s media education and the promising future of its student journalists and broadcasters.

“I was over winter break, and I had a really hard semester last semester,” said Auburn Jameson, president and founder of Sketch Me If You Can, “and I was thinking of what I can do to make it better for myself and better for other people who aren’t cast or just feel like they don’t have a place to let their ideas go… a space to put creativity into good use.” 

At the time of writing, the organization posted seven videos, the most popular of which had twelve thousand views.

To create these skits, the organization’s members meet in person to bounce ideas around.
“We’ll be hanging out like normal,” said Jameson, “and then something will happen, and I’m like, oh, that’s a sketch idea.” 

Their current sketches cover topics ranging from dorm life to the FAFSA and have received quite the praise from the comments.

“Another classic Sketch Me sketch”, said one, “great work as always, y’all!” said another.
“[Sketch Me If You Can] gives me a chance to sort of stretch my comedy legs a little more than I feel I get to,” said Dominic Sicola, a member of the organization. “I have a very particular sense of humor that I feel this allows me to express a little bit more.”

While the organization may be small now, with only six members, President Jameson has expressed a desire for growth.

“We have a lot of people interested next year… We were making, before spring break, one sketch a week. We hope to make two and week and I hope it reaches more people outside of OCU, too.” 

“[Sketch Me If You Can] has taught me a lot, and I think some of the members a lot, of how to be part of a collaborative team, because our first meeting was kind of a mess.

We didn’t know what we were doing, and we’ve become colleagues,” said President Jameson. 

President Jameson also told The Campus that the organization plans to hold auditions sometime next year but is still putting together the details.

More news will follow next semester.

Walker Hall Roof Damage (Photo, MediaOCU/Dane Ratton)

The morning of Friday, March 14th, the day before spring break had been relatively uneventful.

People were packing up and heading out.

The wind was a bit high, but no one suspected what it would lead to.

“[I was] literally in my room,” said freshman Luke Manchin. “I look out ’cause I thought it was a storm, and the OCU Walker Hall roof is off.”

At approximately 11:46 AM, Walker Hall’s roof was blown off due to high winds. Debris was strewn across the campus, reaching as far as the library, with some pieces going even further.

People outside were ducking for cover as the 32 MPH winds turned the debris into projectiles. Pieces of the roof even hit some students.

Student Ryan Batts was on his way to class when it happened. “I walk out the front of the dorm and I looked up and I saw the roof starting to fall off… And then, as I was looking up, a piece of foam about the size of my torso just slams [into me]… It hurt enough for me to like, take a few seconds and process what just happened, and I was mainly confused because it’s not every day you’re hit by the roof, you know?”

The University staff quickly responded to the incident, with staff from the housing offices and student affairs on the scene picking up debris and removing it from campus.

While the University couldn’t get the roof fixed immediately due to safety issues, they did fix it incredibly quickly, as at 7:30 AM the following morning, the roof was back on top of Walker Hall.

So, how did this happen?

The Campus spoke with Senior Director of Housing and Personal Life Casey Kreger for the details.

“I want to say it’s literally just an act of God. Very random storm came through; when wind is that powerful it will find an edge anywhere it can, and it did… it happened to find a little crease and then it started to pull it. But the constant wind over the last two or three days… just caused the pressure to continue for the product that holds that roof down to come up.” 

When asked what the University was doing to prevent something like this from happening again, Kreger said: “Historically, the vendor who did [Walker] roof was not the traditional vendor for the campus… so our normal vendor came out and handled the situation. Inspections occurred by OCU staff, risk manager on campus, to make sure everything was done appropriately to our standard… The roofs get inspected pretty often… there are always people on the roof either inspecting the roof, inspecting guttering, inspecting water flow and drains… And so those are always inspected for clear vents for air to go out or water drainage to go down guttering, things of that nature.”

Luckily, the roof did not seriously injure anyone, and the students who lived directly under the affected area had already left for spring break.

They’ve reported no issues since the incident and repair.

Here’s hoping the Walker Hall roof will stay on top of the building next semester.

Herman and LaDonna Meinders pose for a photo during a formal gathering (Photo/Oklahoma City University)

*The following is a student-written tribute expressing personal appreciation for Herman Meinders.*

Oklahoma City University is blessed to have a community backed by people whose kindness goes beyond basic donations.

One of those individuals is Herman Meinders, an alumnus who has made a lasting impression on our campus and beyond with his dedication to higher education and community development.

His support, generosity, and efforts will continue to influence OCU’s future for many years to come.

Herman Meinders’s contribution has been vital to many students at OCU’s academic journey.

In addition to improving our campus’s physical infrastructure, his contributions have reinforced the basis of the daily education that we students receive. Thanks to Meinders’ generosity and vision, students now have the chance to follow their dreams and be ready for rewarding jobs.

The Meinders School of Business, where students are given the skills for success in the competitive field of business, is one of the most apparent examples of Meinders’ kindness. The building demonstrates his trust in providing advanced resources that support academic success and leadership development, which he supported.

However, his dedication goes beyond the building itself; he has also created programs such as the Business Leadership Fellows Program, which helps high-achieving students with leadership development and full-tuition scholarships. 

Meinders has strongly advocated for OCU’s nursing programs, which help address the state’s and the nation’s increasing demand for healthcare workers, alongside the business school.

His outstanding support of the Kramer School of Nursing, which includes aiding the growth of the simulation labs where students gain practical experience in real-life medical cases, shows his steadfast commitment to encouraging future nurses.

As a student, I’ve seen how big of an influence one can have on a community, particularly when someone is motivated to give to others and change things. Herman Meinders’ support of OCU reflects his strong belief in the possibilities of education and goes beyond just financial support.

His contributions have opened doors for students like myself who would not have otherwise had access to the resources necessary to receive an excellent education.

You don’t frequently come across someone whose generosity and encouragement have influenced the success of so many others.

Herman Meinders has significantly improved students’ lives through his kind contributions, and his assistance will benefit OCU’s future generations.
 
I truly value and respect Mr. Meinders’ generosity, leadership, and trust in each and every OCU student. I continue to learn from his influence, and I hope to one day be able to return his kindness by making the same kind of impact he did.

Thank you, Mr. Meinders, for all you’ve done for OCU. Your kindness is creating positive change that will last for many years.

Creating a creative voice, critical thinking, and mindful existence are more important in higher education than grades alone.

Professor Cooper, a former MFA student, adjunct, author of Moonlit Massacre, and faculty member at OCU, offers students advice beyond the written word through his knowledge and real-world experience.

The creative writing workshop is much more than grammar, syntax, or technical perfection; it’s about creating a space where students feel free to explore their voices, take intellectual risks, and grow through honest, respectful feedback.

“Writing is not just about the page,” Professor Cooper says. “It’s about the conversation with yourself, with others, and with the world around you.”

It’s a space rooted in presence, vulnerability, and reflection. The workshop invited participants to read, question, and write deeply, to not just complete assignments but to truly engage with language and ideas in a meaningful way.

Professor Cooper mentions that writing isn’t about being perfect but being curious, being in the moment, and being brave enough to inquire; even the questions you’re afraid of will sound “dumb.”

Writing is a process of self-reflection and discovery. It’s a way to figure out how to think, make the world make sense, and connect with others.

For aspiring writers and students, ask more and learn more. Don’t be too scared of making mistakes; that’s where the real learning occurs.

Learning to be emotionally and mentally present in writing is often the first step toward uncovering an authentic voice.

Some of the most powerful messages that emerged from our conversation were, “The real achievement is: can you sit in a classroom, discuss what you’ve read, and then reflect on it in your writing?”

And perhaps most importantly, “The value of being wrong is that it teaches us to be human, to listen, and to grow.”

These aren’t just writing lessons. They’re life lessons.

This workshop is for everybody, including those not just English majors or those who want to become writers. It is a sanctuary where you can unwind, reflect, and reconnect to the part of you that wants to learn and grow.

Whoever you are, a dancer, scientist, or theater artist, you can apply writing to become more intimate with yourself and the world. This creative writing workshop is where you are called, where mistakes are welcomed, and where you get to be embodied.

The goal is to build a culture of intentional learning, where writing is employed not merely as a tool for academic achievement but as a tool for empowerment. What matters is that students head out with a sense of self-efficacy regarding the ability to express and put thoughts into order.

“We live in a grade-obsessed society,” Professor Cooper says, “but true education is about being present, asking questions, and daring to be wrong.”

Professor Cooper recommends teaching students how to plan their time using daily, weekly, monthly, and semester planners.

This should be part of the writing and learning process. It’s not easy to keep up with everything, especially as a student, like those who are passionate about dance, theater, music, Spanish, or anything creative. Developing a talent is great, but we also need to cultivate structure and discipline.

That’s how you grow as a writer, thinker, and student.

A Scene from A Soldier’s Play (Photo/Bryan Cardinale-Powell)

From April 3rd to 5th, Oklahoma City University brought a powerful production to the stage with A Soldier’s Play, a Pulitzer Prize-winning drama by Charles Fuller.

The production was directed by Brandon Burton, with Jordan Smith serving as assistant director. Set in 1944 at a Louisiana Army base, the play explores the complex identities of race, identity, power, and trauma through the lens of an all-Black military unit.

The OCU production resonated with audiences and cast alike, serving as a historical drama and a mirror to today’s racial dynamics.

Ugo, who portrayed Private James Wilkie, was drawn to A Soldier’s Play by its storytelling power and rare, predominantly Black ensemble.

“I’ve never seen a show like this here,” he said. “I’m so grateful to have even been a small part of the magic that went down!” Ugo’s character, Wilkie, is a man shaped by loss, burdened with guilt, yet he still brightens a room.

“He’s lighthearted and has a goofy uncle-type vibe,” Ugo explained, “but on the inside, he’s full of guilt for actions he’s done, trying to get his stripes back.”

The challenge of portraying a character with a cheerful exterior and a conflicted interior was not lost on him. “I wanted to provide a strong arc for him. It was so much fun to hide behind a chuckling smile and unleash the pent-up tension I felt the entire time.”

For Jayko, who played the deeply complex Sergeant Waters, the role came with an equally challenging psychological weight.

“Sergeant Waters is a man raised to be strong and to better those around him—even if it meant tearing them down,” Jayko shared. “He cared a lot about not allowing certain types of Black people to exist in peace.” Waters is a character who forces audiences to confront the concept of internalized racism and the destructive legacy it can leave behind. “I couldn’t play him as a villain,” Jayko said. “He had to be real.”

A Scene from A Soldier’s Play (Photo/Bryan Cardinale-Powell)

Both actors emphasized how relevant A Soldier’s Play themes remain today, particularly alienation and self-hatred.

“Even though times have changed,” Ugo said, “there are still moments in my life where I see myself isolated from other racial groups at school and work.” Jayko expanded on this: “The first assumption about Sergeant Waters’ death is that the Ku Klux Klan did it. Then, that it was the racist white officers,” he explained. “But it ends up revealing the true darkness that can happen when self-hatred meets a strong leader who won’t stand for injustice.”

This haunting undercurrent made the show more than just a period piece. It became a commentary on enduring human struggles.

Performing in A Soldier’s Play was transformative for both Ugo and Jayko, not just as actors but as individuals. “It’s given me a stronger sense of community and confidence,” Ugo said. “It’s nice to know you’re not alone, and that there are stories and characters for you despite feeling that not enough exist.”

Jayko echoed a similar sentiment, noting how the entire experience renewed his passion for the craft.

“As a person, performing this show helped me recognize where I am strong, where I am weak,” he said. “It helped me fall in love again with acting.”

While the show tackled serious themes, there was no shortage of laughter behind the scenes. “Despite how serious this show is, it’s also really funny,” Ugo recalled. “We got inside jokes that will now last a lifetime!”

When asked if he had any final thoughts for the OCU student body, Jayko offered this heartfelt advice: “Keep working, keep chasing after the work, and fall in love with your craft again and again. See you at work.”

With A Soldier’s Play, the students of Oklahoma City University didn’t just perform. They presented an opportunity for dialogue and reflection. In doing so, they helped prove that theatre isn’t just entertainment.

It’s a powerful vehicle for truth.

It’s quickly becoming one of the season’s most highly anticipated performances. With a lengthy list of awards and a bold, self-reliant spirit, Bagwell is still cementing her status as one of country music’s most authentic voices.

Bagwell is no stranger to the spotlight. Nine-time Texas Female Vocalist of the Year and Texas Female Artist of the Decade, she’s built her loyal following through relentless touring, sharp songwriting, and powerhouse vocals. With 13 #1 singles on Texas radio, her music transcends state lines.

Her latest single, “Ain’t That Love,” is an upbeat new track with Timber Wilde that debuts a new yet familiar sound already being welcomed by fans.

Bagwell’s Chickasha show will include both fan favorites and highly anticipated new music, thanks to lyrics that resonate in the hearts of listeners through every live performance and streaming service.

She’s toured with and opened for country music icons like Willie Nelson, Miranda Lambert, Robert Earl Keen, Kacey Musgraves, Reckless Kelly, and Dwight Yoakam.

Even when met with fame, she stands by her artistic voice in an industry that rewards conformity more often than creativity.

In addition to music, Bagwell has also begun a podcast, ONLY VANS, which she records from the front seat of her tour van.

The podcast consists of candid interviews with other musicians and unhinged stories from the road. This is another way that Bagwell stays real and connects with her beloved fans.

This dedication to authenticity has not gone unnoticed. People Magazine recently crowned her a rising star, “Being increasingly name-checked alongside country music truth-tellers like Ashley McBryde and Morgan Wade.”

Whether you are already a fan or simply curious about what all the hype is about, Bagwell’s concert promises a night to remember of song, story, and connection.

It’s a show you won’t want to miss, conveniently located just 45 minutes from the OCU campus and open to all ages!

Bri Bagwell LIVE on May 10, 2025, at Legends Pubhouse & Venue in Chickasha, OK. Check venue listings for tickets. Stay connected on Instagram: @bribagwell

Internships are one of the best ways to gain real-world experience while still in school.

Whether you are trying to figure out what career path fits you best or looking to build your resume, a summer internship can help you take that next step.

It’s not just about having something to add to your LinkedIn profile it’s about building skills, making connections, and getting a feel for the kind of work you might actually want to do after graduation.

The best part about summer internships is that they don’t conflict with your class schedule.

You have more time, energy, and flexibility to dedicate to your work, which can make all the difference.

But here’s the catch.

Most companies start looking for interns early in the spring. So, if you haven’t started searching, now’s the time.

Start by checking out your university’s career center or internship board. Talk to your professors and advisors—they might know of opportunities you haven’t heard about.

Also, don’t underestimate the power of networking.

Reach out to companies you’re interested in, even if they’re not advertising internship positions.

You never know who’s willing to give a student a shot.

And if you’re worried about not having enough experience, don’t let that hold you back.

Internships are meant to be learning experiences.

Employers know you’re still in school, and many are just looking for someone motivated and willing to learn.

At the end of the day, summer is a time to relax and prepare for the future.

A few months of hands-on experience can help set you apart when applying for full-time jobs.

So don’t wait until summer starts to get serious about it. Start applying now, put yourself out there, and take advantage of your time.

You’ve got nothing to lose and a whole lot to gain.

OCU’s Women’s Softball Team at Jim Wade Awards(Photo, MediaOCU/Addy Pepperman)

On April 8th, 2025, OCU Athletics held its annual Jim Wade Awards. 

The Jim Wade Awards recognize and honor the academic and athletic achievements of OCU’s many athletic programs. 

This year’s ceremony presented over 80 awards and more than 230 coaches and athletes attended. 

The Campus asked STUNT/All-Girl Captain Jessica Cortez what the Jim Wade Awards meant to her and how it impacted her time coming to a close here at OCU.

“Going to the Jim Wade Awards all throughout my college experience is something I would always look forward to! It’s an opportunity to dress up, acknowledge other athletes’ achievements, and be with my team outside of our “typical” environment. This year, I had the privilege of watching my peers plan the best Jim Wade Awards to wrap up my senior season!” (Jessica Cortez, ’25 senior).

The Jim Wade Awards continue to celebrate the excellence and camaraderie that define OCU Athletics.

As another memorable ceremony concludes, OCU Athletics’ dedication and achievements inspire future stars to shine.

The showcase, held at Pearl Studios in midtown Manhattan, will exhibit the talents of freshly minted OCU alumni to the theater industry. 

The performers will present a staged exhibition of their collective talents, blending solo and ensemble musical numbers with monologues and a healthy serving of dance. 

For the dozens of industry reps who will be in the room, it’s a chance to see the new crop of talent and once again observe the reputation that OCU has built as a top-rate school for the performing arts.

”It’s important for the school, and it’s really important for our alumni that are already out there, the people who are graduating, and the people who will graduate from the program,” said Dr. David Herendeen, head of opera and musical theater and the coordinator of the yearly showcase. ”It is a demonstration and a verification of the OCU brand in the performing arts.”

The process began back in January, when four industry professionals visited campus to audition dozens of graduating performers. 

In the end, thirteen were chosen, the ranks filled by nine music theater majors, three acting majors, and one dance major. 

This exclusivity can be disappointing to those not selected, but Dr. Herendeen doesn’t place too much emphasis on showcase as the end-all-be-all of a performer’s career.

”This is not anything to worry about,” he said. “[Kelli] O’Hara and [Kristin] Chenoweth didn’t have showcases. We have people who are very, very successful who didn’t get picked for the showcase.” 

The production generally concludes within an hour, and is created and staged so that everybody on stage gets ample time to show the industry reps what they can do. 

Chorus numbers segue neatly into solos, monologues and scenes are sprinkled in, and everybody hits at least a few dance moves. 

“The organization of a showcase is strategic,” said Dr. Herendeen, “A showcase is a tease.”

The thirteen Stars will be making their entrance at Pearl Studios on May 6th, with a slate of three shows to get maximum exposure in the industry. 

Each of those performers hopes that this could be an early springboard for their career, but everybody with the words “Oklahoma City University” on their theater resume gets a leg up, thanks in no small part to the artistic quality that this showcase represents.

Scene from The Great Race. (Photo/Turner Classic Movies.)

Summer break is right around the corner, and that means summer blockbusters are soon to hit theaters.

July is a particularly stacked month with a new Jurassic World, the Marvel Cinematic Universe finally introducing the Fantastic Four, and James Gunn’s highly anticipated Superman.

Also, a new Smurfs movie for some reason.

But that’s all new stuff, and I am concerned with films of old. So, let’s look back to 60 years ago (1965) and see what the big movies of the time were like. 

The biggest movie of 1965 was The Sound of Music, which I am sure needs no introduction. It won best picture at that year’s Oscars.

It was in direct competition with a much different film, Doctor Zhivago, a historical epic based around the Russian Civil War that boasted 3 hours and 17 minutes runtime.

The two were nominated for 10 awards, with The Sound of Music coming out on top.

But being such a famous movie, it doesn’t fit the criteria of this column, and I’m sure no one would want to watch the 3-hour Doctor Zhivago, so what else was there?

The Great Race is a 1965 slapstick comedy adventure film directed by Blake Edwards and starring Tony Curtis as The Great Leslie, a famous daredevil who’s broken every speed record, Jack Lemmon as his nemesis, the dastardly Professor Fate, and Natalie Wood as vocal suffragette/reporter Maggie DuBois.

This film has everything: racing, barfights, musical numbers, political activism, sword fighting, and the largest pie fight ever filmed. 

The Great Race takes a lot of inspiration from silent-era slapstick films, even being dedicated to the famous slapstick duo Laurel and Hardy.

Nowhere is this influence more evident than with the film’s villain, Professor Fate. Fate is the pinnacle of the stereotypical silent film villain.

He dresses all in black, with a top hat and sinister mustache.

He’s got the laugh, the devious schemes, and crazy contraptions to boot, but to his chagrin, can never quite seem to best that goody-two-shoes Leslie. 

Jack Lemmon’s performance is perhaps one of this film’s greatest aspects.

In every scene, he is just going at it, tearing up the scenery and yelling his lungs out; Lemmon clearly had a great time on set.

His performance was so outstanding that it went on to inspire another silent film villain-influenced individual, Dick Dastardly of Wacky Races fame, who is seen as the prime example of the vaudeville villain archetype.

Modern examples of this archetype include Robbie Rotten from LazyTown or Waluigi from Super Mario Bros. 

Aside from Lemmon’s performance, The Great Race is filled with many comedic moments and some great uses of what I call comedic continuity.

While not quite a running gag (which the film is also full of), comedic continuity is when the comedy gives itself many tools to work with, leading to more creative jokes.

For example, Professor Fate’s car has four gadgets: hydraulics that raise the car, a smokescreen, a cannon, and a heat warmer on the front.

This leads to much more interesting comedy than if Fate just had an infinite number of gadgets he could pull out of nowhere just for a gag as his disciple Dick Dastardly does.  

But it’s not just a comedic film; there’s also some interesting political activism.

A B-plot featured in the movie is a group of suffragettes picketing a newspaper company for not hiring any women, with the leader of the suffragettes being the wife of the newspaper’s chief editor, leading to shenanigans.

Maggie DuBois is part of the suffragettes, managing to get a job covering the race for the paper after handcuffing herself to the company’s men’s room and terrifying the chief editor with how “emancipated” she is.

The handcuffs are another example of comedic continuity, as after using them again when first meeting The Great Leslie, she later uses them to cuff Leslie’s friend Hezekiah (played by Kennan Wynn) to a train after he quits, not wanting to travel with DuBois. 

Now, while this is a very funny film, it is also quite long, not as long as Doctor Zhivago’s, but it is a good 2 hours and 30 minutes.

The plot is also prone to go off the rails every once in a while.

Unlike other racing comedies such as It’s a Mad, Mad, Mad, Mad World, the racing part of The Great Race isn’t the film’s sole focus.

In fact, the race doesn’t start until 40 minutes in, and all of the racers who aren’t the main cast get instantly disqualified at the starting line after some sabotage by Professor Fate’s henchman Max (played by Peter Falk of Columbo fame).

The film focuses more on the three main characters and the wacky set pieces they find themselves on.

A good portion of the third act is spent in the kingdom of Carpania, where the racing plot is halted for a kingdom caper plot instead.

That whole part is an entirely different story, but it’s still as good as the rest of the film. 

Despite these bouts of plot divergence, The Great Race is still a great watch.

My words can’t do it justice, yet I can’t recommend it enough.

It needs to be seen to be believed and is the perfect film to watch with the family.

So, in between watching The Fantastic Four: First Steps, Superman, and Jurassic World: Rebirth, why not find some time to give this old gem another chance?

Citizens have seen key positions filled across the city.

The results reflect the choices of the electorate and set the stage for the immediate future of Oklahoma City governance.  

The results of these most recent elections indicate a broad and diverse range of priorities and concerns from shifting leadership.

This is most reflected in the extreme increase in protests around Oklahoma City.

Each elected official has a chance to make their mark on the community in times of stress and struggle.

Now is the time to get involved and push legislation to city leadership and civil servants in a more positive direction. 

Be a voice in the City and influence its policies.

Engaging with local representatives, participating in community meetings, and staying informed about local issues are all ways to contribute to Oklahoma City’s positive development.  

Results from the February Election are down below:

Oklahoma City council – Ward 3
Katrina Avers with 74% of the vote. 

Oklahoma City council – Ward 7
Camal Pennington with 45% of the vote. 

Oklahoma County commissioner
Jason Lowe with 41% of the vote. Oklahoma City Public Schools board chairperson
Paula Lewis with 53% of the vote.

PAVE was a new event BSA hosted celebrating art created by African Americans and people of color.

According to BSA VP of Programming Michael Scott, OCU has a population of less than 6% black, which does not represent the national or Oklahoma average.

“We felt that it was important to highlight the black voices and artists we have here on this campus,” said Scott. “As well as important black figures of history in the art scene.” 

The headlining event of PAVE was a presentation on The Four Step Brothers.

The Four Step Brothers, Maceo Anderson, Al Williams, Red Walker, and Duke Ellington, were a group of African American dancers who performed tap dance from the late 20s to the 60s.

They were the first black group to perform at Radio City Music Hall, Copa City in Miami, and the Lido in Paris.

They were also part of the first group of people in the nation to receive doctorates of tap here at OCU. 

One of Maceo Anderson’s protégés had been in contact with Dean Shelley of the Dance School and had items he wanted to share to remember The Four Step Brothers.

PAVE was the perfect opportunity to showcase these items, with the presentation being led by students of rhythm tap professor Cassie Van Houten.  

Other presentations during PAVE included a presentation by Dr. Jones on the intersection between African American and LGBTQ history in art, a skit directed by Cameron Bannerman, instrumental performances of music written by faculty member Clint Williams, and more.  

BSA is under new management this year, with Michael Scott stating that the organization is trying to create more campus events, representation, and presence.

“PAVE is a large event and something that we hope to make a yearly mainstay, one of our marque events hosted yearly, and done bigger and better each year.”

While Scott said the organization has no concrete plans for the next PAVE, they have expressed interest in collaborating with other OCU schools and 3rd parties, such as other universities or the OKC community.   

OCU Turning Point USA Members at a chapter meeting (Instagram/tpusa_okcu)

Turning Point USA, a national nonprofit organization that advocates for conservative views on high school, college, and university campuses, has officially established a chapter at Oklahoma City University.  

Turning Point USA is a national organization with chapters across college campuses nationwide.

According to its website, the organization aims to empower informed civic and cultural engagement grounded in American exceptionalism and a positive spirit of action (“Turning Point USA”).

With the new establishment of Turning Point USA at OCU, the organization has been sparking significant discussion among the students here on Campus.

The Campus spoke with Adrianna Stuke, the president and founder of OCU’s chapter, to learn more about why the organization was created, its values, and its mission.

“I had an experience with a professor that made me feel singled out for my beliefs, so I contacted TPUSA. From there, it was just about ensuring every student, regardless of personal beliefs or political views, has a place to express themselves.” 

When asked about the role of discussion in political and social growth between students, Stuke emphasized the importance of having conversations with one another, “To have growth as a nation, we must be willing to have conversations with people we disagree with, whether to find common ground or to find where we can help one another. It’s important. When we don’t talk, we become complacent. Which leads to assumptions being made that are untrue.” 

While some students see the new organization as an opportunity for dialogue and a space for individuals to voice their views, other students have expressed concerns about its potential impact on minorities on campus. 

Adele Marie, a third-year student, spoke with The Campus about their concerns regarding the organization.

“Turning Point USA’s presence on our campus is both disheartening and perplexing. OCU should be a space where students can exist authentically, but TPUSA has fostered an environment where bigotry thrives under the guise of ‘free speech.” 

Additionally, Adele Marie raised concerns about the ideology that is associated with Turning Point’s USA national leadership.

“Charlie Kirk, TPUSA’s founder, has called the Civil Rights Act of 1964 a ‘huge mistake,’ claimed Black pilots are less qualified due to DEI initiatives, referred to rising LGBTQ+ identification as a ‘social contagion,’ and pushed the Great Replacement theory—a white nationalist conspiracy rooted in eugenics. That’s the ideology TPUSA brings to our campus, and I find it shameful that OCU faculty allowed them to take root.”

The Campus contacted The Office of Student Engagement to inquire about the registration process for establishing a student organization.

Every student organization must adhere to specific Office of Student Engagement and Student Affairs guidelines.

The Office of Student Engagement also confirmed that TPUSA OCU met all requirements to be recognized as an official organization.

“Yes, interested student organizations work through the Office of Student Engagement to receive recognition by meeting certain requirements. And, yes, this student organization completed the requirements for recognition.”

These requirements, outlined in the Registered Student Organization Guide Handbook, are designed to promote values that foster student engagement and community.

The guidelines highlight and ensure that all student organizations, regardless of beliefs, must follow the values of collaboration, responsibility, and community involvement.

The goal is not to endorse one viewpoint but to support the students on campus with opportunities for student engagement that align with the values and guidelines set by The Office of Student Engagement and Student Affairs.

You can find the Registered Student Organization Guide on ENGAGE to learn more about the guidelines for establishing a student organization.

As Turning Point OCU continues to establish itself, it remains the topic of discussion.

Various students feel that the organization will foster open discussions and provide a space for students who feel judged on their beliefs.

However, various students think the organization’s presence and history will contribute to an unwelcoming space for marginalized groups on campus. 

As the conversation continues among OCU students, a prominent challenge remains.

How can OCU balance ideological diversity and student engagement while ensuring all students feel welcome and respected? 

Scene from The Maltese Falcon. (Photo/Warner Bros.)

Hello, and welcome to the first of hopefully many Retro Reels. A film review column where I’m going to take a look at films of old and obscure, the forgotten and the weird.

And to start off this film review column, I’m going to talk about books. 

The walls of my local bookstore are adorned with posters of old books people don’t read anymore. The Bell Jar, The Sound and the Fury, For Whom the Bell Tolls, but I’ve always been fascinated with The Maltese Falcon.

The Maltese Falcon is a 1930 detective novel by Dashiell Hammett about a detective who gets caught up with criminals searching for the ancient Maltese Falcon.

I’ve always been curious about the story, being a big fan of detective stories and film noir, so what better time to watch it than for this column? 

The Maltese Falcon has been adapted twice, first in 1931, directed by Roy Del Ruth, and again in 1941, directed by John Huston.

The latter is the one I watched, as it’s the version that became famous. Critics praised it as “the best mystery thriller of the year” (The New York Times), and it was one of the first 25 films to be preserved by Congress in the National Film Registry.

So, does The Maltese Falcon live up to all the hype?

Unfortunately, no.

The Maltese Falcon is a very dated film, not because it has offensive jokes or dated references, but because of how it is written and directed.

The film starts with Detective Sam Spade (Humphrey Bogart) being hired by Ruth Wonderly (Mary Astor) to help find her sister, who ran off with a man named Floyd Thursby. Spade’s partner trails Thursby and is shot and killed, but then Thursby also turns up dead, and Spade needs to figure out what exactly is going on.

It’s a pretty good hook for a detective story. 

There’s the mystery of who did the murders, and it has a personal connection to the main detective with the dead partner.

The only problem is that Sam Spade doesn’t do any detective work.

A good detective story or mystery is one that the audience can follow along with and solve in real-time as the characters do, such as Knives Out or Chinatown. The Maltese Falcon is not that.

Throughout the film, every major character and piece of evidence waltzes into Spade’s office with zero warning. Nothing is earned; Spade either walks into it, or it walks into Spade.

Even the titular Maltese Falcon shows up at Spade’s door unannounced while he’s talking to his secretary about what’s going on, and that’s another problem with the movie.

The characters talk so much and fast that you lose the plot.

The biggest thing I’ve learned over my many film classes is show, don’t tell.

You don’t want your characters to constantly talk about what they’re doing or why; they should do it and let the audience figure out the why based on their actions and interactions with other characters.

But in The Maltese Falcon, Sam Spade just doesn’t shut up.

He talks a mile a minute about what’s going on and talks so much that his words fly over the audience’s heads.

There’s also never anything meaningful in his words, nothing that lets you come to understand the character better or learn why he does what he does.

He is solely focused on talking about the plot and advancing said plot. Because of this, Sam Spade comes off as a really heartless and bland character. 

Sam Spade is a far cry from the well-rounded, motivation-driven characters featured in films today.

He never faces hardships or shows strong emotions (even at his partner’s death). He always knows what to say, using his silver tongue to advance the plot at every turn, manipulating each crooked individual after the Maltese Falcon without a sweat. 

It results in a really boring film, as there’s nothing exciting for modern audiences to cling to. He doesn’t get into any shootouts or ever feels like he’s in danger. There’s a very small side-plot about the police suspecting Spade of killing his partner, but nothing ever comes of it. It’s just a distraction from the main story, which itself is also a mess.

The Maltese Falcon feels like a story that’s part of another, much larger and more enjoyable story.

The main villain, Kasper Gutman (Sydney Greenstreet), talks about how he’s searched for the Maltese Falcon for 17 years through fires in Paris, heists in Istanbul, and shootouts in Hong Kong.

This sounds ten times more interesting than The Maltese Falcon’s story, in which things conveniently fall into the detective’s lap so we can reach the end. 

While a terrible detective story, The Maltese Falcon does provide a fascinating glimpse into an age of films long gone—an age where films focused on plot over character and talked endlessly about what was going on.

But even if it’s been dated by the years, The Maltese Falcon is still an essential part of film history.

There’s a clear line of evolution from the cool-headed, fast-talking Sam Spade to the fearless, quippy action heroes featured in films today (Tom Cruise, Dwayne Johnson, Jason Statham, etc).

Maybe those films will also age poorly, like The Maltese Falcon, but that’s film for you.

They’re time capsules of the past, preserved forever for our enjoyment, flaws included, but will always be “the stuff that dreams are made of.”

Display of HONOR SONG at OKCMOA. (Photo/Nadia Tallroth)

The First American artist, Hock E Aye Vi Edgar Heap of Birds created HONOR SONG, a striking exhibit showcased throughout the Oklahoma City Contemporary Museum of Art.

Running from February 20, 2025, to August 4, 2025, his work is open to the public free of charge, offering visitors an exploration of First American history and culture.

To understand the impact of HONOR SONG, one must recognize the artist’s educational journey and his commitment to both fine arts and Native American studies.

He was born in Wichita, Kansas, and is a citizen of the Cheyenne and Arapaho tribes. Driven by a dedication to education, he pursued a Bachelor’s and Master’s Degree in Fine Arts.

His passion for knowledge led him to teach in 14 countries and spend 30 years at the University of Oklahoma, where he is now a Professor Emeritus for the Native American Studies Department.

Beyond his academic career, Edgar Heap of Birds’ Art challenges us to reflect on the history of First Americans, blending various media to create powerful statements of sorrow, resilience, and rebirth.

Through “abstract landscape paintings, colorful text-based prints, drawings, sculptures, glass works, and public art interventions,” Heap of Birds has been able to “advocate for Native American rights, global Indigenous sovereignty, and relationship to place” (OKCMOA).

As visitors approach the exhibit, they are first greeted by a thought-provoking installation outside the museum that sets the tone for what lies within.

On the lawn, a large circle of road signs spell out a United States city in reverse, followed by “Today is your host” and the name of a First American tribe.

This installation, forcing visitors to read backward, suggests disorientation from their way of life.

Once inside, the exhibit continues this theme but offers moments of peaceful connection to the land. This would include the artist’s abstract landscape paintings.

These works are displayed in four groups, reflecting land’s importance in First American culture.

Upon arriving at the fourth floor, visitors catch a glimpse of his creative process as he describes painting a few strokes every day until he reaches his sets of four.

The connection between land and spirit becomes even more evident at the center of the room, where the glimmering glass sculptures reflect the light around them, highlighting the beauty of the land they represent.

In the following hall, calm remains; however, with slight confusion. Different shades of blue text prints, one side brighter and the mirrored side faded, seem illusive.

As guests continue reading, stories are captured through people, animals, and nature. “Red Bird Black Wolf Howling Crane,” “Starr Orange Woman Going Up Hill,” and “Antelope Hail Magpie Chips Cahoe Cometsevah.”

As visitors continue forward, the air of the room seems to hang. This portrayal is a mix of screaming reds and oranges replacing the calming blues.

The text reads “Wicked America Molest Sacred Native Ways,” “Dishonors 1851 Fort Laramie Treaty,” “U.S. Give Apology Abuse of Sacred,” and many others like it.

Finally, turning the corner, the colors are all a mix of dark browns, almost resembling bruises from the collective physical and mental pain. “Six Children Died in Border Patrol Custody,” “For the Myth of Public Safety,” and “Border Water Crossing Father Daughter Dead.”

Visitors then discover the bright pigmentation reflects how the First Americans see themselves as bold and current versus the faded side resembling society’s forgotten and decrepit view.

The development of the three sections bears witness to the individual and collective trauma of First Americans.

These works serve as a haunting reminder of the past and a call to action, urging reflection on the continued fight for justice.

While this singular section is much to absorb, it is just the beginning of HONOR SONG.

Through a rich tapestry of art, history, and human rights, Hock E Aye Vi Edgar Heap of Birds invites us to reflect on the “Reckoning, Resilience, Renewal, and Rhythm” that have shaped and continue to shape the lives of Indigenous peoples today.

As you leave the Oklahoma City Contemporary Museum of Art, you may carry a deeper understanding of the enduring legacy of those who walked the land before you.

Display of “Light Left On” at OCU Norick Art Center. (Photo/Bryan Cardinale-Powell)

“A signal – an invitation – a warning; vacant and possessed. A light left on at night is common but not uncomplicated, like a photograph,” Bryan Cardinale-Powell, Associate Film Professor and Chair at Oklahoma City University describes his work.

Currently on display at the OCU Norick Art Center, Cardinale-Powell’s photography invites students, professors, and the community to experience this exhibit.

Open Monday through Friday from 8 a.m. to 10 p.m., “Light Left On” is free to the public and offers an opportunity to dive into the subtle beauty of everyday scenes frozen by photography.

Cardinale-Powell’s passion for photography is deeply influenced by his family’s long history with the art form.

His grandfather photographed caskets for catalog illustrations, while his father captured images of people telling their stories through his work.

This lineage of photographers has shaped Cardinale-Powell’s voice.

From an early age, Cardinale-Powell enjoyed observing the world around him, capturing images without being involved in the chaos around him. Through this detached observation, he “got into a kick of photography at night” (Cardinale-Powell).

The unique lighting of Oklahoma City’s streets, paired with the stillness of the night, provided the perfect backdrop.

“You never know what you’ll see,” Cardinale-Powell says. “I try to stay open… It’s less about intention and more about reaction.”

Each photograph captures something familiar- an everyday storefront or a quiet street scene.

Display of “Light Left On” at OCU Norick Art Center. (Photo/Bryan Cardinale-Powell)

Through Cardinale-Powell’s lens, these moments are laced with new meaning.

A photograph of a storefront with plastic coverings, lit by the soft glow of an odd assortment of lamps, offers a new sense of mystery.

Display of “Light Left On” at OCU Norick Art Center. (Photo/Bryan Cardinale-Powell)

The shadows, the hazy light, and the unknown beneath the plastic ask the viewer to reconsider their initial assumptions of the work.

Some of Cardinale-Powell’s artistic inspiration comes from well-known photographers such as Alec Soth and Stephen Shore.

Soth’s wandering, observational style of photography and Shore’s candid photos of everyday life in the ’70s and ’80s have influenced Cardinale-Powell’s approach to finding beauty in the seemingly mundane.

One image that stands out in the exhibit is a small yellow chair sitting at the edge of a wire fence, casting a shadow into the dark.

At first glance, the scene seems simple; however, its air of solitude brings mystery along with it.

Captivating demonstration of the bright yellow chair. (Photo/Bryan Cardinale-Powell)

The bright yellow chair, in juxtaposition with the darkness, carries a multitude of interpretations. It could represent childhood youthfulness facing the impending darkness out in the distance.

It could be a person’s way to hop the fence without climbing or escaping the enclosed space.

The shadow could represent that even the brightest of objects have dark shadows.

Or it could just be a chair at the viewer’s discretion.

As Cardinale-Powell suggests, “Think of photography more like having a conversation with what you see.” His work creates a dialogue between the viewer and the image, inviting interpretation and reflection on one’s life. 

So, whether you are drawn to the glow or intrigued by the shadows, take a moment to visit the exhibit.

Experience the quiet conversations that these photographs create and let them reveal something new about the world you thought you already knew.

From February 20, 2025, to March 2, 2025, at the Paseo Indoor Theatre, Penelope took the stage, impressing audiences with a performance led by actress Amanda Lee and accompanied by a five-piece band: Dustin Morningstar (piano), Aaron Michael (violin/music director), Joseph Messick (viola), Cheyenne McCoy (cello), and Sarah Stubblefield (drum set).

Penelope takes her turn telling “herstory” through the lens of Odysseus’ wife in Homer’s Odyssey. The Odyssey is a classic that has endured for centuries.

Even in 2025, its popularity continues to rise. Can it still be relevant today?

The answer is yes, very much so.

The queen and wife, left with the entirety of Ithaca, her child, countless suitors to fend off, and heartbreak, now takes hold of the mic centerstage.

Paired with the one-woman show and single-mom trope, this show pretty much covers its bases.

With one-woman shows such as Love, Linda, Bad Dates, and I Am My Own Wife, and single motherhood representation being at the forefront of social issues, Penelope’s story ages like the Old Fashioned she sips during one of her songs.

Supporting Penelope, the string section nods to the traditional duets, trios and quartets in the late 18th century.

However, when the piano and drum set are introduced, hints of jazz, blues and folk create the modern twist that Penelope is aiming for.

Arguably, both time periods are long before the Iliad and Odyssey, yet the fusion of these diverse genres stands as a testament to Penelope‘s timelessness through the centuries.

The combination of the classical string setup with the inclusion of viola, the folksie violin, the improvisational spirit of jazz piano, and the soulful depth of blues drum set and vocals creates a rich tapestry of sound that mirrors Penelope’s complex character.

Through this musical composition, she bridges the ancient and modern worlds, reflecting her adaptability in the face of enduring challenges.

Her story speaks to the universal experience of overcoming hardship, making it relatable to anyone who has faced adversity or sought to reclaim their personal strength. 

This timeless narrative is just one of many powerful performances you can experience at Oklahoma Shakespeare in the Park.

Later season events include The Complete Works of William Shakespeare (Abridged) [Revised] [Again], April 17–27, 2025; The Merry Wives of Windsor, June 5–15, 2025; and Love’s Labour’s Lost, August 7–17, 2025.

As the spring dance show picked up momentum, the sophomores at the Ann Lacy School of Dance found themselves at a pivotal moment in their careers: choosing their dance tracks.

These tracks will determine the direction of their academic focus, and they are currently being decided by the deans and faculty of the school.

All dance majors at the Ann Lacy School of Dance begin as Dance Universal Majors, a designation that allows them to receive a broad dance education during their first four semesters.

However, by the end of their sophomore year, these Dance Universals are sorted into one of three tracks: Dance Performance, Dance Pedagogy or Dance Management.

“It was introduced to us in freshman year that we would start as Dance Universal Majors,” said sophomore dancer Lilly Bryan. “Then, each track would be introduced to us through different classes.”

These classes include traditional dance styles such as ballet, tap and jazz, as well as courses like Introduction to Teaching Strategies and Costume Lab.

This variety helps dancers gain insight into each track while allowing faculty to assess students’ strengths in specific disciplines.

When the time comes, sophomore dance majors submit a form ranking their interest in each track.

A series of meetings between students and faculty follows, ensuring each student is placed in the track that best fits their skills and ambitions. While students express their preferences, the final decision rests with the deans.

Once a track is assigned, the course load adjusts to meet the requirements of that particular focus.

“With performance majors, you have to take acting, private voice lessons and other related classes,” Bryan explained. “For management, you begin taking more business-oriented classes, such as dance studio management, business and finance.”

The school boasts an impressive network of alumni who work professionally as Rockettes, Broadway dancers, cruise ship performers, teachers, managers and agents.

The school’s structured approach mirrors the professional world, helping students prepare for a variety of careers in dance.

Consistently ranked as one of North America’s top dance schools, dancers can be confident they’re making the right moves, no matter which track they pursue.

With the institution consistently rated as one of the top dance schools in North America, dancers can be sure they’re hitting all the right moves no matter what track they end up in.