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Songwriter Symposium
The Texas Songwriters Association Presents 15th Annual SONGWRITER SYMPOSIUM JANUARY 9 – 13, 20 Holiday Inn Midtown Austin, Texas www.austinsongwritersgroup.com ASG SONGWRITER SYMPOSIUM 2019 SCHEDULE WEDNESDAY, JANUARY 9, 2019 5:00 – 6:30 PM Symposium Registration (Magnolia Room) Walk Up Registration & Pre-Registration Check In: 1. Pick Up Schedule and Wrist Bands 2. Sign Up for the One-On-One with Publisher of Your Choice 3. Sign Up for the One-On-Ones with the music industry professionals ( writers, publicists, lawyers, producers, performance coach, etc. ) 4. Sign up for showcases 6:30 PM: Kick Off Party Meet and Greet! 7:00 – 8:00 PM: Open Mic In The Round 8:00 – 9:15 PM PUBLISHERS PANEL Music Publishers Bobby Rymer, Jimmy Metts, Sherrill Dean Blackman, Steve Bloch, and Antoinette Olesen kick off Symposium 2019 by leading this panel discussing current trends in music publishing. 7:00 – 8:00 PM: Open Mic In The Round 10:00 PM - Midnight SONG PICKING CIRCLES After the Music Publishing Panel, grab your instruments and circle for the opening night song picking circles. THURSDAY, JANUARY 10, 2019 9:00 AM Symposium Registration (Magnolia Room) Walk Up Registration & Pre-Registration Check In: 1. Pick Up Schedule and Wrist Bands 2. Sign Up for the One-On-One with Publisher of Your Choice 3. Sign Up for the One-On-Ones with the music industry professionals ( writers, publicists, lawyers, producers, performance coach, etc. ) 4. Sign up for showcases PUBLISHERS PANEL (HILL COUNTRY BALL ROOM) This is an introduction to the publishers. They will tell you a little about themselves, and some of the things they are currently working on. -
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 -
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. -
Issue 2 | Spring 2019
ARIZONA STATE SPORTS AND ENTERTAINMENT LAW JOURNAL VOLUME 8 SPRING 2019 ISSUE 2 SANDRA DAY O’CONNOR COLLEGE OF LAW ARIZONA STATE UNIVERSITY 111 EAST TAYLOR STREET PHOENIX, ARIZONA 85004 ABOUT THE JOURNAL The Arizona State Sports and Entertainment Law Journal is edited by law students of the Sandra Day O’Connor College of Law at Arizona State University. As one of the leading sports and entertainment law journals in the United States, the Journal infuses legal scholarship and practice with new ideas to address today’s most complex sports and entertainment legal challenges. The Journal is dedicated to providing the academic community, the sports and entertainment industries, and the legal profession with scholarly analysis, research, and debate concerning the developing fields of sports and entertainment law. The Journal also seeks to strengthen the legal writing skills and expertise of its members. The Journal is supported by the Sandra Day O’Connor College of Law. WEBSITE: www.asuselj.org. SUBSCRIPTIONS: To order print copies of the current issue or previous issues, please visit Amazon.com. SUBMISSIONS: Please visit the Journal’s website for submissions guidance. SPONSORSHIP: Individuals and organizations interested in sponsoring the Arizona State Sports and Entertainment Law Journal should contact the current Editor-in-Chief at the Journal’s website. COPYRIGHT ©: 2018–2019 by Arizona State Sports and Entertainment Law Journal. All rights reserved except as otherwise provided. CITATION: ARIZ. ST. SPORTS & ENT. L.J. The Arizona State Sports and Entertainment Law Journal thanks its sponsors, Jackson Lewis, P.C. and William J. Maledon, for their financial contributions. -
Shakespeare and Music in the American South
Country Matters: Shakespeare and Music in the American South Robert Sawyer, East Tennessee State University Abstract While paradoxical, the connection between country music and Shakespeare can help us to understand the role of a "highbrow" signifier in an allegedly "lowbrow" genre of art. This essay examines cultural citations, biographical mythmaking, and parodic performances and concludes that although Shakespeare is used to validate country music as an art form, Shakespearean references are also used ironically to claim a separate ethos for country and its performers and perhaps to encourage a more democratic participation in artistic culture. Let's begin with a quick quiz. Which of the word groups does not fit in the following list: battered pick-up trucks, blue-tick hounds, Pabst Blue Ribbon Beer, and the Bard of Avon. Most folks would pick the playwright, of course. Yet what appears to be the anomaly in this list may not prove to be so. Drawing on Lawrence Levine's work in Highbrow / Lowbrow: The Emergence of Cultural Hierarchy in America (1988) and Michael Bristol's Big-Time Shakespeare (1996), I will extend and expand their work by examining the numerous references, allusions, and uses of "Shakespeare" in music of the American South. Both Levine and Bristol generally ignore the South. While Levine devotes extensive research to New York, Boston, and Philadelphia, he only mentions one southern city, New Orleans, and only in relation to opera; Bristol's book also concentrates on the northeast.1 By failing to consider the southern region of the United States, both critics fall into the cultural trap against which their books warn, that is, the viewing of "culture" in a stereotypical manner by making assumptions about regional sources of entertainment, both elite and popular. -
Dylan's Apocalypse
DYLAN‘S APOCALYPSE: COUNTRY MUSIC AND THE END OF THE WORLD A Thesis by ADAM CLAY GRIFFEY Submitted to the Graduate School Appalachian State University In partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2011 Department of History DYLAN‘S APOCALYPSE: COUNTRY MUSIC AND THE END OF THE WORLD A Thesis by ADAM CLAY GRIFFEY August 2011 APPROVED BY: _____________________________ Dr. James Goff Chairperson, Thesis Committee _____________________________ Dr. Timothy Silver Member, Thesis Committee _____________________________ Dr. Michael Wade Member, Thesis Committee ____________________________ Dr. Lucinda McCray Chairperson, Department of History ____________________________ Dr. Edelma D. Huntley Dean, Research and Graduate Studies Copyright by Adam Clay Griffey 2011 All Rights Reserved ABSTRACT DYLAN‘S APOCALYPSE: COUNTRY MUSIC AND THE END OF THE WORLD. (August 2011) Adam Clay Griffey, B.A., Berea College M.A., English, Appalachian State University M.A., History, Appalachian State University Thesis Chairperson: Dr. James Goff At the end of the 1960s, with the United States escalating a war overseas while a revolution stirred at home, Bob Dylan retreated from his public (if unasked for) role as a spokesman for the political Left, and wrote and recorded two albums of country music. In so doing he merged his abiding interest in the apocalyptic with that of the events of his times. This thesis looks at the history behind John Wesley Harding (1967) and Nashville Skyline (1969) and argues for their relevance as expressions of both the country music tradition and to the history of apocalyptic prophecy. Chapter I discusses Dylan‘s place in the lineage of biblical prophecy and eschatological writing. -
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. -
Willie, Waylon, and Me: Mythopoetic Narratives in Outlaw Country Music
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2005 Willie, Waylon, and Me: Mythopoetic Narratives in Outlaw Country Music Charles Robert Wurl University of Tennessee, Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the History Commons Recommended Citation Wurl, Charles Robert, "Willie, Waylon, and Me: Mythopoetic Narratives in Outlaw Country Music. " Master's Thesis, University of Tennessee, 2005. https://trace.tennessee.edu/utk_gradthes/4598 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Charles Robert Wurl entitled "Willie, Waylon, and Me: Mythopoetic Narratives in Outlaw Country Music." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in History. Janis Appier, Major Professor We have read this thesis and recommend its acceptance: Lorri Glover, George White Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by CharlesRobert Wurl entitled "Willie, Waylon, and Me: Mythopoetic Narrativesin Outlaw CountryMusic." I have examined the finalpaper copy of this thesis for form and content and recommend that it be accepted in partial fulfillmentof the requirement forthe degree of Master of Arts, with a major in History. -
Townes Van Zandt
LESSON GUIDE • GRADES 3-6 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: 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 5: Literary Lyrics 17 Lyric Sheet: Daddy What If? 18 Lyric Sheet: Act Naturally 19 Complete Tennessee Standards 21 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. -
When the Counterculture Picked up a Southern Twang: a Cultural Analysis of Late Sixties and Early Seventies Country Rock Movement
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2014 When The Counterculture Picked Up A Southern Twang: A Cultural Analysis Of Late Sixties And Early Seventies Country Rock Movement Xiang Xu University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the American Studies Commons Recommended Citation Xu, Xiang, "When The Counterculture Picked Up A Southern Twang: A Cultural Analysis Of Late Sixties And Early Seventies Country Rock Movement" (2014). Electronic Theses and Dissertations. 889. https://egrove.olemiss.edu/etd/889 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. WHEN THE COUNTERCULTURE PICKED UP A SOUTHERN TWANG: A CULTURAL ANALYSIS OF LATE SIXTIES AND EARLY SEVENTIES COUNTRY ROCK MOVEMENT A Thesis Presented for the Master of Arts Degree The University of Mississippi Xiang Xu April 2014 Copyright © 2014 by Xiang Xu All rights reserve ABSTRACT My thesis is a cultural analysis of California-based country-rock movement in the late sixties and early seventies. Country rock is a hybrid music genre emerged during this period. Musicians active in the country-rock movement were mostly counterculture hippies, and they adopted country music to serve their own ends. There is no unified ideological thinking in this movement. Some musicians were political while others were not. Music critics generally agree that country rock was a cultural reaction to the cynicism and rootlessness of youth culture in the late sixties and early seventies. -
The Parton Paradox: a History of Race and Gender in the Career of Dolly Parton
Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Spring 2017 The Parton Paradox: A History of Race and Gender in the Career of Dolly Parton Lindsey L. Hammers Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the African American Studies Commons, American Popular Culture Commons, Cultural History Commons, Film and Media Studies Commons, History of Gender Commons, Music Performance Commons, Social History Commons, Television Commons, United States History Commons, Women's History Commons, and the Women's Studies Commons Recommended Citation Hammers, Lindsey L. "The Parton Paradox: A History of Race and Gender in the Career of Dolly Parton." Master's thesis, Georgia Southern University, 2017. This thesis (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. THE PARTON PARADOX: A HISTORY OF RACE AND GENDER IN THE CAREER OF DOLLY PARTON by LINDSEY HAMMERS (Under the Direction of Christina Abreu) ABSTRACT With a career that has spanned over five decades, country music artist Dolly Parton has continually redefined her image and her music to remain relevant. By incorporating the musical and lyrical stylings of disco and other popular music genres into her songs, Parton moved beyond music’s color line to increase her popularity as an artist. This thesis shows how Parton established a distinct career that catered to different audiences as she traversed the musical color line and repackaged what feminism looked like to country music fans during the Women’s Movement of the 1960s. -
Vietnam and the Political Evolution of Rolling Stone Magazine Madeline
Gather No Moss: Vietnam and the Political Evolution of Rolling Stone Magazine Madeline Cohen College of Arts and Sciences University Honors in History Major: History Spring 2011 School of Public Affairs Professor Aaron Bell Minor: Political Science Cohen 2 Abstract In 1967 Jann Wenner founded Rolling Stone magazine. A tribute to the flourishing rock and roll culture of the 1960s, Rolling Stone began as a purely musical publication. However, Rolling Stone changed profoundly in the early 1970s and began publishing a host of political pieces. Today, Rolling Stone is known for its politically radical articles and controversial exposés. This study seeks to identify why and how Rolling Stone shifted from a magazine about music to a political powerhouse. Sifting through the magazine’s archives from 1967-1975, the findings point to something much larger than music which occupied the American conscience at the time: the Vietnam War. The following analysis of Rolling Stone during the war indicates that American failure in Vietnam and the antiwar movement at home strongly affected Wenner and fundamentally changed his magazine. This change has allowed Rolling Stone to become the robust political voice that it is today. Cohen 3 Introduction The Vietnam War profoundly affected American culture. It was the first truly televised war, bringing the gruesome realities of battle into the American home. As Americans became disillusioned with the war in Vietnam and lost hope for any form of traditional victory, a powerful antiwar movement broke out. Especially popular with the youth, antiwar protests often coincided with music festivals and the movement as a whole was pegged to hippie culture, rock and roll, and the New Left.