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New Folk Competition
it is just about New Folk, but it gives you an idea of how important a place New Folk and the support and encouragement for song- writers that exists at the festival has in that history. Rod references many of the names that have become familiar to so many that began their songwriting story at Kerrville. NEW FOLK COMPETITIONS AT KERRVILLE II (1977-1981) This is a series about the com- petition at the Festival and its rich history By 1977, financial losses from of songwriters that have become a part of numerous Kerrville and Austin area rain the festival during the past four decades. damaged performances we produced be- The list includes names like Lyle Lovett, gan to catch up with us. But, thankfully, Nanci Griffith, Lucinda Williams, Lynn our fund-raising campaign to sign up 100 Langham whose song ‘Old Yellow Moon’ sponsors at $100 gave us the seed money we just won a Grammy for Emmylou Har- needed to launch our 6th festival. In addi- ris and Rodney Crowell, Steve Earle, Hal tion, our Van Cliburn concert and our West- Ketchum, Robert Earl Keen, James Mc- ern Swing Festival, both in Austin, did well Murtry and Shawn Colvin. Many of you and gave us additional cash to work with. are familiar with and attend the concerts Main stage artists over the May for the finalists and some have not even 26-29 four-day weekend included Bob- heard of this part of the Festival. by Bridger, Townes Van Zandt and Steve So I am beginning with the birth Young, all of whom served as 1977 New Folk of it written by the Founder Rod Kennedy judges, and the number of New Folk entries to give everyone a way to understand how grew to 85. -
Steve Earle Townes Biography
Steve Earle Townes Biography Steve Earle had two reasons for coming out with this long-planned tribute to Townes Van Zandt now. The first reason is practical. Earle is currently pushing himself to finish a years-in-the-making novel, and he wants to see it in print before the publishing business goes belly up. The second is a more personal concern. Like all artists worthy of the name, Steve Earle loves the truth, and in the case of Van Zandt, he sees that the waters are muddying before his eyes. Very often over periods of years, the truth first becomes myth and myth later becomes truth. In regards to his teacher, hero and friend Townes Van Zandt, Steve Earle was not about to let that happen. “I’m very thankful that when I got out of jail I started meeting people like Jay Farrar and other people his age that knew Townes chapter and verse,” he says. “I’ve always been very thankful for that. But a lot of what powered that is a take on roots music that comes from alternative music, and the crowd that kind of attached itself to Townes was the same kind of people that have White Light / White Heat in the front of their record collection so everybody knows how intense they are when they have a party. I love that record, but I don’t think I’ve listened to it all the way through since I bought it.” “I’m tryin’ not to kill myself,” he laughs. Van Zandt’s reputation has been under something of an overhaul since the dawn of the 1990s. -
Putting the "Folk" Back Into Houston's Music History
Putting the “Folk” Back into Houston’s Music History Norie Guthrie 46 Wheatfield at Austin City Limits, left to right: Bob Russell, Connie Mims, Damian Hevia (drums), and Craig Calvert, 1976. Courtesy of the Wheatfield and St. Elmo’s Fire collection, Woodson Research Center, Fondren Library, Rice University. While Austin enjoys international acclaim for its live music scene, Houston has long had one of the richest and most diverse musical histories of any city in Texas. Although not always adequately recognized for its contributions to the state’s songwriting traditions, Houston had a thriving folk music scene from the 1960s to the 1980s, helping launch the careers of numerous singer-songwriters. Founded in January 2016, the Houston Folk Music 47 Archive at the Woodson Research Center, which is part of Rice University’s Fondren Library, seeks to preserve and celebrate Houston’s folk music history, including its artists, venue owners, promoters, producers, and others. During the process of digitizing 2-track radio reels from Rice University’s student-run radio station, KTRU, I discovered a large number of folk music recordings, including live shows, interviews, and in-studio performances. Among these were such radio programs as Arbuckle Flat and Chicken Skin Music, which feature interviews and performances by Eric Taylor, Nanci Griffith, Lucinda Williams, Vince Bell, and others. The musicians tell stories about how they ended up in Houston and became part of the thriving folk community centered in the Montrose neighborhood. Not having grown up in the area, I was unaware that the local scene was so vibrant that several artists, including Lucinda Williams, had left Austin to join Houston’s tight-knit folk community. -
Mountain Stage Guest Artist List
MOUNTAIN STAGE GUEST ARTIST LIST 1981 March Bob Thompson Jazz Trio, Putnam County Pickers 1983 December Larry Parson’s Chorale, Bob Thompson Jazz Trio, John Pierson 1984 January Currence Brothers, Ethel Caffie-Austin Singers, Terry Wimmer February Rhino Moon, Moloney, O’Connell & Keane, Alan Klein, Robert Shafer March Trapezoid, Charleston String Quartet, Bonnie Collins, April Stark Raven, Joe Dobbs/Friends, Alan Freeman, Joe McHugh May Hot Rize, Red Knuckles & Trailblazers, Karen McKay, Alan/Jeremy Klein June Norman Blake/Rising Fawn Ensemble, Appalachian String Quartet, Elmer Bird, Jeff and Angela Scott July Still Portrait, Everett Lilly/Appalachian Mountain, Sweet Adelines August Bill Danoff, Ann Baker/Bob Thompson Trio, Bob Shank, Alice Rice September Clan Erdverkle, Ron Sowell, Tracy Markusic, Shirley Fisher October Critton Hollow String Band, Tom Church, Marc & Cheryl Harshman November Turley Richards, Night Sky, Mountain Stage Regulars December (1 hr. Christmas special) West Virginia Brass, Bob Thompson, Devon McNamara 1985 January Turley Richards, West Virginia Brass, Bonnie Collins February Whetstone Run, Lucky Jazz Band, Alice Rice March Alex de Grassi, Nat Reese, Maggie Anderson April Guy Clark, Trapezoid, Marc Harshman May Bob Thompson, Ann Baker, Paul Skyland, Devon McNamara June 1 (Spoleto-Chas, SC) Hot Rize, Red Knuckles, John Roberts/Tony Barrand, Moving Star Singers June John McEuen, Mountain Thyme, John Rosenbohm, Bonnie Collins July Bill Danoff, Steadfast, Faith Holsaert August Buster Coles, Bing Brothers, Bob Baber -
Copyright by Craig Dwight Hillis 2011
Copyright by Craig Dwight Hillis 2011 The Dissertation Committee for Craig Dwight Hillis Certifies that this is the approved version of the following dissertation: The Austin Music Scene in the 1970s: Songs and Songwriters Committee: __________________________________ Mark C. Smith, Supervisor __________________________________ Douglas E. Foley __________________________________ Karl H. Miller __________________________________ Kevin Mooney __________________________________ Jeffery L. Meikle __________________________________ William M. Stott The Austin Music Scene in the 1970s: Songs and Songwriters by Craig Dwight Hillis, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas At Austin August, 2011 Dedication In memory of David Norman Hillis ~ Brother Valerie Ann Hillis ~ Mother Dwight Norman Hillis ~ Father Acknowledgements This project began roughly twenty years ago when I visited the American Studies Department to inquire about their graduate program. I'd been rooting around the History Department where, at age forty-one and only twenty years behind schedule, I'd finished my undergraduate degree. I had the academic bug and I wanted to move on to graduate school. Professor David Montejano was kind enough to let me sit in on one of his graduate courses to allow me to get a feel for what graduate work involved. As the seminar wound down, he suggested that I check out the AMS program on the third floor of Garrison Hall. I looked through the courses the department had been offering over the last few semesters and after noticing subjects like film history, jazz, a large collection of topics in popular culture, and seminars dealing with drugs, alcohol, and the beat generation, I knew I'd found a new home. -
VINCE BELL Releases RECADO on May 8Th
VINCE BELL releases RECADO on May 8th SteadyBoy Records and VinceBell.com are proud to announce the May 8th release of Vince Bell's fourth CD, Recado. Producer Cam King tastefully presented Bell's songs in acoustic arrangements that bring out the subtle magic of his carefully crafted lyrics. His voice, honeyed but gritty, is so evocative and his songs so elliptical that what fills the spaces and the spaces themselves are crucial. "As a songwriter he can easily take his place in that hallowed area occupied by the likes of Randy Newman, Bruce Cockburn and Tom Waits." Appel Farms Festival Said King, "Vince brought a lifetime of music -- twice lived -- into the room, sat before the microphones, tuned his mesquite guitar, counted off each song, and recorded the entire album in one sitting. With only his heart for a metronome and his memory for a lead sheet, Vince put everything he had into these exquisite songs. By the end of the session, I knew I had experienced a very special moment. To have captured such a performance was a rewarding endeavor in the tradition of Leadbelly, Robert Johnson, Release date: May 8, 2007 Jimmy Rogers and all the great live performers of 20th century America." Produced by Cam King "A haunting, spare set of recollections that recall Robert TRACK LISTING: Johnson in their stark intensity and Hank Williams in their country simplicity." Musician Magazine 1. Isla 2:47 2. Give Chance A Chance Speaking about his new CD Vince Bell wrote, "Recado is a collection of 2:54 messages that wind like a long dirt road through the years of my writing. -
Folk” Back Into Houston’S Music History Norie Guthrie
Putting the “Folk” Back into Houston’s Music History Norie Guthrie 46 Wheatfield at Austin City Limits, left to right: Bob Russell, Connie Mims, Damian Hevia (drums), and Craig Calvert, 1976. Courtesy of the Wheatfield and St. Elmo’s Fire collection, Woodson Research Center, Fondren Library, Rice University. While Austin enjoys international acclaim for its live music scene, Houston has long had one of the richest and most diverse musical histories of any city in Texas. Although not always adequately recognized for its contributions to the state’s songwriting traditions, Houston had a thriving folk music scene from the 1960s to the 1980s, helping launch the careers of numerous singer-songwriters. Founded in January 2016, the Houston Folk Music 47 Archive at the Woodson Research Center, which is part of Rice University’s Fondren Library, seeks to preserve and celebrate Houston’s folk music history, including its artists, venue owners, promoters, producers, and others. During the process of digitizing 2-track radio reels from Rice University’s student-run radio station, KTRU, I discovered a large number of folk music recordings, including live shows, interviews, and in-studio performances. Among these were such radio programs as Arbuckle Flat and Chicken Skin Music, which feature interviews and performances by Eric Taylor, Nanci Griffith, Lucinda Williams, Vince Bell, and others. The musicians tell stories about how they ended up in Houston and became part of the thriving folk community centered in the Montrose neighborhood. Not having grown up in the area, I was unaware that the local scene was so vibrant that several artists, including Lucinda Williams, had left Austin to join Houston’s tight-knit folk community. -
Texas Music Education
Abilene Christian University – Brookhaven College 345 TEXAS MUSIC EDUCATION Universities and community and technical colleges offering music, music therapy, and music business degrees and courses; performing arts elementary/secondary schools, and music archives. Available online at www.EnjoyTexasMusic.com as the Texas Music Education Primer. Abilene Christian University Applied Science in Audio and Video Production. Established: 1921 Three career tracts are available: Audio, Video, and Baylor University’s School of Music offers a Department of Music Entertainment Business. We offer a strong Bachelor of Music, Bachelor of Music Education and ACU Box 28724, Abilene, TX 79699-8274 concentration of music business courses including a Master of Music with approximately 360 music (325) 674-2302; (325) 674-2199; Fax (325) 674-2608 Copyright and Publishing, Entertainment Law, majors currently enrolled in the department. An [email protected]; www.acu.edu/ Artist Management, Concert Promotion, Retail and all-level music teaching certificate can be obtained Gregory Straughn, Chairman Wholesale Merchandising, and Selling Techniques through the department. The university has three National Association of Schools of Music for the Audio and Video Industry. More than 1,000 recording studios, three rehearsal studios, and a Texas Association of Music Schools students are enrolled at the Art Institute of Dallas. complete MIDI lab. The Moody Library houses the Texas Music Educators Association complete Bob Darden collection of Gospel and Established: 1906 Austin College • Department of Music Contemporary Christian music (more than 10,000 albums, cassettes, compact discs and videos). Abilene Christian University offers three music 900 North Grand Avenue Suite 61559 degrees: Bachelor of Arts, Bachelor of Music in Sherman, TX 75090-4440 Performance (voice and piano) and a Bachelor of (903) 813-2251; (903) 813-2000; Fax (903) 813-2273 Blinn College • Department of Music Music leading to teacher certification. -
I'll Be Here in the Morning: the Songwriting Legacy of Townes Van
Atkinson: I'll Be Here in the Morning I’ll Be Here in the Morning: The Songwriting Legacy of Townes Van Zandt Brian T. Atkinson 22 Produced by The Berkeley Electronic Press, 2010 1 Townes Van Zandt performing in Nijmegen, The Netherlands, Photo courtesy Paul Needham Journal of Texas Music History, Vol. 10 [2010], Iss. 1, Art. 4 Townes Van Zandt never was a good fit for this earthly world.1 After all, the Fort Worth native, a cult figure at best outside the Austin and Nashville music communities during his lifetime, knew his time here would be short.“I don’t envision a very long life for myself,” a youthful Van Zandt says early in Margaret Brown’s 2005 documentary Be Here To Love Me.“Like, I think my life will run out before my work does, you know? I’ve designed it that way.” He lived fast and wrote faster, even as his blueprint devolved into alcoholism and 2 drug addiction. Like his childhood hero, Hank 23 Williams, Van Zandt died on New Year’s Day. He rests in Fort Worth’s Dido Cemetery. Van Zandt baited his demons for 52 years, a journey further darkened by severe manic depression and electroshock therapy, before dying at his Tennessee home in 1997.3 Along the way, he became one of the modern era’s most elegant lyricists. Consider the opening lines of “Quicksilver Daydreams of Maria”: “Well, the diamond fades quickly when matched to the face of Maria/All the harps they sound empty when she lifts her lips to the sky.” Every word frames the woman’s beauty. -
Literature Born of the Texas Singer-Songwriter Movement of the Last Forty Years" (2016)
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Spring 5-13-2016 The People's Poets: Literature Born of the Texas Singer- Songwriter Movement of the Last Forty Years Phyllis M. Dunham [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Dunham, Phyllis M., "The People's Poets: Literature Born of the Texas Singer-Songwriter Movement of the Last Forty Years" (2016). University of New Orleans Theses and Dissertations. 2212. https://scholarworks.uno.edu/td/2212 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. The People’s Poets: Literature Born of the Texas Singer-Songwriter Tradition of the Last Forty Years A Thesis Submitted to the Graduate Faculty of The University of New Orleans in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing by Phyllis Dunham B. A. Sul Ross State University, 2013 May 2016 Table of Contents List of Figures ................................................................................................................... -
A Minimum Viable Strategy for Archives and Linked Data Using Schema.Org
A Minimum Viable Strategy for Archives and Linked Data using Schema.org Mark A. Matienzo, Stanford University / @anarchivist Society of American Archivists Session 303 #s303 16 August 2018 Rationale and objectives ● Group of archivists and technologists interested in pragmatic approaches to linked data about archives ● Investigating use of Schema.org and its extensions as a minimally viable mechanism for publishing linked data ● Development of mappings from archival description standards to Schema.org/extensions ● Production of RDF-modeled archival description directly from archives management systems Schema.org ● Created in 2011 by Bing, Google, and Yahoo to address structured data format proliferation for search engines ● Provides single schema across range of topics: people, creative works, places, etc. (589 types, 862 properties) ● Used on 1+ billion web pages & many popular websites ● Expressible as JSON-LD, RDFa, and Microdata ● Provides extension mechanism for both Schema.org-hosted and external extensions Schema Architypes ● Schema.org extension to represent archives, proposed for inclusion in October 2017 ● Introduces a minimal set of new types/properties ● Selected as the basis for our data modeling work Mapping description to Schema.org ● Preliminary mappings from ISAD(G), ISAAR-CPF, DACS, and ArchivesSpace/Atom data models ● Mostly straightforward with notable exceptions: ○ Description control ○ Level of description ○ Reference code ○ Precision of note types Example { "url": "http://archives.library.rice.edu/repositories/2/resources/1038", -
March 12, 2019 Media Alert: Vince Bell “Ojo” (Mulatta Records
March 12, 2019 Media Alert: Vince Bell “Ojo” (Mulatta Records MUL039) Street Date: April 3, 2018 Vince Bell - Voice, Guitar, Pedro Cortes - Guitar, Handclaps, Patrick Derivaz – Shaker, Robert Dick - Flute, Contrabass Flute, Ratzo B. Harris – Bass, David Mansfield - Banjo, Dobro, Lap Steel, Violin, Valerie Dee Naranjo - Gyli, Kalimba, Percussions, Renaud-Gabriel Pion - Clarinet, Piano, Rob Schwimmer - Continuum, Piano, Dave Solider - Violin, Handclaps, Satoshi Takaeshi – Drums, Laura Cantrell - Guest Vocalist http://www.vincebell.com http://mulatta.org/ Ojo .html CD Review: https://medium.com/@danouellette/the-most-overlooked-album-of-2018- vince-bells-americana-meets-jazz- Ojo -d9b558a49e6a Now that all the dust has settled on the lists of what were deemed the best critically applauded albums in 2018, it’s high time to factor in what were the most overlooked — the tragically underappreciated or even totally missed recordings that have now been swept under the rug, drifted out to sea or dumped from consideration. Granted there is a plethora of music bombarding us with the mediocre or the derivative or the just plain horrendous to hear. But then there are the hidden sonic surprises that must be heard because of their singular speech and creative reserves that were decidedly not designed for the commercial world. Think art gallery of music. At the top of the neglected pack is Texas-born, Santa Fe-based Vince Bell’s remarkable Ojo, which slipped in largely unnoticed among the chart busters with its unconventional, oblique and magical clout. As such, its uniqueness created a milestone of Americana meets avant-garde jazz with Bell’s sagacious and humorous poetry, roughhewn spoken-word readings and improvisational instrumental freeform created on the spot.