Tulsa: May 2009 Archives

Twice this week I have been driving west on 7th St. downtown (which is the only direction you're supposed to drive on 7th St. downtown) and have encountered another driver headed east.

A couple of days ago, at about 6 pm, I was in the left-hand lane on 7th approaching Elgin and another car was between Detroit and Elgin headed toward me in the same lane. The car stopped when it got to Elgin, I honked and proceeded through slowly, driving around the disoriented car, shouting, "It's a one-way street!"

Today was worse. At about 4:50 I took the 7th St. exit from US 75 northbound. Just past the top of the flyover curve, there was a woman in a VW convertible, and the car was almost sideways as she attempted to make a K turn to head back the right way.

The curve of the narrow overpass, the high side barriers, the fact that the car's top was down, and the car's white color all made it hard to spot. Thank the Lord I didn't blink, sneeze, or yawn at the wrong moment, or I'd have plowed right into her.

It doesn't speak well for the vitality of downtown (at least of that part of downtown) that the traffic is so sparse you could be headed down the wrong way on a one-way street or exit ramp and never know it.

Looking at the Google Maps image of the off-ramp, it's easy to see how the driver might have been confused. The off-ramp from southbound US 75 is separated from the northbound US 75 off-ramp by a concrete median. DO NOT ENTER signs look like they apply only to the left side, as if you were on a two-way divided road. There's a WRONG WAY sign, but not until you're pretty on to the off-ramp.

Some big DO NOT ENTER signs just west of Elgin, on both the north and south sides of the street, might help.

MORE: Reader Paul Uttinger provides photographic evidence (from the Beryl Ford Collection) that 7th was not always one-way. This is looking east along 7th from the alley between Detroit and Elgin.

The three-story building visible behind the policeman's face is the only thing in that photo that's still standing. Everything else was gone by the last Sanborn Map update in 1962.

Barthelmes Conservatory will celebrate its fifth anniversary with a special concert this coming Tuesday night, May 19, 2009, at 6 p.m., in the Bernsen Center, 708 S. Boston in downtown Tulsa, in the Grand Hall on the 4th floor. Admission is free. About two dozen students will perform short pieces.

For a story in the latest Urban Tulsa Weekly, Holly Wall spoke with Aida Aydinyan, executive director of the conservatory about the school's history and mission:

"All (of Barthelmes') 63 scholarship students are unique and have fascinating personal stories," said Aydinyan. "However, two of them ... are the first two students to be graduating from the Conservatory Music School program but also that these very first graduating students have been accepted to higher education institutions because of the Conservatory. These amazing and significant happenings deserve to be recorded and achieved.

"It is an incredible feeling to realize that we have invested in the future of these scholarship students and the pride derived from the fact that we indeed prepared them for success in college and performing arts field," she said.

I'm proud to say that my daughter (shown above) was selected to perform a short solo piano piece and my son will perform as part of an ensemble. Another ensemble piece will be performed by Bo Willis and Kiersten Morales on violin, Drew Crane on piano, Emma Hardin on cello, and Zac Hardin on bass. (Emma and Zac play bluegrass cello and bass for Rockin' Acoustic Circus, so Tuesday is a chance to hear their classical side.) I heard this quintet's performance at a studio concert last week -- marvelous. Bo Willis is graduating from the Barthelmes Music School program and will attend the University of Tulsa on a full scholarship.

The theory, as I understand it, is that cities with some combination of great public amenities, natural beauty, and a vibrant cultural scene will attract the Creative Class. Bright young people now pick a place to live, whether or not they have a job waiting for them. The presence of these creative young people will attract employers who need intelligent and creative employees and who will pay them well. The creative young people themselves, as they mix and mingle around town, will create new ventures that will attract new dollars into the local economy.

The recession may be giving us a chance to see how that theory plays out in the real world. Via See-Dubya, I learned of a May 16, 2009, Wall Street Journal story headlined "'Youth Magnet' Cities Hit Midlife Crisis: Few Jobs in Places Like Portland and Austin, but the Hipsters Just Keep on Coming":

This drizzly city along the Willamette River has for years been among the most popular urban magnets for college graduates looking to start their careers in a small city of like-minded folks. Now the jobs are drying up, but the people are still coming. The influx of new residents is part of the reason the unemployment rate in the Portland metropolitan area has more than doubled to 11.8% over the past year, and is now above the national average of 8.9%.

Some new arrivals are burning through their savings as they hunt for jobs that no longer exist. Some are returning home. Others are settling for low-paying jobs they are overqualified for....

The worst recession in a generation is disrupting migration patterns and overturning lives across the country. Yet, cities like Portland, along with Austin, Texas, Seattle and others, continue to be draws for the young, educated workers that communities and employers covet. What these cities share is a hard-to-quantify blend of climate, natural beauty, universities and -- more than anything else -- a reputation as a cool place to live. For now, an excess of young workers is adding to the ranks of the unemployed. But holding on to these people through the downturn will help cities turn around once the economy recovers.

Portland has attracted college-educated, single people between the ages of 25 and 39 at a higher rate than most other cities in the country. Between 1995 and 2000, the city added 268 people in that demographic group for every 1,000 of the same group living there in 1995, according to the Census Bureau. Only four other metropolitan areas had a higher ratio. The author of the Census report on these "youth magnet" cities, Rachel Franklin, now deputy director the Association of American Geographers, says the Portland area's critical mass of young professionals means it has a "sustained attractiveness" for other young people looking for a place to settle down.

One of the Portland migrants actually had a job on arrival, but lost it:

Tyler Carney, a 29-year-old computer programmer, moved here from Tulsa, Okla. in September when the Internet-security company he was working for relocated to downtown Portland. He was laid off two months later, and today is living off the $417 in weekly unemployment checks. He has trimmed expenses, such as cutting out restaurant meals, ending cable and switching to slower Internet service. Mr. Carney is spending most of his days job-hunting, but has no plans to go back to Tulsa anytime soon. "Portland is a little more progressive than Tulsa was, as far as the culture goes," he says. "This town is awesome. Tulsa tended to roll up the streets at night."

The company, not named in the WSJ story, appears to be Vidoop. Vidoop, which specializes in the user authentication aspect of computer security, was founded in Tulsa. In February 2008, they hired Scott Kveton of the OpenID Foundation as "VP of Open Platforms and the Director of the company's new West Coast office in Portland." In June, they announced that they would move the entire company to Portland. The reasons for the move seem to fit the Creative Class theory of economic development:

"The food was the kicker," [co-founder Joel] Norvell joked. Portland's restaurant scene helped sell them on the Rose City, but it's the city's community of software developers that hooked them. Although Vidoop's tools are proprietary, they interface with an open source login standard called OpenID. Vidoop hopes to tap into the collaborative spirit behind open source software that's prevalent in Oregon's developer community. "We need a certain kind of developer with a certain kind of expertise, and that just did not exist in Oklahoma," [co-founder Luke] Sontag said.

In September, a group of employees moved by caravan from Tulsa to Portland, a trip involving "forty-two people, eight pets, five U-HAUL(R) trucks, four RVs, two trailers, two cars, one camera crew and one blueberry bush."

In November, Vidoop announced a layoff. Last week, there was another layoff.

MORE: Vidoop not only moved the company to Portland, they moved the band Black Swan (now known as No Kind of Rider) as well, but the band seemed more than content with the Tulsa scene:

Any of you who know any of us will know that over the two years of our existence, there's one topic that we talk about the most:

the Tulsa scene.

It is the fans who come out to show after show (even in the same week), when we have nothing to put in their hands and the bands who support each other, share and trade shows, verbally abuse each other during Halo and generally push each other to be better.

It is the venues and the record store that incubated us when we had no equipment, 4 songs and even fewer fans at the show -- that invite us back even after we blow the speakers on their sound system.

It is the coffee shops and bars you can visit any night and see all these people and not even talk about music, but about everything else in the world in a real way. Its that we have journalists in our local papers who actually give a damn about GOOD music, who will both promote AND show up at a show.

(Found via Oklahoma Rock.)

One of Vidoop's programmers was Black Swan's lead singer, Sam Alexander, so the company president offered to move the whole band to Portland if the programmer would stay with the company. In Gary Hizer's profile of Black Swan in the Feb. 27, 2008, Urban Tulsa Weekly, band members talk affectionately of the Tulsa music scene.