'Blues Boy' Hubbard
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1 Is Austin Still Austin?
1 IS AUSTIN STILL AUSTIN? A CULTURAL ANALYSIS THROUGH SOUND John Stevens (TC 660H or TC 359T) Plan II Honors Program The University of Texas at Austin May 13, 2020 __________________________________________ Thomas Palaima Department of Classics Supervising Professor __________________________________________ Richard Brennes Athletics Second Reader 2 Abstract Author: John Stevens Title: Is Austin Still Austin? A Cultural Analysis Through Sound Supervisors: Thomas Palaima, Ph. D and Richard Brennes For the second half of the 20th century, Austin, Texas was defined by its culture and unique personality. The traits that defined the city ushered in a progressive community that was seldom found in the South. In the 1960s, much of the new and young demographic chose music as the medium to share ideas and find community. The following decades saw Austin become a mecca for live music. Austin’s changing culture became defined by the music heard in the plethora of music venues that graced the city streets. As the city recruited technology companies and developed its downtown, live music suffered. People from all over the world have moved to Austin, in part because of the unique culture and live music. The mass-migration these individuals took part in led to the downfall of the music industry in Austin. This thesis will explore the rise of music in Austin, its direct ties with culture, and the eventual loss of culture. I aim for the reader to finish this thesis and think about what direction we want the city to go in. 3 Acknowledgments Thank you to my advisor Professor Thomas Palaima and second-reader Richard Brennes for the support and valuable contributions to my research. -
Austinmusicawards2017.Pdf
Jo Carol Pierce, 1993 Paul Ray, Stevie Ray Vaughan, and PHOTOS BY MARTHA GRENON MARTHA BY PHOTOS Joe Ely, 1990 Daniel Johnston, Living in a Dream 1990 35 YEARS OF THE AUSTIN MUSIC AWARDS BY DOUG FREEMAN n retrospect, confrontation seemed almost a genre taking up the gauntlet after Nelson’s clashing,” admits Moser with a mixture of The Big Boys broil through trademark inevitable. Everyone saw it coming, but no outlaw country of the Seventies. Then Stevie pride and regret at the booking and subse- confrontational catharsis, Biscuit spitting one recalls exactly what set it off. Ray Vaughan called just prior to the date to quent melee. “What I remember of the night is beer onto the crowd during “Movies” and rip- I Blame the Big Boys, whose scathing punk ask if his band could play a surprise set. The that tensions started brewing from the outset ping open a bag of trash to sling around for a classed-up Austin Music Awards show booking, like the entire evening, transpired so between the staff of the Opera House, which the stage as the mosh pit gains momentum audience visited the genre’s desired effect on casually that Moser had almost forgotten until was largely made up of older hippies of a Willie during “TV.” the era. Blame the security at the Austin Stevie Ray and Jimmie Vaughan walked in Nelson persuasion who didn’t take very kindly About 10 minutes in, as the quartet sears into Opera House, bikers and ex-Navy SEALs from with Double Trouble and to the Big Boys, and the Big “Complete Control,” security charges from the Willie Nelson’s road crew, who typical of the proceeded to unleash a dev- ANY HISTORY OF Boys themselves, who were stage wings at the first stage divers. -
Shoosh 800-900 Series Master Tracklist 800-977
SHOOSH CDs -- 800 and 900 Series www.opalnations.com CD # Track Title Artist Label / # Date 801 1 I need someone to stand by me Johnny Nash & Group ABC-Paramount 10212 1961 801 2 A thousand miles away Johnny Nash & Group ABC-Paramount 10212 1961 801 3 You don't own your love Nat Wright & Singers ABC-Paramount 10045 1959 801 4 Please come back Gary Warren & Group ABC-Paramount 9861 1957 801 5 Into each life some rain must fall Zilla & Jay ABC-Paramount 10558 1964 801 6 (I'm gonna) cry some time Hoagy Lands & Singers ABC-Paramount 10171 1961 801 7 Jealous love Bobby Lewis & Group ABC-Paramount 10592 1964 801 8 Nice guy Martha Jean Love & Group ABC-Paramount 10689 1965 801 9 Little by little Micki Marlo & Group ABC-Paramount 9762 1956 801 10 Why don't you fall in love Cozy Morley & Group ABC-Paramount 9811 1957 801 11 Forgive me, my love Sabby Lewis & the Vibra-Tones ABC-Paramount 9697 1956 801 12 Never love again Little Tommy & The Elgins ABC-Paramount 10358 1962 801 13 Confession of love Del-Vikings ABC-Paramount 10341 1962 801 14 My heart V-Eights ABC-Paramount 10629 1965 801 15 Uptown - Downtown Ronnie & The Hi-Lites ABC-Paramount 10685 1965 801 16 Bring back your heart Del-Vikings ABC-Paramount 10208 1961 801 17 Don't restrain me Joe Corvets ABC-Paramount 9891 1958 801 18 Traveler of love Ronnie Haig & Group ABC-Paramount 9912 1958 801 19 High school romance Ronnie & The Hi-Lites ABC-Paramount 10685 1965 801 20 I walk on Little Tommy & The Elgins ABC-Paramount 10358 1962 801 21 I found a girl Scott Stevens & The Cavaliers ABC-Paramount -
San Antonio's West Side Sound
Olsen: San Antonio's West Side Sound San Antonio’s SideSound West Antonio’s San West Side Sound The West Side Sound is a remarkable they all played an important role in shaping this genre, Allen O. Olsen amalgamation of different ethnic beginning as early as the 1950s. Charlie Alvarado, Armando musical influences found in and around Almendarez (better known as Mando Cavallero), Frank San Antonio in South-Central Texas. It Rodarte, Sonny Ace, Clifford Scott, and Vernon “Spot” Barnett includes blues, conjunto, country, all contributed to the creation of the West Side Sound in one rhythm and blues, polka, swamp pop, way or another. Alvarado’s band, Charlie and the Jives, had such rock and roll, and other seemingly regional hits in 1959 as “For the Rest of My Life” and “My disparate styles. All of these have Angel of Love.” Cavallero had an influential conjunto group somehow been woven together into a called San Antonio Allegre that played live every Sunday sound that has captured the attention of morning on Radio KIWW.5 fans worldwide. In a sense, the very Almendarez formed several groups, including the popular eclectic nature of the West Side Sound rock and roll band Mando and the Chili Peppers. Rodarte led reflects the larger musical environment a group called the Del Kings, which formed in San Antonio of Texas, in which a number of ethnic during the late 1950s, and brought the West Side Sound to Las communities over the centuries have Vegas as the house band for the Sahara Club, where they exchanged musical traditions in a remained for nearly ten years.6 Sonny Ace had a number of prolific “cross-pollination” of cultures. -
Pynchon's Sound of Music
Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage. -
BBB-2017E.Pdf
Big Blues Bender Official Program 2017 1 Welcome to the Bender! It’s our honor and privilege to welcome you all to the 4th installment of the Big Blues Bender! To our veterans, we hope you can see the attention we have given to the feedback from our community to make this event even better, year after year. To the virgins, welcome to the family - you’re one of us now! You’ll be hard pressed to find a more fun-loving, friendly, and all around excellent group of people than are surrounding you this week. Make new friends of your fellow guests, and be sure to come say hi to all of us. We are here to make your experience the best it can be, and we’re excited to prove it! Finally, we would like to acknowledge the hard work and support of the Plaza Hotel staff and CEO Jonathan Jossel. We could not ask for a better team to make the Bender feel at home. -Much Love, Team Bender BENDER SUPPORT PRE & POST HOURS : Wed, 9/6: 12:00p-11:00p • Mon, 9/11: 10:00a-12:00p PANELS & PARTIES Appear in yellow on the schedule Bender Party With H.A.R.T • Wed, Sept. 6 • 8:00p • Showroom $30 GA - The Official Bender Pre-party is proud to support H.A.R.T. 100% of proceeds benefit the Handy Artists Relief Trust. Veterans Welcome the Virgins Party! • Thu, Sept. 7 • 4:00p • Pool Join Bender veteran and host, Marice Maples, in welcoming this year’s crop of Bender Virgins! The F.A.C.E Of Women In Blues Panel • Fri, Sept. -
My Guitar Is a Camera
My Guitar Is a Camera John and Robin Dickson Series in Texas Music Sponsored by the Center for Texas Music History Texas State University–San Marcos Gary Hartman, General Editor Casey_pages.indd 1 7/10/17 10:23 AM Contents Foreword ix Steve Miller Acknowledgments xi Introduction xiii Tom Reynolds From Hendrix to Now: Watt, His Camera, and His Odyssey xv Herman Bennett, with Watt M. Casey Jr. 1. Witnesses: The Music, the Wizard, and Me 1 Mark Seal 2. At Home and on the Road: 1970–1975 11 3. Got Them Texas Blues: Early Days at Antone’s 31 4. Rolling Thunder: Dylan, Guitar Gods, and Joni 54 5. Willie, Sir Douglas, and the Austin Music Creation Myth 60 Joe Nick Patoski 6. Cosmic Cowboys and Heavenly Hippies: The Armadillo and Elsewhere 68 7. The Boss in Texas and the USA 96 8. And What Has Happened Since 104 Photographer and Contributors 123 Index 125 Casey_pages.indd 7 7/10/17 10:23 AM Casey_pages.indd 10 7/10/17 10:23 AM Jimi Hendrix poster. Courtesy Paul Gongaware and Concerts West. Casey_pages.indd 14 7/10/17 10:24 AM From Hendrix to Now Watt, His Camera, and His Odyssey HERMAN BENNETT, WITH WATT M. CASEY JR. Watt Casey’s journey as a photographer can be In the summer of 1970, Watt arrived in Aus- traced back to an event on May 10, 1970, at San tin with the intention of getting a degree from Antonio’s Hemisphere Arena: the Cry of Love the University of Texas. Having heard about a Tour. -
Homegrown: Austin Music Posters 1967 to 1982
Homegrown: Austin Music Posters 1967 to 1982 Alan Schaefer The opening of the Vulcan Gas Company in 1967 marked a significant turning point in the history of music, art, and underground culture in Austin, Texas. Modeled after the psychedelic ballrooms of San Francisco, the Vulcan Gas Company presented the best of local and national psychedelic rock and roll as well as the kings and queens of the blues. The primary 46 medium for advertising performances at the 47 venue was the poster, though these posters were not simple examples of commercial art with stock publicity photos and redundant designs. The Vulcan Gas Company posters — a radical body of work drawing from psychedelia, surrealism, art nouveau, old west motifs, and portraiture — established a blueprint for the modern concert poster and helped articulate the visual language of Austin’s emerging underground scenes. The Vulcan Gas Company closed its doors in the spring of 1970, but a new decade witnessed the rapid development of Austin’s music scene and the posters that promoted it. Austin’s music poster artists offered a visual narrative of the music and culture of the city, and a substantial collection of these posters has found a home at the Wittliff Collections at Texas State University. The Wittliff Collections presented Homegrown: Austin Music Posters 1967 to 1982 in its gallery in the Alkek Library in 2015. The exhibition was curated by Katie Salzmann, lead archivist at the Wittliff Collections, and Alan Schaefer, a lecturer in the Department of English Jim Franklin. New Atlantis, Lavender Hill Express, Texas Pacific, Eternal Life Corp., and Georgetown Medical Band. -
Front Page 1
Presorted Standard U.S. Postage Paid Austin, Texas Permit No. 01949 This paper can be recycled Vol. 38 No. 8 Website: theaustinvillager.com Email: [email protected] Phone: 512-476-0082 Fax: 512-476-0179 July 9, 2010 Dr. Marvin Griffin to be Austin All-Star Band scores victories honored for 41 years of service in Houston Band Competition RAPPIN’ Tommy Wyatt Our schools need to have a Black presence! Ebenezer Baptist The program theme is, Black citizens of Church will honor Dr. “Recognizing the Blessings Austin are asking to Marvin C. Griffin, pastor, for of Longevity”, Scripture: 1 have some input in the 41 years of dedication service Thessalanians 5: 12-13A. selection of the new prin- to the church and commu- Guest speaker is Reverend J. cipal for the L. B J. High nity. The service of Apprecia- C. Adams, Pastor of St. The Austin All-Star ton. The Austin Band com- school. With the depar- tion will be held on Sunday, Edward’s Baptist Church of Band, composed of 140 stu- The Austin band, un- peted against bands from ture of principal Patrick July 11, 2010 at 3:30 p.m. at Austin. The community is in- dents from the Austin and der the director of Reagan Texas, Louisiana, Georgia Patterson from the the church, 1010 East 10th vited to attend all of the ser- surrounding school district, High School Band Director and Tennessee. Above school, the district is left Street. The morning services vices. recently earned honors in Ormide Armstrong, won photo of the Austin All-Star without an African at 8:00 a.m. -
1303 JOHNNY COPELAND.Cdr
International PO Box 935, Byron Bay Tel: 61 2 6687 4441 NSW, 2481 Australia Fax: 61 2 6687 4445 Tel: (02) 6687 4441 Web:http://www.aiminternational.com Fax: (02) 6687 4445 E-Mail:[email protected] TRADING GROUP Pty Ltd ABN 78 093 907 914 Texas Greats Mid Price Music Series Johnny Copeland Working Man’s Blues AVAILABLE NOW Born into desperate poverty in Homer, Louisiana, in 1938, Johnny Clyde Copeland went on to bring the legacy of Texas blues to more far flung audiences than anyone before him. His unique blend of old and new styles helped define the modern blues sound that is carrying us into the 21st century. A young Copeland and his partner Joe Hughes, formed a band called the Deuces of Rhythm and started playing house parties. Before long they were getting decent paying gigs.Copeland cut his first record, “Rock & Roll Lily” in 1958 for Mercury Records. This was the start of a career that would span almost four decades and three continents. After 1973 Copeland started touring tirelessly and was able to keep his chops up while getting to go to Europe 1. Daily Bread and Asia. In the early 1980’s the blues made a comeback (Johnny Copeland) - Copyright Control and Johnny was poised to take full advantage. When 2. Drinking New York City Dry (Johnny Copeland) Johnny Clyde Copeland Inc. things started to happen for Johnny, they happened fast. 3. Wella Wella Baby (Johnny Copeland) Par-Too Music In 1981 he was awarded the blues world’s version of an 4. -
Johnny's Blues Heart
Johnny’s Blues Heart By Kojon Heard The true life story of Grammy award winnning blues ambassador Johnny Clyde Copeland 2018 (832) 570 - 4461 [email protected] instagram.com@smackwater790_ghetto_baby facebook.com/kojonheard 1 INT. JOHNNY’S HOME - EVENING 1 A middle aged, charcoal colored Johnny Clyde Copeland sits staring out of his window, softly strumming his guitar. The radio is on in the background, when the radio DJ announces one of Johnny’s earlier songs. As he picks up his lit cigarette from an ashtray, takes a drag. There is a blank look on his face as the music takes him back. DISSOLVE 2 INT. YOUNG JOHNNY’S BEDROOM - MORNING 2 1950, the camera closes in on a handsome young boy the color of midnight. He is zoned in on his guitar. He jumps to attention from the voice of his MOTHER, from another room. MOTHER Johnny if you don’t get your narrow ass to school, I’ma come in there. And you don’t wanna know what I’ma do with that guitar. 3 EXT. OUTSIDE - MORNING 3 Young Johnny is running frantically towards his school bus that pulls off and leaves before he gets there. He slams his school books to the ground. 4 EXT. OUTSIDE - MORNING 4 Young Johnny is walking to school singing at the top of his lungs. 5 INT. CLASSROOM - MORNING 5 The teacher is in front of the class teaching her lesson. Young Johnny’s head is bobbin back and forth, trying to fight the sleep. He finally succumbs. his neighbor ROBERT reaches over and hits him. -
Home with the Armadillo
Mellard: Home with the Armadillo Home with the Armadillo: Public Memory and Performance in the 1970s Austin Music Scene Jason Dean Mellard 8 Produced by The Berkeley Electronic Press, 2010 1 Greezy Wheels performing at the Armadillo World Headquarters. Photo courtesy of the South Austin Popular Culture Center. Journal of Texas Music History, Vol. 10 [2010], Iss. 1, Art. 3 “I wanna go home with the Armadillo Good country music from Amarillo and Abilene The friendliest people and the prettiest women You’ve ever seen.” These lyrics from Gary P. Nunn’s “London Homesick Blues” adorn the wall above the exit from the Austin Bergstrom International Airport baggage claim. For years, they also played as the theme to the award-winning PBS series Austin City Limits. In short, they have served in more than one instance as an advertisement for the city’s sense of self, the face that Austin, Texas, presents to visitors and national audiences. The quoted words refer, if obliquely, to a moment in 9 the 1970s when the city first began fashioning itself as a key American site of musical production, one invested with a combination of talent and tradition and tolerance that would make of it the self-proclaimed “Live Music Capital of the World.”1 In many ways, the venue of the Armadillo World Headquarters served as ground zero for these developments, and it is often remembered as a primary site for the decade’s supposed melding of Anglo-Texan traditions and countercultural lifestyles.2 This strand of public memory reveres the Armadillo as a place in which