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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. -
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. -
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. -
Weird City: Sense of Place and Creative Resistance in Austin, Texas
Weird City: Sense of Place and Creative Resistance in Austin, Texas BY Joshua Long 2008 Submitted to the graduate degree program in Geography and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Human Geography __________________________________ Dr. Garth Andrew Myers, Chairperson __________________________________ Dr. Jane Gibson __________________________________ Dr. Brent Metz __________________________________ Dr. J. Christopher Brown __________________________________ Dr. Shannon O’Lear Date Defended: June 5, 2008. The Dissertation Committee for Joshua Long certifies that this is the approved version of the following dissertation: Weird City: Sense of Place and Creative Resistance in Austin, Texas ___________________________________ Dr. Garth Andrew Myers, Chairperson Date Approved: June 10, 2008 ii Acknowledgments This page does not begin to represent the number of people who helped with this dissertation, but there are a few who must be recognized for their contributions. Red, this dissertation might have never materialized if you hadn’t answered a random email from a KU graduate student. Thank you for all your help and continuing advice. Eddie, you revealed pieces of Austin that I had only read about in books. Thank you. Betty, thank you for providing such a fair-minded perspective on city planning in Austin. It is easy to see why so many Austinites respect you. Richard, thank you for answering all my emails. Seriously, when do you sleep? Ricky, thanks for providing a great place to crash and for being a great guide. Mycha, thanks for all the insider info and for introducing me to RARE and Mean-Eyed Chris. -
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. -
Order Form Full
JAZZ ARTIST TITLE LABEL RETAIL ADDERLEY, CANNONBALL SOMETHIN' ELSE BLUE NOTE RM112.00 ARMSTRONG, LOUIS LOUIS ARMSTRONG PLAYS W.C. HANDY PURE PLEASURE RM188.00 ARMSTRONG, LOUIS & DUKE ELLINGTON THE GREAT REUNION (180 GR) PARLOPHONE RM124.00 AYLER, ALBERT LIVE IN FRANCE JULY 25, 1970 B13 RM136.00 BAKER, CHET DAYBREAK (180 GR) STEEPLECHASE RM139.00 BAKER, CHET IT COULD HAPPEN TO YOU RIVERSIDE RM119.00 BAKER, CHET SINGS & STRINGS VINYL PASSION RM146.00 BAKER, CHET THE LYRICAL TRUMPET OF CHET JAZZ WAX RM134.00 BAKER, CHET WITH STRINGS (180 GR) MUSIC ON VINYL RM155.00 BERRY, OVERTON T.O.B.E. + LIVE AT THE DOUBLET LIGHT 1/T ATTIC RM124.00 BIG BAD VOODOO DADDY BIG BAD VOODOO DADDY (PURPLE VINYL) LONESTAR RECORDS RM115.00 BLAKEY, ART 3 BLIND MICE UNITED ARTISTS RM95.00 BROETZMANN, PETER FULL BLAST JAZZWERKSTATT RM95.00 BRUBECK, DAVE THE ESSENTIAL DAVE BRUBECK COLUMBIA RM146.00 BRUBECK, DAVE - OCTET DAVE BRUBECK OCTET FANTASY RM119.00 BRUBECK, DAVE - QUARTET BRUBECK TIME DOXY RM125.00 BRUUT! MAD PACK (180 GR WHITE) MUSIC ON VINYL RM149.00 BUCKSHOT LEFONQUE MUSIC EVOLUTION MUSIC ON VINYL RM147.00 BURRELL, KENNY MIDNIGHT BLUE (MONO) (200 GR) CLASSIC RECORDS RM147.00 BURRELL, KENNY WEAVER OF DREAMS (180 GR) WAX TIME RM138.00 BYRD, DONALD BLACK BYRD BLUE NOTE RM112.00 CHERRY, DON MU (FIRST PART) (180 GR) BYG ACTUEL RM95.00 CLAYTON, BUCK HOW HI THE FI PURE PLEASURE RM188.00 COLE, NAT KING PENTHOUSE SERENADE PURE PLEASURE RM157.00 COLEMAN, ORNETTE AT THE TOWN HALL, DECEMBER 1962 WAX LOVE RM107.00 COLTRANE, ALICE JOURNEY IN SATCHIDANANDA (180 GR) IMPULSE -
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 -
'Blues Boy' Hubbard
Blues Boy Hubbard courtesy of Todd Wolfson. Henry ‘Blues Boy’ Hubbard “I Just Fell In Love With T-Bone Walker Licks” By Scott M. Bock lues Boy Hubbard has helped anchor the rich Austin Hubbard says that he stopped leading his own band when he hit age music scene for six decades. Now, eighty years old, he 75 and his second guitarist left town. He works with the East Side Kings talks about his career without regret despite the fact that when he feels like playing. Today, he sits on a chair while on stage but Bhe never gained much notice outside of Austin. While many his hands still run the fret board with ease. musicians he taught or worked with were busy recording and “My real full name is Henry L. Hubbard. I was born 16th February 1934. I’m from La Grange, Texas – born and raised. It was just me and touring, Hubbard made a living for years leading a band that my brother. That’s it. I went from the first grade to the twelfth grade and backed national artists and, when times were lean, worked day finished high school there. La Grange is east from Austin on Highway 71. jobs to take care of his family. The first town is Bastrop, the next one is Smithfield, and then La Grange. Hubbard is a confident man who laughs easily while sitting in his From La Grange you can get on Highway 10 and go to Houston. comfortable apartment. He wears large glasses, a cowboy hat, and It’s a small town. -
2017 Annual Report T E X a S B O O K F E S T I V a L 2 0 1 7 a N N U a L R E P O R T
2017 ANNUAL REPORT T E X A S B O O K F E S T I V A L 2 0 1 7 A N N U A L R E P O R T FROM THE EXECUTIVE DIRECTOR AND BOARD CHAIR The Texas Book Festival's vision is to inspire Texans of all ages to love reading. Our programs improve literacy and literary engagement throughout the state, thanks to the investment of board members, donors, sponsors, partners, and volunteers who believe in the power of reading to change lives. 2017 marked the annual Festival Weekend’s twenty-second year. This past November 4 - 5, the Festival drew its largest crowd ever, as 50,000 turned out to meet literary legends like Jeffrey Eugenides, breakout novelists like Min Jin Lee, critically acclaimed YA authors like Jason Reynolds, beloved members of Texas's former first family Jenna Bush Hager and Barbara Bush, and the one and only Tom Hanks. The Texas Book Festival, though, is so much more than a festival. 2017 marked a year of intentional, creative growth throughout the state. We piloted our Reading Rock Stars program in Dallas, held our first literary salon in Midland with Skip Hollandsworth, and expanded our Board of Advisors to include advocates from Galveston to El Paso (797 miles!). The work we do would not be possible without your involvement and support. Thank you for sharing our commitment to literacy and literary culture in Texas. Warm regards, Lois Kim Karen Brimble Executive Director Board Chair T E X A S B O O K F E S T I V A L 2 0 1 7 A N N U A L R E P O R T FESTIVAL IMPACT 50,000 people attended the 22nd annual Festival Weekend, held on November 4 & 5 in and around the Texas State Capitol. -
Title Format Released Abyssinians, the Satta Dub CD 1998 Acklin
Title Format Released Abyssinians, The Satta Dub CD 1998 Acklin, Barbara The Brunswick Anthology (Disc 2) CD 2002 The Brunswick Anthology (Disc 1) CD 2002 Adams Johnny Johnny Adams Sings Doc Pomus: The Real Me CD 1991 Adams, Johnny I Won't Cry CD 1991 Walking On A Tightrope - The Songs Of Percy Mayfield CD 1989 Good Morning Heartache CD 1993 Ade & His African Beats, King Sunny Juju Music CD 1982 Ade, King Sunny Odu CD 1998 Alabama Feels So Right CD 1981 Alexander, Arthur Lonely Just Like Me CD 1993 Allison, DeAnn Tumbleweed CD 2000 Allman Brothers Band, The Beginnings CD 1971 American Song-poem Anthology, The Do You Know The Difference Between Big Wood And Brush CD 2003 Animals, The Animals - Greatest Hits CD 1983 The E.P. Collection CD 1964 Aorta Aorta CD 1968 Astronauts, The Down The Line/ Travelin' Man CD 1997 Competition Coupe/Astronauts Orbit Kampus CD 1997 Rarities CD 1991 Go Go Go /For You From Us CD 1997 Surfin' With The Astronauts/Everything Is A-OK! CD 1997 Austin Lounge Lizards Paint Me on Velvet CD 1993 Average White Band Face To Face - Live CD 1997 Page 1 of 45 Title Format Released Badalamenti, Angelo Blue Velvet CD 1986 Twin Peaks - Fire Walk With Me CD 1992 Badfinger Day After Day [Live] CD 1990 The Very Best Of Badfinger CD 2000 Baker, Lavern Sings Bessie Smith CD 1988 Ball, Angela Strehli & Lou Ann Barton, Marcia Dreams Come True CD 1990 Ballard, Hank Sexy Ways: The Best of Hank Ballard & The Midnighters CD 1993 Band, The The Night They Drove Old Dixie Down: The Best Of The Band [Live] CD 1992 Rock Of Ages [Disc 1] CD 1990 Music From Big Pink CD 1968 The Band CD 1969 The Last Waltz [Disc 2] CD 1978 The Last Waltz [Disc 1] CD 1978 Rock Of Ages [Disc 2] CD 1990 Barker, Danny Save The Bones CD 1988 Barton, Lou Ann Read My Lips CD 1989 Baugh, Phil 64/65 Live Wire! CD 1965 Beach Boys, The Today! / Summer Days (And Summer Nights!!) CD 1990 Concert/Live In London [Bonus Track] [Live] CD 1990 Pet Sounds [Bonus Tracks] CD 1990 Merry Christmas From The Beach Boys CD 2000 Beatles, The Past Masters, Vol.