January Band Schedule Now Featuring Live Music!
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Mar.-Apr.2020 Highlites
Prospect Senior Center 6 Center Street Prospect, CT 06712 (203)758-5300 (203)758-3837 Fax Lucy Smegielski Mar.-Apr.2020 Director - Editor Municipal Agent Highlites Town of Prospect STAFF Lorraine Lori Susan Lirene Melody Matt Maglaris Anderson DaSilva Lorensen Heitz Kalitta From the Director… Dear Members… I believe in being upfront and addressing things head-on. Therefore, I am using this plat- form to address some issues that have come to my attention. Since the cost for out-of-town memberships to our Senior Center went up in January 2020, there have been a few miscon- ceptions that have come to my attention. First and foremost, the one rumor that I would definitely like to address is the story going around that the Prospect Town Council raised the dues of our out-of-town members because they are trying to “get rid” of the non-residents that come here. The story goes that the Town Council is trying to keep our Senior Center strictly for Prospect residents only. Nothing could be further from the truth. I value the out-of-town members who come here. I feel they have contributed significantly to the growth of our Senior Center. Many of these members run programs here and volun- teer in a number of different capacities. They are my lifeline and help me in ways that I could never repay them for. I and the Town Council members would never want to “get rid” of them. I will tell you point blank why the Town Council decided to raise membership dues for out- of-town members. -
Waylon Jennings
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: Outlaw Influence 11 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 4: Worksheet 17 Lesson 5: Literary Lyrics 19 “London” by William Blake 20 Complete Tennessee Standards 22 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. -
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. -
The Dicks Top: the Dicks in the Early 1980S
The Dicks Top: The Dicks in the early 1980s. Photo: Mark Christal. Bottom: The Dicks in 2005. L to R: Buxf Parrot (bass), Gary Floyd (vocals), Pat Deason (drums). Photo: Carlos Lowry. 4 The Dicks The Dicks were confrontational right out of the gate. A seminal band, and not just because singer Gary Floyd sometimes threw condoms filled with fake cum into the crowd. By all accounts, the Dicks challenged their audiences and revealed new possibilities. They made their concerts a hell of an experience and created memorable political music with a sound that was completely their own. The Dicks formed in Austin in 1980. They relocated to San Francisco and changed personnel halfway through the duration of the group, before breaking up in 1986. When one thinks of early hardcore punk music in Texas, a small but critical list of bands comes to mind immediately: the Big Boys, Dirty Rotten Imbeciles (DRI), Butthole Surfers, Really Red, the Stains (later renamed MDC), the Offenders and the Dicks. The Dicks first came to the ears of many with a three song 7”, The Dicks Hate the Police . The band re - leased this 7” in 1980 on their own Radical Records label (by the way, no relation to the more well known R Radical label that Dave Dictor from Stains and MDC created soon after). The song “The Dicks Hate the Police” is an exceptionally memorable and passionate first statement for a band. These lyrics by guitarist Glen Taylor remain stinging and painful, especially while being delivered in a voice that is both mournful and pissed off at the same time: Daddy, Daddy, Daddy Proud of his son He’s got a good job Kills niggers and Mexicans We’ll tell you something and it’s true If you can’t find justice it’ll find you The popular Seattle-based band Mudhoney covered the song as “Hate the Police.” This brought the Dicks’ music to the attention of many thousands of people that might not have heard them otherwise. -
Raoul Hernandez
Raoul Hernandez PROFESSIONAL GOAL Clinical professorship at the university level. EDUCATION Stanford University, Stanford, Calif., M.A., Communication, 1992 Pomona College, Claremont, Calif., B.A., English 1987 EXPERTISE / PROPOSED CLASSES Editing Music Journalism Reporting Art of the Review Music Interview Technique Film Editing in Real Time Public Speaking Jazz History LANGUAGES Spanish (bilingual) PROFESSIONAL EXPERIENCE Music Editor/Senior Editor The Austin Chronicle, 1994-present Assistant Music Editor The Austin Chronicle, 1993-1994 2603 Roxmoor Dr. Editorial Assistant Austin, Texas, 78723 The San Francisco Examiner, 1991-1992 News Assistant (512) 914-4441 National Broadcasting Company: KNBR-68, San Francisco, 1987-1988 [email protected] Delivery Adolescent @ChroniclyRaoul The Contra Costa Times, Walnut Creek, Calif., 1975-1980 BOOKS EDITOR Bentley, Bill, Smithsonian Rock & Roll: Live & Unseen, Washington, D.C.: Smithsonian Books, 2017 CONTRIBUTOR The Jesus Lizard & David Yow, The Jesus Lizard Book, New York: Akashic Books, 2014 Powell, Austin & Doug Freeman, The Austin Chronicle Music Anthology, Austin: The University of Texas Press, 2011 Peveto, Geoff & Paula Scher, Rock Paper Show: Flatstock Volume One, New York: Soundscreen Design, 2011 PERIODICALS (select) PUBLICATIONS “The Austin Music Awards’ Ecstatic “John Carpenter, Rock Star,” Experience, The Austin Chronicle, The Austin Chronicle, 15 June 2016 1 March 2018 “Charles Attal Discusses C3/Live Nation “Where Does Margo Price Get Off?” Deal,” The Austin Chronicle, 26 -
Mosser/Musser Family
MOSSER/MUSSER FAMILY WW by ANITA L. MOTT HERITAGE BOOKS, INC. M& FAMILY HISTORY LIBRARY 35 NORTH WEST TEMPLE SALT LAKE CITY, UTAH 84150 . Copyright 1999 Anita L. Mott Published 1999 by HERITAGE BOOKS, INC. 1540E Pointer Ridge Place Bowie, Maryland 20716 1-800-398-7709 http://www.heritagebooks.com ISBN: 0-7884-1187-X A Complete Catalog Listing Hundreds of Titles On History, Genealogy, and Americana Available Free Upon Request ^ ^ Q* Mosser/Musser Family Anita L. Mott. A genealogical survey of the Mosser family in America from colonial time to the present day. This enlightening text helps to dispel much of the confusion surrounding the history of the family in North America, specifically the wide variation in spellings of the name as the family spread across the country. A traditional German surname, the original Mosser was often misinterpreted in public records due to peculiarities in handwriting and the language barrier between the German immigrants and the various ship's stewards, custom house officials and later census takers whose records form the bulk of the early data on the family. In some cases, members of immediate families would each be registered under a different surname creating a tangled web of Mossers, Mosers, Mussers, Musers, Messers, Mosiers, Moyers and even a few Masons for today's genealogists to contend with. The text begins with a brief history of the family and the establishment of the "Pennsylvania Dutch" community. Individual chapters are devoted to the lines of descent from Hans Martin Mosser, Hans Adam Mosser, Hans Paulus Mosser and Philip Moser. Further chapters are included on Mosers not yet placed within known lines of descent and an exploration of twelve collateral lines for the allied families Boehm, Everett, Hower, Koppenhoffer, Lichtenwallner, Long, Oswald, Seberling and Wannamaker. -
Talk to Me: the History of San Antonio's West Side Sound
“Talk to Me” The History of San Antonio’s West Side Sound1 Alex La Rotta 8 The Twisters (background) playing behind the Royal Jesters, ca 1958. Courtesy Ramn Hernández. Contrary to its name, the “West Side Sound” did not actually originate on the West Side of San Antonio. Nor, for that matter, is it a singular “sound” that can be easily defined or categorized. In fact, the term “West Side Sound” was not widely used until San Antonio musician Doug Sahm applied it to his band, the West Side Horns, on his 1983 album, The West Side Sound Rolls Again. Since then, journalists, music fans, and even Sahm himself 9 have retrofitted the term to describe a particular style that emerged from San Antonio and the greater South Texas region beginning in the 1950s and continuing into the early twenty-first century.2 So what, then, is the West Side Sound? To quote historian Allen Olsen, the West Side Sound is “a remarkable amalgamation of different ethnic musical influences found in and around San Antonio and South-Central Texas. It includes blues, conjunto, country, rhythm and blues, polka, swamp pop, rock and roll, and other seemingly disparate styles.”3 To others, the West Side Sound is more of a feeling than a specific musical genre. In the words of Texas Tornados drummer Ernie Durawa, “It’s just that San Antonio thing…nowhere else in the world has it.”4 Both descriptions of the West Side Sound are accurate, but they really only tell part of the story of this remarkable musical hybrid. -
The Big House in a Small Town: Prisons, Communities, and Economics in Rural America
The Big House in a Small Town: Prisons, Communities, and Economics in Rural America Eric J. Williams Assistant Professor Department of Criminology and Criminal Justice Studies Sonoma State University [email protected] Prepared for presentation at the Annual Meeting of the Western Political Science Association San Francisco, CA (April 2010) Please do not cite without permission from the author In studying this subject we must be content if we attain as high a degree of certainty as the matter of it admits…It is a mark of the educated man and a proof of his culture that in every subject he looks for only so much precision as its nature permits. Aristotle Nicomachean Ethics INTRODUCTION: In discussing criticisms of the Workshop in Political Theory and Policy Analysis, Elinor Ostrum states that “Colleagues in political science have frequently chided us for the many studies we have conducted on ‘dull, unimportant local problems.’” 1 It is exactly one of these so called “dull, unimportant local problems”- the impact of a prison on a local community- that is at the heart of this paper. This paper is about the nuts and bolts of local politics, something not studied enough in our discipline. As Ostrum further points out, “[i]f one confines political science to the study of national elections, national legislative behavior, and the politics of the presidency, we are missing a great deal at both a local and international level.” Much like his criticism that studies of judicial behavior primarily focus on the Supreme Court (which only hears about 1% of those cases that are appealed to it), we must heed Martin Shapiro’s advice in the seminal work Courts and go broader and deeper in all areas of political science. -
Billy Dee's Chris Gates Greyhounds
Health Alliance for Austin Musicians Billy Dee’s harrowing fight for survival P.5 Chris Gates cheats death P.7 Greyhounds double dilema P.9 More stories inside! 2008 Annual Report HAAMTM Letter from the Chairman of the Board Health Alliance for Austin Musicians Dear Friends: Carolyn Schwarz, Executive Director The year 2008 was an exciting year for Health Alliance for Austin Musicians (HAAM) and me personally. In January I P.O. Box 301496 became the Board Chairman, and my enthusiasm for our organization’s mission and the musicians we serve redoubled. Austin, TX 78703-0025 I love living in Austin, and the abundance of live music is one of the aspects that makes it such a wonderful place to live. www.MyHaam.org Our city’s culture and economy rely heavily on the music industry (to the tune of $1 billion in economic activity and $25 512-322-5177 million in tax revenue), and yet the musicians themselves live on very low incomes and are uninsured; they are amongst the ranks of the working poor. Our Mission Before HAAM, affordable healthcare services were out of reach and musicians would delay seeking care until forced to go to the emergency room, the most expensive place to receive treatment. Since the inception of HAAM four years ago, more Health Alliance for Austin Musicians provides access to affordable than 1,400 musicians, most of whom earn less than $15,000 a year, have gained access to needed medical, dental and healthcare to Austin’s low-income, uninsured working musicians. mental health services, thus freeing up the emergency rooms for those in critical need of that care. -
PJ Harvey at SXSW 2009
PJ Harvey at SXSW 2009 Print Media’s Demise: Fact or Fiction? pg. 32 Registrants Reveal Platinum Advantages pg. 38 INSIDE: my South-By: 2009 Highlights and Stories MAY 2009 / $4.95 pg. 12 g SXSWORLD CONTENTS VOLUME 3, ISSUE 5 Publishers: Roland Swenson, Nick Barbaro, Louis Black Editor: Andy Smith Art Director: Jamie Miller Advertising: Una Johnston, Katie King, Hiliary Kerby, Luann Williams SXSW Contributors: Rebecca Feferman, Hugh Forrest, Una Johnston, Hiliary Kerby, Katie King, April Litz, Tracy Mann, Lizzy Newton, Janet Pierson, Cathy Ricks, Matt Sonzala, Ron Suman, Amy Wanke, Stacey Wilhelm, Luann Williams SXSW 2008 Logo Design: Sibley Peteet Design Contributors: Jason Cohen, Lissette Corsa, Jim Kolmar, Ryan Mihm, Patrick Nichols, R DD KE INGUS Thomas Purves, Jenny Smith, Alison Tickell E D M WAL SXSW HEADQUARTERS VI A IM PO Box 4999, Austin TX 78765 US D K SL MARY Tel 512/467-7979, Fax 512/451-0754 Primal Scream at SXSW Music 2009 SXSW 2009 Film poster kiosk The gorilla and the banana interact Email [email protected] www.sxsw.com SXSW HEADQUARTERS SALES DEPARTMENT IN EVERY ISSUE MUSIC: Luann Williams, [email protected] FILM: Hiliary Kerby, [email protected] Taking Care of Business to Business ......................................................... 2 INTERACTIVE: Katie King, [email protected] News from companies who are part of the SXSW world SPONSORSHIPS: Scott McNearney, [email protected] News & Notes ............................................................................................... 6 Sales: www.sxsw.com/sales Updates from the SXSW Interactive, Film and Music events SXSW Music, U.K. & Ireland Una Johnston, Cill Ruan, Back Page: The Tyranny of Virtual Distance ........................................ 44 7 Ard na Croise Thurles, Co. -
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. -
The Gospel of Something Or Other Critical Mass
Abbott, Paul Joseph (2015) The Gospel of Something or Other / Critical mass. PhD thesis. https://theses.gla.ac.uk/7328/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] THE GOSPEL OF SOMETHING OR OTHER / CRITICAL MASS Paul Joseph Abbott Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy (English Literature) School of Critical Studies College of Arts September 2015 © 2015 Paul Joseph Abbott Abstract This thesis is comprised of two components: a creative work of fiction and a critical analysis of the fiction through a discussion of craft and creative influence. The creative section, the novel The Gospel of Something or Other, is a formally experimental work that explores authenticity – of both narrative and voice – authorial identity, the performativity of grief and sincerity, and the aesthetic function of narratological failure. The critical section of the thesis, Critical Mass, analyses the work of David Foster Wallace and James Wood in relation to the aforementioned fiction, discussing aspects of craft most relevant to the novel: the function of comedy and the function of manipulation.