Without Getting Killed Or Caught: the Life and Music of Guy Clark Pdf, Epub, Ebook
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Here It Might, As Long As It’S Somewhere Worth Traveling
BRUCE ROBISON Bruce Robison has been making music professionally for decades. He still discusses his craft with so much enthusiasm he sounds almost like a kid raving about superheroes. That infectious energy is evident in every note of his new album, Bruce Robison & the Back Porch Band, as well as his new project, The Next Waltz, a blossoming community of artists, fans and friends gathering both virtually and at his recording studio in Lockhart, just outside of Austin. In both cases, the point is to celebrate country music’s rich traditions while giving creativity free rein to go where it might, as long as it’s somewhere worth traveling. It’s also about celebrating Robison’s “love of the craft of song.” “Writing is where it all starts for me,” he explains. “Whether it’s my writing, or songs I want to do with somebody else. I love the mechanics of it; how simple it can be.” Keeping it simple — and organic — was the guiding principle behind the latest album, a collection of Robison originals, co-writes and covers that capture country’s most beloved stylistic elements: good-time, lighthearted romps (“Rock and Roll Honky Tonk Ramblin’ Man”; “Paid My Dues”) and wistful, sometimes bittersweet ballads (“Long Time Coming”; “Still Doin’ Time”). But even the Who’s “Squeezebox” — which Robison calls “a great country song by some English dudes” — shows up, in a lively version dressed with cajun fiddle by Warren Hood and acoustic guitar and harmonies by Robison’s wife, Kelly Willis. Hood is one of a hand-picked crew of regulars tapped for Next Waltz recording sessions with Jerry Jeff Walker, Randy Rogers, Jack Ingram, Rodney Crowell, Willis, Hayes Carll, Turnpike Troubadours, Sunny Sweeney, Reckless Kelly and others. -
Waylon Jennings
TABLE OF CONTENTS 3 Introduction 4 About the Guide 5 Pre and Post-Lesson: Anticipation Guide 6 Lesson 1: Introduction to Outlaws 7 Lesson 1: Worksheet 8 Lyric Sheet: Me and Paul 9 Lesson 2: Who Were The Outlaws? 10 Lesson 3: Outlaw Influence 11 Lesson 3: Worksheet 12 Activities: Jigsaw Texts 14 Lyric Sheet: Are You Sure Hank Done It This Way 15 Lesson 4: T for Texas, T for Tennessee 16 Lesson 4: Worksheet 17 Lesson 5: Literary Lyrics 19 “London” by William Blake 20 Complete Tennessee Standards 22 Complete Texas Standards 23 Biographies 3-6 Table of Contents 2 Outlaws and Armadillos: Country’s Roaring ‘70s examines how the Outlaw movement greatly enlarged country music’s audience during the 1970s. Led by pacesetters such as Willie Nelson, Waylon Jennings, Kris Kristofferson, and Bobby Bare, artists in Nashville and Austin demanded the creative freedom to make their own country music, different from the pop-oriented sound that prevailed at the time. This exhibition also examines the cultures of Nashville and fiercely independent Austin, and the complicated, surprising relationships between the two. Artwork by Sam Yeates, Rising from the Ashes, Willie Takes Flight for Austin (2017) 3-6 Introduction 3 This interdisciplinary lesson guide allows classrooms to explore the exhibition Outlaws and Armadillos: Country’s Roaring ‘70s on view at the Country Music Hall of Fame and Museum® from May 25, 2018 – February 14, 2021. Students will examine the causes and effects of the Outlaw movement through analysis of art, music, video, and nonfiction texts. In doing so, students will gain an understanding of the culture of this movement; who and what influenced it; and how these changes diversified country music’s audience during this time. -
Austin's Progressive Country Music Scene and the Negotiation
Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978 Travis David Stimeling A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements of the Doctor of Philosophy in the Department of Music. Chapel Hill 2007 Approved by: Jocelyn R. Neal, Chair Jon W. Finson David García Mark Katz Philip Vandermeer © 2007 Travis David Stimeling ALL RIGHTS RESERVED ii ABSTRACT TRAVIS DAVID STIMELING: “Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978” (Under the direction of Jocelyn R. Neal) The progressive country music movement developed in Austin, Texas, during the early 1970s as a community of liberal young musicians and concertgoers with strong interests in Texan country music traditions and contemporary rock music converged on the city. Children of the Cold War and the post-World War II migration to the suburbs, these “cosmic cowboys” sought to get back in touch with their rural roots and to leave behind the socially conservative world their parents had created for them. As a hybrid of country music and rock, progressive country music both encapsulated the contradictions of the cosmic cowboys in song and helped to create a musical sanctuary in which these youths could articulate their difference from mainstream Texan culture. Examining the work of the movement’s singer-songwriters (Michael Murphey, Guy Clark, Gary P. Nunn), western swing revivalists (Asleep at the Wheel, Alvin Crow and the Pleasant Valley Boys), and commercial country singers (Willie Nelson, Waylon Jennings), this dissertation explores the proliferation of stock imagery, landscape painting, and Texan stereotypes in progressive country music and their role in the construction of Austin’s difference. -
STEVE YOUNG LL July 2021
STEVE YOUNG - LYRICS Steven Timothy Young, 12th July 1942 - 17th March 2016 Compiled by Robin Dunn assisted by Chrissie van Varik. Please note that this list should be regarded as a ‘work in progress’. We don’t claim definitive knowledge about Steve Young’s recorded and composing output and welcome corrections and/or new information. Many folks will have greater knowledge than we about the details on many of these tracks - musicians, dates of recordings, background etc. As anyone with any experience of these things knows, something new and unexpected is always turning up! If anyone epitomises the title of our website it has to be Steve Young. He covered the full gamut of folk, country, blues, and rock ‘n’ roll. Not so well known with the general music-buying public he was nevertheless a huge influence on contemporary and upcoming folk and country musicians many of whom went on to become famous in their own right. Perceived as somewhat of an independent country and folk outsider he was a pioneer of the country rock, Americana, and Alt. Country sounds and often seen as the original so called ‘outlaw’ a label later adopted and inculcated by Waylon Jennings, Johnny Cash and Willie Nelson among others. However, Steve Young’s repertoire was much wider and varied. Steve Young was born on 12th July 1942 in Newnan, Georgia. He grew up in Gadsden, Alabama, and in Texas, as the family regularly moved around in search of work. By the time he completed high school he was playing and writing songs that incorporated influences of folk, blues, country and gospel that he absorbed whilst travelling throughout the South. -
Susanna Clark March 11, 1939-June 27, 2012
Susanna Clark March 11, 1939-June 27, 2012 Susanna Talley Clark’s talents transcended songwriting. She was a hit songwriter, an accomplished painter, and an extraordinary muse to many celebrated artists. During the 1970s, 80s, and 90s, Susanna hosted an artist salon in Nashville, where important characters of the growing Americana music movement gathered to share ideas and swap songs. In addition to her husband Guy Clark, Susanna inspired music luminaries Townes Van Zandt, Rodney Crowell, Steve Earle, Emmylou Harris, Lyle Lovett, Willie Nelson, Waylon Jennings, Vince Gill, Carlene Carter, Jerry Jeff Walker and countless other writers and artists. Born in Atlanta, Texas in 1939, Susanna met songwriters Guy Clark and Townes Van Zandt in the late 1960s. She moved to Houston with Guy in 1970. Later that year, Susanna and Guy moved to Los Angeles together and then to Nashville when Guy got his first publishing deal in 1971. Van Zandt came to Nashville to be the best man when Guy and Susanna married in 1972. He lived with them for the first eight months of their marriage. Guy and Susanna were married. Guy and Townes were best friends. Susanna and Townes were soulmates. Although Guy got most of the credit, it was Susanna who dreamed up and began writing the timeless songs “Black Haired Boy,” (about Townes), “Old Friends,” and “The Cape.” She brought lyrics and simple chords to Guy and he helped her finish them. Susanna and Townes co-wrote “Heavenly Houseboat Blues” and Townes recorded it on The Late Great Townes Van Zandt. Susanna became the hit songwriter in Clark family when she wrote “I’ll Be Your San Antone Rose and Texas artist Dottsy took the song to the Billboard Top 10 in 1975. -
Biography: Susanna Clark
BIOGRAPHY: SUSANNA CLARK MUSE TO THE OUTLAW MOVEMENT Susanna Clark was an accomplished songwriter and painter whose artwork famously adorns album covers. But perhaps her greatest contribution to the Outlaw movement was the creative force field she generated for her husband, Guy Clark, and their best friend, Townes Van Zandt, both legendary song poets. “Susanna Clark was a candle,” music historian Brian T. Atkinson wrote in a tribute to Clark after her death in 2012. “Many gravitated toward her flame.” She was the “muse to two of our greatest songwriters,” Atkinson continued, “and the seamstress that held together Nashville’s songwriting community throughout the 1970s and beyond.” Born Susanna Talley on March 11, 1939, in Atlanta, Texas, she was the sixth of nine children; her father was a successful entrepreneur who moved the family to in each other,” wrote Tamara Saviano, Guy Clark’s Oklahoma City as his business ventures prospered. biographer. “Guy wrote songs. Townes wrote songs. The city was also home to her mother’s family, a wealthy Susanna painted and composed poetry.” oil dynasty, and Susanna and her siblings became Susanna Clark was also absorbing the craft of members of high society. In 1969, she was teaching songwriting from the masters, and she eventually tried art at a private school founded by her mother’s family her own hand. In 1975, Dottsy took Clark’s song, “I’ll Be when she became friends with Clark and Van Zandt, Your San Antone Rose,” to the Top Fifteen. Another hit, who were visiting Oklahoma City to perform at a local “Easy From Now On,” has been recorded by co-writer coffeehouse. -
Without Getting Killed Or Caught: the Life and Music of Guy Clark Free
FREE WITHOUT GETTING KILLED OR CAUGHT: THE LIFE AND MUSIC OF GUY CLARK PDF Tamara Saviano | 352 pages | 31 Oct 2016 | Texas A & M University Press | 9781623494544 | English | College Station, United States Without Getting Killed or Caught - IMDb Build up your Halloween Watchlist with our list of the most popular horror titles on Netflix in October. See the list. This minute documentary follows Guy Clark, Susanna Clark, and Townes Van Zandt as they rise from obscurity to reverence: Guy, the Pancho to Van Zandt's Lefty, struggling to establish himself as the Dylan Thomas of American music, while Susanna pens hit songs and paints album covers for top artists, and Townes spirals in self-destruction after writing some of Americana music's most enduring and influential ballads. Saviano, a longtime figure on the Americana scene as journalist, publicist, artist manager, and Grammy-winning producer, had the complete cooperation of Clark, who sat for interviews on and off camera. Freeway" also offers poignant reflections from Written by Tamara Saviano. Looking for something to watch? Choose an adventure below and discover your next favorite movie or TV show. Visit our What to Watch page. Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Guy Clark, the dean of Texas songwriters, struggles to write poetic songs while balancing a complicated marriage with wife Susanna, and a deep friendship with writer Townes Van Zandt, on whom Susanna forged a Without Getting Killed or Caught: The Life and Music of Guy Clark dependence. -
Outlaws and Armadillos: Country’S Roaring ‘70S Capsule Bios of Pivotal Artists
Outlaws and Armadillos: Country’s Roaring ‘70s Capsule Bios of Pivotal Artists Kris Kristofferson—Along with Tom T. Hall, John Hartford, and Mickey Newbury, Kristofferson elevated the language of country music in the late 1960s and early 1970s. Equally inspired by two key Williams — William Blake and Hank Williams — he was integral in merging the street-level counter-culture with the mainstream. He wrote country classics including “”For the Good Times” and “Sunday Morning Coming Down” as well as Janis Joplin’s rib-rattling rock statement, “Me and Bobby McGee.” He also sang progressive anthems including “Jesus Was a Capricorn.” Willie Nelson — Nelson struggled in the 1960s as he sought to match his songwriting success (“Hello, Walls,” “Crazy”) with progress as an entertainer. Depressed by his inability to do this, he lit out for his native Texas in 1971 and emerged as a uniter of rednecks, hippies, and freaks. In Texas, he found a flowering culture that embraced artistry and eschewed cultural labels. He became, and remains, a Buddha-like figure who is loved and revered by people of varying political and musical perspectives. Waylon Jennings — “It’s the same old tune: fiddle and guitar/ Where do we take it from here?” Waylon sang, in a song that answered those very same questions. Jennings, a Texas native, came to Nashville in the 1960s and was dissatisfied by a glossy “Nashville Sound” that he said fit him “like syrup on sugar.” He fought and won creative freedom and recorded some of the greatest and most distinctive songs in country music history. -
OUTLAWS and ARMADILLOS: COUNTRY’S ROARING ’70S to OPEN at the COUNTRY MUSIC HALL of FAME and MUSEUM® MEMORIAL DAY WEEKEND
Exhibit artifacts L-R: Jessi Colter and Waylon Jennings portrait, from the Leonard Kamsler photo collection; Kris Kristofferson’s U.S. Army shirt; Willie Nelson’s signature sneakers OUTLAWS AND ARMADILLOS: COUNTRY’S ROARING ’70s TO OPEN AT THE COUNTRY MUSIC HALL OF FAME AND MUSEUM® MEMORIAL DAY WEEKEND A Tale of Two Cities: Nashville Rebels and Austin Cool Form A RowDy FounDation for Country Music NASHVILLE, Tenn. May 9, 2018 – On May 25 the Country Music Hall of Fame® and Museum will unveil Outlaws & Armadillos: Country’s Roaring ’70s, a first-of-its-kind major exhibition. Running through February 14, 2021, the exhibit presents a tale of tWo cities—Austin and Nashville—and explores an era of freeWheeling cultural and artistic exchange that skirted the status quo and forever changed country music. Featuring renegades including Willie Nelson, Waylon Jennings, CoWboy Jack Clement, Jessi Colter, Jerry Jeff Walker, Guy Clark, Joe Ely, Billy Joe Shaver, and Bobby Bare, the exhibit compels and surprises With never-before-seen intervieWs, rare photos, commissioned artWork, personal memorabilia, costumes and ephemera that are sometimes funky and often wondrous. Artifact cases line the Walls and vibrate With energy, as touchstone artifacts sit side-by-side, for the first time: Nelson’s signature sneakers, Clark’s Randall knife, Colter’s dresses, Susanna Clark’s album cover paintings, Shel Silverstein’s Worn and battered songWriting guitar, Doug Sahm’s 1963 Fender Telecaster, and the whiskey still shared by Tom T. Hall and Rev. Will D. Campbell are all included, and the story is enriched by large video screens on Which visitors can experience intervieWs With the era’s legends. -
Billboard-1975-12-06
08120 NEWSPAPER ;Sr110éR «76 tt* 156 151 R BB R SNYDER 3639 MARY A'JN 9R LEBANON 3036 81 St YEAR A Billboard Publication The International Music -Record -Tape Newsweekly December 6, 1975 $1 50 Ford Foundation In Disco Tour NEW DISK FORMULA? $180,000 Disk Outlay Sets Target L.A. Philharmonic By IS HOROWITZ Of 23 Cities NEW YORK -The Ford Founda- Atlantic's Glew By JIM MELANSON tion has disbursed $- 80,000 to 15 la- NEW YORK -A disco -themed Contract Disputed bels in the first nine months of its dance /concert package created by program to stimulate commercial Forum Keynoter Drew Cummings and quietly sup- By ROBEFT SOBEL recordings of serious works by living NEW YORK -'I he keynote ported by the Dimples discotheque GRC Assets Sold NEW YORK -Jos Angeles Phil- American composer;. speaker at the opening session of chain is being offered to arenas harmonic Orchestra management So far more than 40 LPs bearing Billboard's first International Disco throughout the East by the William To L.A. Agency claims it has achieved a union con- sponsored performances are being ForLm will be David Glew, vice Morris Agency. tract breakthrough providing that processed or have a ready been re- president of Atlantic Records. With the go -ahead signal given By DAVE DEXTER JR. only musicians taking part in leased. Glew's subject will be "Disco last week, the parties involved have LOS ANGELES -Sale of General recordings be paid for the session. Total commitment of the founda- Power: Myth Or Reality ?" (Continued on page 12) Recording Co.'s assets to the Ameri- The national symphonic formula tion project is $400,(00, and it is due The Forum opens at the Roosevelt can Variety International Agency requires all members of an estab- to run for three years or until the as- Hotel here Jan. -
Unintended Consequences: Robert Earl Keen and the Origins Of
UNINTENDED CONSEQUENCES: ROBERT EARL KEEN AND THE ORIGINS OF THE TEXAS COUNTRY MUSIC SCENE by Richard Kelly, B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in History August 2017 Committee Members: Gary Hartman, Chair Jason Mellard Dan K. Utley COPYRIGHT by Richard Kelly 2017 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Richard Kelly, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. DEDICATION This work is dedicated to anyone who has, or anyone who will in the future, put me on the guest list. ACKNOWLEDGEMENTS In 1992, during my second year of college, I would occasionally tag along with Mike Kilian, a high school friend, to his Alpha Tau Omega parties just west of the campus of the University of Texas at Austin. Not knowing many people, I usually ended up watching the band. This is how I first heard and met Jack Ingram, a fledgling performer and SMU ATO. At the time, none of us could know Ingram was a harbinger of a generation of Texas musicians who, inspired by Robert Earl Keen, would lead a resurgence of interest in original, Texas country music, an echo of the progressive country of the music of Ingram’s, Kilian’s, and my childhood. -
Read Book Without Getting Killed Or Caught: the Life and Music of Guy
WITHOUT GETTING KILLED OR CAUGHT: THE LIFE AND MUSIC OF GUY CLARK PDF, EPUB, EBOOK Tamara Saviano | 352 pages | 31 Oct 2016 | Texas A & M University Press | 9781623494544 | English | College Station, United States Without Getting Killed or Caught: The Life and Music of Guy Clark PDF Book Fans are scary beasts. The significance of Dylan Thomas and Bob Dylan? Open Preview See a Problem? Jan 19, Cory rated it it was amazing Shelves: stamped , biographies-memoirs , hist-ory-orical-fiction , all-time-favorites , read-in , alcove-shelf , current-collection About the Author Diana Finlay Hendricks An accomplished editor, writer, reporter, and photographer for more than 20 years in magazine, newspaper and public relations, Diana has earned statewide and national awards for reporting and photography. Sorry, your blog cannot share posts by email. Great biography of one of my favorite American singer songwriters - Guy Clark. His songs and his collaboration is so inspiring. Oct 11, Rebecca rated it really liked it. Clark was brutally honest in sharing his story with Saviano, with intricate —and intimate — facets that had never before been made public. Edit Storyline This minute documentary follows Guy Clark, Susanna Clark, and Townes Van Zandt as they rise from obscurity to reverence: Guy, the Pancho to Van Zandt's Lefty, struggling to establish himself as the Dylan Thomas of American music, while Susanna pens hit songs and paints album covers for top artists, and Townes spirals in self-destruction after writing some of Americana music's most enduring and influential ballads. Organizing a lifetime into a story is a challenge.