. How Does the Scene Shape Up? Three promoters, three opinions n a city plagued by venue failures and drowning in disinterest, showgoers often fall through the cracks, and those who don't are left with a shell of scene. During these times of particular adversity, bands and promoters labor endlessly just to draw disproportionately small crowds.       This year saw a number of big venue shake-ups that eventually gave Tulsa live music an entirely new face. Claremore's Mustard Tree shut down while it was still drawing reasonably large crowds. Curly's became the Ikon, which subsequently became Venue 216. But perhaps most significant was the coalescence of several ravaged scenes under the roof of a small, pink building at 11th and Utica.       "I see some positive in the next years with the Ikon opening. Even the Pinkeye," said Matt Stevens of Fat Lip Entertainment in April. True to Stevens' predictions (the latter, at least), the Pinkeye did well, becoming "the" venue for local music. So how completely did it change things, and how much still needs to be changed?       "The great thing is since earlier this year the Pinkeye has proven to be a stable, popular venue that is guaranteed to stick around for the long haul," says Stevens. "So with several opening and closing this year, it would seem like it's not too promising. But when you look at it overall and see that in all of that there has been a constant, it relieves you of the headache that 'searching' for at least a decent place to play can give you."       "This is awesome!" he adds. "Because it is set up as a rental venue yet has the lowest price in town."       "It's the one venue I see staying open for awhile, since the people running it know how to keep a venue open and know what bands to book, who to let rent the place out, etc.," says Ryan Llewellyn of Mosh Productions.       Indeed, the Pinkeye has made progress since its opening earlier this year. After a complete remodeling, it began drawing crowds largely due to its location in Tulsa instead of some surrounding area. The closing of the Mustard Tree and the uncertain status of Curly's further cemented the Pinkeye's standing in the scene. Still, not all are convinced of its merits.       "The Pinkeye is a parasite feeding on the passions of underground youth seeking an alternative to mainstream music," says Dustin Cleveland, a longtime promoter and member of numerous local bands. "Two hundred dollars to book a show in any all-ages venue is ridiculous."       Cleveland later expands on his point: "I have no problem with venues taking money from shows that they host, but if it's a bad night, I think they should split the losses with the band. If you take a percentage instead of flat fee, things seem to go smoother."       His solutions range from the ordinary (house shows) to the unorthodox (shows atop parking garages and on pedestrian bridges). But he's also excited about more conventional solutions.       "It looks as though my friend Lindsay will be having in-stores frequently at her soon-to-be Hodge Podge Books & Zines," says Cleveland.       Llewellyn and Stevens maintain that situations are improving.       "Any band can put on their own show and be in full control of their destiny, if you will," says Stevens of the Pinkeye. "Any promoter can book whomever they choose without any kind of favoritism or politics coming into play or standing in the way."       Llewellyn says he's been having "anywhere from 100 to 250 people at each show. I think it has to do with more shows being in Tulsa now (not in Claremore). Plus we've brought in some big bands kids wanted to see, and they now stick with us every show."       Cleveland is also optimistic, but he has different reasons.       "We had an acoustic show at the Reservoir House on Saturday," says Cleveland. "Twenty or so people showed up, and I couldn't be happier with where I see the future of Tulsa's underground."       So what still needs changing?       "Attitudes," says Llewellyn. "Quite a number of newer kids aren't being 'accepted' when they come to shows, and people target them, kick them while dancing and make fun of them. That needs to change. We need a strong scene where kids can be accepted. I mean, we all had to start out somewhere, you know?"       Stevens, on the other hand, believes it's the bands that need a change in attitude.       "Too many good bands [are] breaking up at the drop of a hat," he says. "The musicians are not taking it seriously or are just not being considerate of their fans."       Cleveland pinpoints division as the biggest problem.       "The scene is fractured. No one has given them a reason to unite," says Cleveland. "The Hodge Podge scene that is forming is, in large part, a reaction to the apathy of the punks and the violence of the tuff guys. There are enough people from both scenes that are disappointed with the current state of Tulsa. Hopefully kids from both scenes will see what we are building as an alternative to the apathy or violence of the scene they are in right now."