The Caravan Playlist 171 Friday, September 9, 2016 Hour 1 Artist

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The Caravan Playlist 171 Friday, September 9, 2016 Hour 1 Artist Track CD/Source Label The Coming Grass Take Me Over Untitled Velvet 'Ed Music Julie Miller Two Soldiers Broken Things HighTone The Gourds Tear Box bolsa de agua Sugar Hill Celtic Soul Old Hag, You've Killed Me / Scatter the Mud / Humours of Tulla Wee Blue Man indi Dan Bern Talkin' Woody, Bob, Bruce, Dan Blues Smartie Mine Messenger Records Harvey Reid Vigilante Man Live Concert Recording Private Un-released collection Eric Brandt & the UHQ I Will Beautiful Lazy Paste Music The Gourds High Highs & Low Lows bolsa de agua Sugar Hill Robert Deeble Irish Reel 45 RPM Vinyl Release indi Raiford Starke Speak Me Speak Me Seminole Records The Gourds My Name is Jorge Cow, Fish, Fowl, Pig Sugar Hill Slobberbone That is All Everything You Though Was Right Was Wrong Today New West Celtic Soul Molly Brannigan Wee Blue Man indi Hour 2 Artist Track Concert Source West Texas 1941 The Story of Guy Clark No Track Listing Documentary KUT Austin Guy Clark The Dark The Dark Sugar Hill Records - c 2006 Hour 3 Artist Track CD/Source Label Bruce Springsteen Mansion on the Hill Nebraska Sony/Columbia Ann Savoy & Linda Ronstadt La Chason d'une Fille de Quinze Ans Song of a 15 year old Girl Evangaline Made Vanguard Jan Garbarek & Agnes Buen Garnås Signe Lita Rosensfole ECM Luka Bloom Hands of a Farmer Between the Mountain & the Moon COG Communications Jon Anderson Flowers of the Morning Promise Ring Higher Octave Eric Brandt & UHQ October, St. Mary's Amelia's Boot Fundamental Records / Paste Joseph Curiale Multiple of One Awakening indi Ry Cooder & V.M. Bhatt Isa Lei Meeting by the River Lilypad Issa Bagayogo Timbuktu Timbuktu Six Degree Records Jean Pierre Rampal & Ensemble Lunaire Taki Japanese Folk Melodies CBS Ramananda Toward a City In The Garden Out of Print Matthew Lee Center of Your Heart West of California indi Cowboy Junkies Bea's Song Waltz Across America Latent .

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The 2007 Oxford Conference for the Book
Southern Register Winter 2k7 2/19/07 3:28 PM Page 1 the THE NEWSLETTER OF THE CENTER FOR THE STUDY OF SOUTHERN CULTURE •WINTER 2007 THE UNIVERSITY OF MISSISSIPPI 2007 Oxford Conference for the Book his year’s Oxford Conference for the Book will be a special one. The conference honors each year a Tprominent Southern writer, and Larry Brown will be the focus of attention when the 14th annual conference meets on March 22–24, 2007. Brown was one of the South’s, and nation’s, most acclaimed younger writers, when he died November 24, 2004. The conference will provide the first literary occasion to gather critics, scholars, musicians, teachers, friends, and family to consider and celebrate Brown’s achievements. Brown was an especially well known figure around Oxford. Having grown up in Lafayette County, he studied writing at the University of Mississippi, taught here briefly, and had been a frequent participant in Center work. Brown was a legendary figure—the Oxford firefighter who served the community from 1973 to 1990, when he retired to work full time on his writing. He studied with Mississippi writer Ellen Douglas, and his wide reading and relentless work on his writing contributed to his prolific success. He published his first book, Facing the Music: Short Stories, in 1988. He wrote five novels, a second short-story collection, and two books of nonfiction. His last novel, A Miracle of Catfish, will be published by Algonquin Books of Chapel Hill on March 20, just before the conference begins. Illustrating 2007 Oxford Conference for the Book materials is a Brown received the Mississippi Institute of Arts and Letters Larry Brown portrait made by Tom Rankin in 1996.
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Driving the Economy UNT Alumni Lead Global Businesses [Page 24]
SunMean Belt ChampsGreen page 32 A UNIVERSITY OF NORTH TEXAS PUBLICATION FOR ALUMNI AND FRIENDS VOL. 6 0 , N O . 23 | SF a u l m l m2 0e 1r 02 0 1 0 Driving the Economy UNT alumni lead Global businesses [page 24] Power of Place [page 14] Rosalyn Reades [page 16] Gaming for a Living [page 34] northtexan.unt.edu 2 The North Texan | northtexan.unt.edu | F a l l 2 0 1 0 Inside f a l l 2 0 1 0 FEATURES 14 Power of Place New Life Sciences Complex features state- of-the-art labs and endless opportunities for researchers and students. 16 Rosalyn Reades The doctor takes charge using lessons learned as an honors student and athlete. By Mark Wright 34 Gaming for a Living Computer gaming lab primes alumni for a growing multibillion-dollar industry. By Adrienne Nettles Reynolds Jonathan DEPARTMENTS FR O M OUR PRESIDENT • 3 The rise to the top DE A R NORTH TEXAN • 4 Julia Kuskin Julia The more you learn … Cotton-Tail goodbye UN T TODAY • 7 24 A new flock … Galapagos partnership … Fighting the flu … Sustainable tourism UNT MUSE • 1 9 Sara Hickman … Literary honors … Support for Driving the Economy the grieving … New artist-in-residence a s b u s ine ss le a der s in a N in c re a s ingly EAGLES’ NEST • 3 8 interdependent wo rld, a Lu m ni m a ne u v er Lighting the sky … Connecting With Friends … T h Ro u G h di f f eren c E s in c u lt u re a nd c h a nge s in Upcoming Alumni Gatherings … Down the Corridor … Sewing for the Cheerleaders … In the te c h No Lo G y, tr a de a nd reg u L ati o N s .
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AN EXAMINATION of a MUSIC SCENE AS ECONOMIC CLUSTER Michael Seman, University of North Texas
Artivate: A Journal of Entrepreneurship in the Arts Volume 4, Issue 2 http://artivate.org pp. 33-49 ______________________________________________________________________________________________________________________ WHAT IF HEWLETT AND PACKARD HAD STARTED A BAND INSTEAD? AN EXAMINATION OF A MUSIC SCENE AS ECONOMIC CLUSTER Michael Seman, University of North Texas Abstract A growing area of discourse in urban economics is the value of artistic production and its role in economic development theory. One arts subsector that has received little attention is popular music. Prior research tangentially acknowledges that music scenes function as economic clusters, but little detailing of their dynamics as such exists. The bulk of attention is paid to how these scenes operate in the framework of the broader music industry, not how they contribute to their surrounding urban economic landscapes. This paper uses Michael Porter’s economic cluster theory to examine Denton, Texas’ music scene. Findings point to the scene operating as an economic cluster as defined by Porter in addition to catalyzing economic and community development. Results address the existing gap in research leaving the economic value of music scenes underexplored and help detail the necessary conditions for a music scene to develop. Keywords Urban, Economic, Cluster, Music, Scene, Entrepreneurship Introduction A growing area of discourse in urban economics is the value of artistic production and its role in current economic development theory (Currid, 2009). One arts subsector that has received little attention in this discourse is popular music. Of specific interest are music scenes – the spatially-based cultural agglomerations of human and physical capital that include musicians, consumers, entrepreneurs, technicians, venues, and studios all working together (often in a volunteer, “Do-It-Yourself” or “DIY” nature) to facilitate the creation and performance of music (Bennett & Peterson, 2004; Connell & Gibson, 2003; Florida & Jackson, 2010).
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Jon Nolan Takes a Roadtrip Deep in the Heart of Texas
Rock 'n' roll diary - Jon Nolan takes a roadtrip deep in the heart of Texas By Jon Nolan , of Newmarket ZuZu, , Portsmouth Herald, March 27, 2005 Shortly after midnight, Elvis Costello strolled casually onto the stage to thunderous applause. Bars and clubs are piled, tucked and folded into every nook of the prodigious music town of Austin, Texas - like those summer homes on Hampton Beach, or like the fans clamoring for a better view of the musical legend in front of us. But on this night, Elvis (the English one) was at La Zona Rosa, an excellent 1,000-seat venue with amazing sound. When he and his small crack band kicked into the classic "Radio," I knew I had made the right choice. You see, at the same time around town, I could have been seeing Buddy Holly’s Crickets playing with Nanci Griffith; folkie Melissa Ferrick; Morphine’s ex-members in their new project Twinemen; Duncan Sheik; the punk trio Sleater- Kinney; rock chicks The Donnas, countless lesser-known bands from all around the world or even Billy Idol. And, this was only the first official night of the annual four-day festival known as The South by Southwest Music Festival & Conference (SXSW). Having to make choices like this is a pretty good problem, yes? I was equal to the task. Courtesy photo of Jon Nolan by Matt Robbins Truth be told, being a musician, I was in Austin last week to do some business as well as have some fun. SXSW is kind of like rock ‘n’ roll summer camp.
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COUNTRY COUNTRY .................................1 BEAT, 60s/70s.............................50 AMERICANA/ROOTS/ALT. ........................14 SURF ........................................60 OUTLAWS/SINGER-SONGWRITER ..................16 REVIVAL/NEO ROCKABILLY .......................62 WESTERN .....................................20 BRITISH R&R ...................................67 WESTERN SWING ...............................21 AUSTRALIAN R&R ...............................68 TRUCKS & TRAINS ..............................22 INSTRUMENTAL R&R/BEAT ........................68 C&W SOUNDTRACKS............................22 POP .......................................69 C&W SPECIAL COLLECTIONS ......................23 LATIN ........................................82 COUNTRY CANADA .............................23 JAZZ.........................................83 COUNTRY AUSTRALIA/NEW ZEALAND ...............24 SOUNDTRACKS ................................84 COUNTRY DEUTSCHLAND/EUROPE .................25 SWING.......................................85 BLUEGRASS ...................................25 ........................86 NEWGRASS ...................................27 DEUTSCHE OLDIES KLEINKUNST / KABARETT .........................88 INSTRUMENTAL ................................28 OLDTIME .....................................28 BOOKS ....................................89 HAWAII ......................................29 DISCOGR./REFERENCES STYLES ....................94 CAJUN/ZYDECO/TEX MEX ........................30 PRICE GUIDES .................................94
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2 COUNTRY COUNTRY MARK ABBOTT ESSEN TIAL CD RCA 67621 € 19.50 I RECKON I’M A TEXAN ‘TILL I FOR THE RECORD 2-CD CD RCA 67633 € 32.90 DIE CD 131 01 € 21.90 TWEN TI ETH CENTURY CD RCA 67793 € 9.90 LEGEND ARY 3-CD ROY ACUFF 8 (AUSTRA LIA) CD RCA 94404 19.90 THE KING OF COUNTR Y € MUSIC 2-CD BCD 15652 € 30.68 GARY ALLAN NIGHT TRAIN TO MEMPHIS ALRIGHT GUY CD MCA 170201 € 21.90 2-CD CD CTY 211001 € 14.50 IT WOULD BE YOU CD MCA 70012 € 20.50 HEAR THE MIGHTY RUSH OF JOHNNIE ALLAN ENGINE CD JAS 3532 € 15.34 PROM ISED LAND CD CHD 380 € 17.90 OH BOY CLAS SICS PRES ENT... CD OBR 409 19.50 € JASON ALLEN TRACE ADKINS SOMETHING I DREAMED CD D 9000 € 19.90 GREATEST HITS - ENHANCED REX ALLEN 8 CD CD CAP 81512 € 21.50 VOICE OF THE WEST BCD 15284 € 15.34 BILL ANDERSON 20 GREATEST HITS CD BA 239 € 20.50 A LOT OF THINGS DIFFERENT CD VSD 66262 € 20.50 JOHN ANDERSON BACK TRACKS CD BR 0601 € 19.50 NOBODY’S GOT IT ALL CD CK 63990 € 20.50 SOME HOW, SOME WAY, SOME - DAY (EARLY TRACKS) CD PSR 90624 € 21.50 LYNN ANDERSON ROSE GARDEN / YOU’RE MY MAN CD 494897 € 16.90 8 LIVE AT BILLY BOB’S TEXAS CD SMG 5010 € 15.90 Then They Do- (This Ain’t) No Thinkin’ Thing- The Rest Of Mine- Chrome- I’m Tryin’- There’s A Girl In Texas- Every Light In The House- Don’t Lie- I Left Some thing Turned On At Home- Big Time- Lonely Won’t Leave Me Alone- Help Me Under stand- More- Welcome To Hell · (2003/CAPITOL) 14 tracks MORE..
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BEAR Tips / STAFF SELECTIONS . 114 DEUTSCHE OLDIES
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463-6666 [email protected] A
A – AMFM 15 A to Z Mobile Disc Jockey Services AEG Live Southwest Mailboxes, Etc. 6800 Westgate Blvd., Suite 132 Box 182 3001 Maple Avenue, Suite 201, Dallas, TX 75201 A Austin, TX 78745 (972) 343-2424 (512) 791-4543 Danny Eaton, Senior Vice President [email protected] A-All About Music Allen Deaver AFP Group 4919 Griggs Road, Houston, TX 77021 1300 Post Oak Blvd., Suite 1200, Houston, TX 77056 (713) 747-7734; Fax (713) 747-3204 A-Town Disc Jockey Service, Inc. (713) 626-9820; (800) 966-8656; Fax (713) 621-5327 Rise Joiner, Manager 6501 Goodall Court, Austin, TX 78739 Gilbert Baker, President (512) 899-1300; Fax (512) 233-1709 A&G Records [email protected] AIM Productions, Inc. 2833 South Padre Island Drive, Corpus Christi, TX 78415 Todd Turlington, President 24815 Hamilton Pool Road, No. 5 (361) 857-6760 Round Mountain, TX 78663 Rapito Garcia A Weir Design (830) 825-0133 10603 Newcombe Drive, Dallas, TX 75228 Ric Sternberg, President A&L Music Company, Inc. (214) 660-7217; (214) 662-7249; Fax (903) 438-0281 819 North Marshall Drive, Henderson, TX 75652-5937 Cindy A. Weir, Owner AJ Limousines (903) 657-3818 501 East Koenig Lane, Austin, TX 78751 Chuck Dennard ABC Music Company (512) 454-7000; (888) 455-3673; Fax (512) 323-9200 17302 Scenic Lake Court, Cypress, TX 77429-6710 Rachel Austin, Manager A&M Entertainment (713) 849-5700; Fax (713) 849-5774 1716 Valley View Lane No. 1056, Irving, TX 75061 Ken McAvoy, Owner A.K.’s Sports Pub (972) 871-7746; Fax (972) 618-2145 601 East Nolana, McAllen, TX 78504 [email protected] ABC Piano Shop (956) 618-4611; Fax (956) 681-0829 Mike Coates, General Manager 1024 West Mistletoe Avenue, San Antonio, TX 78201 Lisa Sanchez, Owner/Booking Agent (210) 224-4097 A&M Image and Design, Inc.
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9Th Annual Nacogdoches
9TH ANNUAL NACOGDOCHES FILM FESTIVAL 2 0 2 0 FEBRUARY 20-22, 2020 FREDONIA HOTEL | NACOGDOCHES, TEXAS NacFilmFest NACOGDOCHESFILMFESTIVAL.COM NACOGDOCHES FILM FESTIVAL Nacogdoches Art Alliance The Nacogdoches Art Alliance, also known as the Nacogdoches Film Festival, is an IRS-approved 501(c)3 non-profit organization whose goal is to raise scholarship money for film students attending Stephen F. Austin State University, as well as to provide financial support for the SFA Film program’s annual Summer Feature Film project, where SFA students experience firsthand the making of a full-length feature film. All members of the Nacogdoches Art Alliance and the Film Festival are volunteers who receive no financial compensation for their efforts. All proceeds, after festival expenses, go toward scholarships and the annual student feature film project. History of Nacogdoches Film Festival The Nacogdoches Film Festival traces its origins way back to 2010, when a small group of individuals from throughout the Nacogdoches community got together for the express purpose of celebrating films made by, or about, Texans. Our very first film festival was held in April 2012 at the Hotel Fredonia in downtown Nacogdoches and has been held every year since then, shifting to a February timeslot back in 2014 in order to work around scheduling conflicts with the Texas National art competition and exposition. The 2020 Nacogdoches Film Festival is our ninth annual event. An important element of the Film Festival has been the Short Film competition, in which hundreds of filmmakers have submitted entries through our FilmFreeway portal. We now offer five separate competition categories: one for Short Films, one for Independent Feature Films, one for Documentary Films, one for Music Videos, and one for budding High School filmmakers.
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Michael Seman CIRP 6301
WHAT IF HEWLETT AND PACKARD HAD STARTED A BAND INSTEAD? DENTON, TEXAS’ MUSIC SCENE AS ECONOMIC CLUSTER AND ITS BROADER IMPLICATIONS FOR THE CITY’S ECONOMY by MICHAEL SEMAN Presented to the Faculty of the Graduate School of Urban and Public Affairs The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT ARLINGTON May 2014 Copyright © by Michael Seman 2014 All Rights Reserved Acknowledgements This dissertation represents an immersive several year process wherein I was equally involved as a participant in the community I observed and the classroom where I made sense of my findings. I would like to thank those who had patience with my admittedly dynamic lifestyle during my doctoral studies and fostered my intellectual growth during the process. Carl Grodach understood my research agenda and challenged me to take what I observed in the field and learned in the classroom and frame it in a broader context shared by other arts disciplines inhabiting the urban landscape. Richard Florida also immediately understood my work and generously offered insight, support, and guidance concerning it and my career – facts made even more substantial as his work and career inspired me to enter a doctoral program. My committee members, Enid Arvidson and Rod Hissong demonstrated great patience during the completion of this project and were always ready to lend insight when asked. My completion of both this dissertation and my doctoral program is also due to people outside of the University of Texas at Arlington who offered their time and consideration in varying ways.
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For Immediate Release
For Immediate Release BEES AND SEAS: THE BEST OF SLOBBERBONE CELEBRATES BELOVED SOUTHERN ROCK BAND, DUE APRIL 1 ON NEW WEST RECORDS ALBUM FEATURES LINER NOTES BY AVOWED FAN PATTERSON HOOD AND ORIGINAL COVER PAINTING BY WILL JOHNSON OF CENTRO-MATIC LOS ANGELES, CA, March 1, 2016 – Bees And Seas: The Best Of Slobberbone, out April 1 on New West Records celebrates the beloved, under appreciated Southern rock band with a long overdue retrospective of the band’s catalog. The album plays out chronologically and features 18 remastered tracks culled from their four acclaimed full-length albums, starting with the punk-fueled “Whiskey Glass Eye” from their 1996 debut, Crow Pot Pie, and ending with the cathartic “Sweetness, That’s Your Cue” off the band’s final album, 2002’s oft overlooked Slippage. The collection, available for pre-order at Slobberbone.com, will be available on CD, digitally and on 180-gram vinyl, marking the first time a majority of these songs will be available on vinyl. The album features contributions from avowed fans and longtime friends of the band, Patterson Hood of the Drive-By Truckers and Will Johnson (Centro-Matic, Monsters Of Folk). Johnson provides an original painting in his distinct folk art style of a wing-clad band performing amongst the lyrics to their song, “I Can Tell Your Love Is Waning” while Hood, who guests on the track “Lazy Guy,” offers up heartfelt liner notes. In his tribute he details the night he first saw and fell in love with Slobberbone and writes, “I probably saw them 50 times and it was never anything less than incredible.
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For Immediate Release
For Immediate Release BEES AND SEAS: THE BEST OF SLOBBERBONE CELEBRATES BELOVED SOUTHERN ROCK BAND, DUE APRIL 1 ON NEW WEST RECORDS ALBUM FEATURES LINER NOTES BY AVOWED FAN PATTERSON HOOD AND ORIGINAL COVER PAINTING BY WILL JOHNSON OF CENTRO-MATIC LOS ANGELES, CA, March 1, 2016 – Bees And Seas: The Best Of Slobberbone, out April 1 on New West Records celebrates the beloved, under appreciated Southern rock band with a long overdue retrospective of the band’s catalog. The album plays out chronologically and features 18 remastered tracks culled from their four acclaimed full-length albums, starting with the punk-fueled “Whiskey Glass Eye” from their 1996 debut, Crow Pot Pie, and ending with the cathartic “Sweetness, That’s Your Cue” off the band’s final album, 2002’s oft overlooked Slippage. The collection, available for pre-order at Slobberbone.com, will be available on CD, digitally and on 180-gram vinyl, marking the first time a majority of these songs will be available on vinyl. The album features contributions from avowed fans and longtime friends of the band, Patterson Hood of the Drive-By Truckers and Will Johnson (Centro-Matic, Monsters Of Folk). Johnson provides an original painting in his distinct folk art style of a wing-clad band performing amongst the lyrics to their song, “I Can Tell Your Love Is Waning” while Hood, who guests on the track “Lazy Guy,” offers up heartfelt liner notes. In his tribute he details the night he first saw and fell in love with Slobberbone and writes, “I probably saw them 50 times and it was never anything less than incredible.
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