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RWH the Ruffian's Misfortune Bio-REVISED
! FOR IMMEDIATE RELEASE February XX, 2015 ! RAY WYLIE HUBBARD SCARES UP MORE BADASS ROCKIN’ GRIT ’N’ GROOVE ON THE RUFFIAN’S MISFORTUNE, OUT APRIL 7 ON HIS OWN! BORDELLO RECORDS Renowned Texas songwriter/Americana hero returns with lean ’n’ mean follow-up to 2012’s triumphant The Grifter’s Hymnal; album soon to be followed by his uproarious, hair-raising autobiography,! A Life … Well, Lived. Co-produced by Hubbard and bassist George Reiff, The Ruffian’s Misfortune showcases Hubbard’s bluesy slide alongside the twin guitar leads ! of Gabe Rhodes and Hubbard’s son, Lucas WIMBERLEY, Texas — When it comes to down ’n’ dirty roots ’n’ roll, nobody in the wide world of Americana music today does it better than Ray Wylie Hubbard. Except, it seems, for Hubbard himself. After riding a decade-long career resurgence into the national spotlight with 2012’s acclaimed The Grifter’s Hymnal and his first ever appearance on the Late Show With David Letterman (“I didn’t want to peak too soon,” quips Hubbard, 68), the iconoclastic Texas songwriter is back to continue his hot streak with The Ruffian’s Misfortune — his 16th album !(and third on his own Bordello Records, via Thirty Tigers) — due out April 7, 2015. From his humble beginnings as an Oklahoma folkie in the ’60s to his wild ride through the ’70s progressive country movement, and onward through the honky-tonk fog of the ’80s to his sobriety-empowered comeback as a songwriter’s songwriter in the ’90s, Hubbard was already a bona fide legend by the time he really found his groove right at the turn of the century. -
Jerry Jeff Walker
Spring Specials www.Brookspub.biz March E NTERTAINMENT Kids square toe boots FRI 2nd RAD FRI 23rd Prototype 10% OFF FRI 9th MTO FRI 30th GTB (Get The Belt) FRI 16th Spitfire Ladies Corral boots Happy St. Patricks Day 10% OFF 17th Drink Specials All western belts are 20% OFF Mens & Ladies Durango boots $10 OFF All Stetson & Resistol Mens Ariat boots straw hats 15% OFF $10 OFF Daily Drink Specials Everyday! Ask one www.cowtownboots.com of our beautiful bartenders for details. 4522 Fredericksburg Road G San Antonio, Texas G 210.736.0990 • 2 • Action Magazine, March 2018 advertising is worthless if you have nothing worth advertising Put your money where the music is. Advertise in Action Magazine • DEPARTMENTS • Music Matters ........................................4 Editor & Publisher ................Sam Kindrick Sam Kindrick ..........................................6 Advertising Sales ....................Action Staff Photography.............................Action Staff Scatter Shots ........................................11 Distribution............................Ronnie Reed Composition..........................Elise Taquino Volume 43 • Number 3 • FEATURE • Jerry Jeff Walker ......................................7 Green Machine ......................................12 Action Magazine, March 2018 • 3 • Chesnut says ‘stop and smell the music’ I have been performing end of a good-time Satur - Blanco Road in San Anto - formers, on the other There are countless performance. In my opin - live country music full-time day night. Nothing much nio. As it turns out, those hand, are depending on other venues and perform - ion, traffic noises from or part-time since 1969. I surprises me. folks love country music. the venue to have a crowd ers in synergistic relation - congested roadways have performed on stages But, much to my sur - After my cancer diag - that will add to the per - ships throughout the city, would be a lot harder to behind chicken wire, prise few years back I nosis last summer, I was former’s income and num - but no amount of synergy deal with. -
December 2017 Newsletter
Nº 01 — DECEMBER 2017 IN THIS ISSUE: New Owners for Longhorn Ballroom and Swiss Alp Hall Interview: Gary P. Nunn YETI Coolers Dance Hall Trail Origins of the “Cotton-Eyed Joe” Fun with Asleep at the Wheel and Friends on the 2017 Texas Dance Hall Tour TDHP Presents the Ray Benson Lifetime Achievement Award Texas Dance Hall Preservation, Inc. 3005 S. Lamar Blvd., Suite D-109 #315 Austin, Texas 78704 Deb Fleming, Executive Director John T. Davis, Editor https://www.texasdancehall.org EDITORIAL As 2017 draws to a close, I’ve been thinking back on Texas Dance Hall Preservation’s first decade and looking forward to our next ten years. TDHP is A look back over evolving from an all-volunteer group into a “grown-up” nonprofit organization, TDHP’s first ten with staff and regular programming, one that is starting to make a significant positive impact for dance halls here in the Lone Star state. We are working to years and ahead to help dance halls stay open, become financially sustainable, and maintain those the future iconic buildings. In the past several years, we’ve made great strides. Many dance halls are owned by all-volunteer nonprofit organizations, and the halls typically have unmet maintenance or building systems needs. In 2016, TDHP started a Preservation Fund and has made small grants to four nonprofit halls. We’ve helped dance hall owners earn revenue and find other funding for hall repairs, and we’ve consulted with them on how to make appropriate changes that don’t damage the important historic elements that make dance hall architecture unique. -
Jack Ingram and the Roots of the Texas Country Scene Rich Kelly
32 Jack Ingram and the Roots of the Texas Country Scene Rich Kelly Jack Ingram performing at Gruene Hall, March 31, 2000. Photo by and courtesy of Jeremy Elliott. In May of 2016 Guy Clark, a songwriting giant in both his native Texas and his adopted Nashville, passed away. A week later, a bus of Clark’s Tennessee friends delivered their mentor’s cremated remains to fellow artist Terry Allen’s Santa Fe home for a wake for the legend. The intimate picking party featured a who’s who of alternative country luminaries including Steve Earle, Emmylou Harris, Vince Gill, Joe Ely, Rodney Crowell, Lyle Lovett, 33 and Robert Earl Keen. Among the impressive gathering of singer-songwriters, only two were under sixty years old: Allen’s son Bukka, an accomplished accordionist, and Jack Ingram.1 The 45-year-old Ingram had come a long way from his musical beginnings in Dallas’s Deep Ellum more than twenty- five years earlier. Along with the chance to honor one of his heroes and inspirations, the invitation signaled Ingram’s ascension into the pantheon of Texas’s elite singer-songwriters. Along the way Ingram pushed against the prevailing musical winds, played a key role in reviving fan interest in original Texas country music, and served as the key inspiration for the early artists of the emerging Texas Country scene. In the 1990s in college cities and towns throughout Texas, a Kacey Musgraves. Despite the genre’s widespread popularity, regional country music scene developed. The artists and fans there has been little academic examination of its beginnings or in this musical movement consciously strove to revive the values impact. -
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. -
1942 Born Ronald Clyde Crosby in Oneonta, New York on March 16
Jerry Jeff Walker Time Line 1942 Born Ronald Clyde Crosby in Oneonta, New York on March 16. 1957 Performs in numerous teen combos around Oneonta, including the Pizzarinos, the Chymes, the Tones and the Townies. 1960 OHS graduation; Ron is a half-credit short but graduates during the summer. 1961 Joins the National Guard, undergoes basic training at Fort Dix, N.J. 1962 Ron and a friend hitchhike from Oneonta to Florida, just in time for the first-ever Spring Break; Ron is photographed on the beach with a guitar by the A.P. 1963 Hitchhikes to New Orleans, begins to street-sing in the French Quarter, also travels to Texas for the first time. 1964 As “Jerry Ferris,” he meets Babe Stovall, who becomes his performing mentor. 1965 First trip to Austin; On July 5, arrested for public intoxication in the French Quarter, meets street-dancer “Bojangles” in the New Orleans drunk tank 1966 Drives an old Mercury from Texas to Washington, D.C.; Adopts the name “Jerry Jeff Walker,” Forms the Lost Sea Dreamers band. 1967 The Lost Sea Dreamers become the house band at the Electric Circus in NYC and change their name to Circus Maximus; CM records two albums for Vanguard Records, Circus Maximus and Neverland Revisited . 1968 Circus Maximus breaks up; JJW cuts first solo single for Atco Records, plays Newport Folk Festival with David Bromberg, releases the Mr. Bojangles album. 1969 Five Years Gone and Driftin’ Way of Life released. 1970 JJW relocates to Key West and Coconut Grove in Florida, joins Jimmy Buffett on the last run of the Pan-American Flyer from New Orleans to Nashville (the inspiration for “Railroad Lady”); Bein’ Free released. -
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. -
That Good Ol' Southern Music
Spring 2021 No. 24 That Good Ol’ Southern Music ePublisher’sCorner That Good .......................................................... Ol’ Southern Music By David Ray Skinner elcome to SouthernReader’s “Good Ol’ Southern Music” issue. I grew up in 1950s-’60s Nashville, listening to Top 40 radio, spinning my 45’s, W drawing pictures and playing and writing music. When I left Nashville, in the fall of 1970, to go to school at Carson-Newman College, I had no idea where those particular interests would take me. Since I appeared to be more disciplined about my art than I was about my music, I decided to study watercolor painting, rather than be a music major. However, that same fall, I did start a folk-rock band, “Contents Under Pressure,” with three other like- minded friends. I never thought about the fact that there were not a lot of “watercolor painter” jobs in the real world. As luck would have it, when the student body elected me to be editor of the campus newspaper, The Orange & Blue, they inadvertently gave me a vocation in the field of jour- nalism to fall back on and keep me from starving. Writing and posting stories for The Sevier County Times led me into art directing my own work, which in turn, con- verted me into a graphic designer. Graphic design drew me (no pun intended) to New York City (at the invitation of a fellow Opryland caricature artist, Stephen Kling), where I eventually became art director of Record World maga- zine. In the Summer of 1981, Record World’s editor asked me to come up with a cover of their Annual Directory that depicted the transition from music into video (it was the inaugural summer of MTV). -
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. -
Oral History Interview of Herb Steiner Interviewed By
Oral History Interview of Herb Steiner Interviewed by: Andy Wilkinson June 17, 2015 Spicewood, Texas Part of the: Crossroads of Music Archive Texas Tech University’s Southwest Collection/Special Collections Library, Oral History Program Copyright and Usage Information: An oral history release form was signed by Herb Steiner on June 17, 2015. This transfers all rights of this interview to the Southwest Collection/Special Collections Library, Texas Tech University. This oral history transcript is protected by U.S. copyright law. By viewing this document, the researcher agrees to abide by the fair use standards of U.S. Copyright Law (1976) and its amendments. This interview may be used for educational and other non-commercial purposes only. Any reproduction or transmission of this protected item beyond fair use requires the written and explicit permission of the Southwest Collection. Please contact Southwest Collection Reference staff for further information. Preferred Citation for this Document: Steiner, Herb Oral History Interview, June 17, 2015. Interview by Andy Wilkinson, Online Transcription, Southwest Collection/Special Collections Library. URL of PDF, date accessed. The Southwest Collection/Special Collections Library houses almost 6000 oral history interviews dating back to the late 1940s. The historians who conduct these interviews seek to uncover the personal narratives of individuals living on the South Plains and beyond. These interviews should be considered a primary source document that does not implicate the final verified narrative of any event. These are recollections dependent upon an individual’s memory and experiences. The views expressed in these interviews are those only of the people speaking and do not reflect the views of the Southwest Collection or Texas Tech University. -
Janis Joplin: the Hippie Blues Singer As Feminist Heroine Technical Advisor Beverley Braud Jerry Rodnitzky
et al.: Contents Letter from the Director This issue of the Journal of Our second compilation CD, Travelin’ Texas, Volume 2, which Texas Music History marks includes nineteen songs from Delbert McClinton, Eliza Gilkyson, another important milestone the Ace in the Hole Band featuring George Strait, Billy Joe Shaver, in our history. As you Sara Hickman, Ray Wiley Hubbard, and a variety of other great probably have noticed, we Texas musicians, has been very successful. Proceeds from the CD have changed our name from have been vital in helping fund our ongoing educational projects. the Institute for the History We are very grateful to the musicians and everyone else who helped of Texas Music to the Center with this project. for Texas Music History. This Several new and exciting projects are on the horizon, including a new name is not only more collaborative project with the Bob Bullock Texas State History Mu- succinct and easier to seum in Austin and KLRU and Austin City Limits to develop an remember, but it also reflects exhibit on the history of Texas country music. our tremendous success and With this third issue of The Journal of Texas Music History, we rapid growth into a larger, continue to provide solid scholarly research on American music more comprehensive Center, which sponsors a variety of exciting history in a way that is accessible to both academic and non–aca- and unique programs. demic audiences alike. As the first academic journal to focus on Under this new name, we continue to develop our many the entire spectrum of Texas and Southwestern music history, the important and innovative educational and preservational activities. -
2017-Symposium-Program
The Texas Songwriters Association Presents The 13th Annual Songwriter Symposium January 11-15, 2017 Holiday Inn Midtown Austin, Texas www.austinsongwritersgroup.com 2017 Schedule WEDNESDAY, JANUARY 11, 2017 3:00 PM Symposium Registration (Magnolia Room) Drop by Registration to pick up your Access Lanyard, schedules and to sign up for your One-On-One Publisher Pitch, and One-On-One appointments with various music industry professionals. 7:30 PM Kick Off Party & Song Contest 2016 Awards Show (Hill Country Ballroom) Open to public and there is no charge for this event. We will be announcing the winners for the 2016 Song Contest. Please join us in as we meet the writers of the songs and hear some great music. After this event the song circles will begin so bring your instruments (HILL COUNTRY BALLROOM) THURSDAY, JANUARY 12, 2017 9:00 AM Symposium Registration (Magnolia Room) *Pre-Registered Check In & Walk Up Registration for Conference *Pick Up Schedule and Access Lanyard *Sign Up for the One-On-One with Publisher of Your Choice *Sign Up for the One-On-Ones with the music industry professionals *Sign up for showcases Bobby Rymer and Steve Bloch - SONG CRITIQUES THAT MATTER (Hill Country Ballroom) ---What do Publishers look for in a writer? ---Is YOUR song really ready for a publisher or producer to hear? ---What do you need to know to become a better songplugger for your own songs? This conversation will unfold through the process of having your song critiqued by TWO highly successful, high- profile veteran Nashville song pluggers. Together, BOBBY RYMER and STEVE BLOCH have over 50 years of experience, working in the trenches, pitching to the power players of Music Row.