DOCSLIB.ORG

Songwriting: Following in the Footsteps of Texas Legends Spring 2012 POLICY STATEMENT and SYLLABUS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Songwriting: Following in the Footsteps of Texas Legends Spring 2012 POLICY STATEMENT and SYLLABUS THE UNIVERSITY OF TEXAS AT AUSTIN UGS 302: Songwriting: Following in the Footsteps of Texas Legends Spring 2012 POLICY STATEMENT AND SYLLABUS Instruction Professor Moore [email protected] Office: ETC 5.140 (512)471-4478 Office hours: Th 1 – 4 or by appointment Teaching Assistant Scott Pryor [email protected] Song is an art form that engages the mind, body, and creative spirit of listeners as well as musicians. Texas songwriters such as Willie Nelson, Townes Van Zandt, Guy Clark, and Nanci Griffith have written songs on their own terms rather than shape their art to fit the demands of Nashville, New York, or Los Angeles. Outside the mainstream of country or popular music, this unique community of artists is a wellspring of iconoclastic creativity. This course allows you not only to study that group, but to join it as songwriters yourselves. The course will follow two primary tracks. The first will involve analysis and study of songs by Texas songwriters. The second track will work like a creative writing workshop with students writing songs and critiquing each other's songs. The objectives of the class are to • analyze and do close readings of songs; • find and use credible sources for academic research; • learn the tools that songwriters use to craft songs; and • write and revise two original songs. Texts Required: Pattison, Pat. (2009) Writing Better Lyrics. Writers Digest Books: Cincinnati, OH. Recommended: Strunk, W., Jr. (1999). The Elements of Style. (Original work published 1918) Retrieved from http://www.bartleby.com/‌141/. Other readings will be handed out in class or posted on Blackboard. Listening List 1. Townes Van Zandt Live at the Old Quarter 2. Selected songs compiled by instructor (see attached list). 3. Selected songs compiled by students in conjunction with the group project. I recommend purchasing the songs on the song lists from ITunes, but you can also listen to them on YouTube and may benefit from finding different performances of the same song or different covers. For each song you will need to download the lyrics and chords from one of the many resources on the web such as UltimateGuitar.com (http://www.ultimate-guitar.com/0 or CowboyLyrics.com (http://www.cowboylyrics.com/index.html). Try out different databases for lyrics and see which ones seem most comprehensive or accurate. You are expected to keep up with reading and listening assignments so that you can participate in class discussion. 1 OUTSIDE EVENTS University Lectures All Signature Course students are required to attend a lecture on campus. This requirement gives first-year students an opportunity to interact with leading members of our institution — scholars, scientists, artists, and civic leaders who are nationally and internationally renowned. We will review the list of possible lectures in class and choose one to attend as a group. Gems of the University The University of Texas has a wide array of world-class resources, such as the Harry Ransom Center and the Blanton Museum, available to students. One goal of the Signature Course program is to introduce first-year students to the wealth of resources available to them. In this course we will focus on the opportunities for live music on campus. You are required to attend two musical performances on campus. At least one of these should be at the Cactus Café, which is one of the most valuable gems the University has to offer. The other can be a musical performance at one of the other venues on campus. Communication Assignments The course will include the writing assignments described below: 1. Homework/in-class exercises/informal assignments. The following are included in this category: • short description (1 to 2 pages) on the musical performances on campus that fulfill the Gems of the University requirement described above (must be turned in within a week of the performance) and • peer critiques of other students’ songs. 2. A 4-page essay analyzing a song on the listening list. 3. Group Project. This project will involve collaboration with other students and will include several components that can be divided into two categories: • This first part of the project is an overview of one of the guest songwriters coming to class. This portion of the project will involve an oral presentation introducing the songwriter to the class. In addition the group will (a.) write three questions to ask the songwriter during the q & a portion of the interview/performance and (b.) compile a listening list of songs by the songwriter for the class and a list of relevant links (such as the songwriter’s web page or online reviews of the songwriter.) • The second part of the project is a formal research paper and presentation to the class on a significant Texas songwriter who has had noteworthy influence. 4. Song portfolio. The portfolio will include the following: • A song journal that students will begin keeping the first week of class. I will not grade the writing in the journal, but want to see that you have been recording ideas, brainstorming, and doing writing that helps you build songs. You will be asked to bring the journal to class for certain exercises.) • Two songs Each song will be submitted (this means performing or playing a recording and handing out lyric sheets) while it's in process to the class for feedback and will then be revised. The second of these will be co-written with another student in the class. The portfolio, which will include the first draft, revisions, and a recording of each song, will be graded on the basis of how seriously students have taken the task of revising their songs and how much they've improved. 2 GRADING Your course grade will be based on an average of your grades on written assignments and oral presentations. To pass the course, you must submit all major assignments before semester's end. I will not give any incompletes. Final course grades will be weighted as follows: Homework/Exercises/Peer Critiques 15% Essay Analyzing Song 20% Group Project Overview/introduction of guest songwriter 15% Research paper and presentation on significant songwriter 25% Songwriting Portfolio 25% CELL PHONES AND COMPUTERS Two rules concerning the technology enriches our lives: 1. Turn your cell phones off in class. 2. Turn the computer off if you aren’t using it to take notes or use it for a specific in-class assignment. I know it’s tempting to check your email, do a little social networking, and just keep up your multi-tasking skills, but please turn the computers off unless we’re doing a writing or research activity involving computers. PLAGIARISM In all academic work you must acknowledge any source you quote, paraphrase, or summarize, and any work you do on an assignment must be your own or your team’s. In songwriting, the legal issues are even thornier. Plagiarism can result in a failing grade for the course and a report to Dean Woodruff. For more on UT’s policy on scholastic dishonesty, please see http://deanofstudents.utexas.edu/sjs/scholdis.php. SPECIAL NOTE FOR STUDENTS WITH DISABILITIES The University of Texas provides upon request appropriate academic adjustments for qualified students with disabilities. For more information, contact the Dean of Students at 471-6259, 471- 4641 TDD or the College of Engineering Director of Students with Disabilities at 471-4321. RELIGIOUS HOLIDAYS If you observe a religious holy day that conflicts with class, you will be given an opportunity to complete the work missed within a reasonable time after the absence. It is the policy of The University of Texas at Austin that you must notify each of your instructors at least fourteen days prior to the classes scheduled on dates you will be absent to observe a religious holy day. CONFERENCES I will hold office hours every week. If the scheduled times are inconvenient, please ask me for an appointment. You should make time to meet with me to discuss any concerns you have about the course in general or about a particular assignment. 3 UGS 302 Songwriting: Following in the Footsteps of Texas Legends Listening List Georgia on a Fast Train Billy Joe Shaver Jesus Was Our Savior Billy Joe Shaver Cotton Lightnin Hopkins Texas, 1947 Guy Clark Love at the Five and Dime Nanci Griffith Boxcars Butch Hancock San Antonio Rose Bob Wills Baby Dallas Jimmie Dale Gilmore Bright Lights, Big City Jimmy Reed Levelland James McMurtry Corpus Christi Bay Robert Earl Keen Texas Trilogy: Bosque County Romance Steve Fromholtz Desperados Waiting for a Train Guy Clark The Road Goes On Forever Robert Earl Keen Gallo del Cielo Tom Russell The Other Texas David Rodriguez When I Heard Gypsy Davy Sing Carrie Rodriguez If I Had A Pony Lyle Lovett Mr. Bojangles Jerry Jeff Walker London Homesick Blues Gary P Nunn Feeling Good Again Robert Earl Keen Oh, Pretty Woman Roy Orbison Love Me Like a Song Kimmie Rhodes I'm Just An Old Chunk Of Coal Billy Joe Shaver Chantilly Lace J.P. Richardson Daddy Said Nanci Griffith If I Were the Woman You Wanted Lyle Lovett/(cover by N.Griffith) She's About a Mover Doug Sahm That'll Be the Day Buddy Holly Just a Wave Not the Water Butch Hancock Crazy Willie Nelson You Don't Know Me Cindy Walker Faithless Love J. D. Souther Baby, Please Don’t Go Lightnin Hopkins Hello Walls Willie Nelson Somedays You Write the Song Guy Clark Beat the Devil Kris Kristofferson Live Forever Billy Joe Shaver 4 SCHEDULE Day Focus Prepare for class by Assignments due reading or listening to UT Gem performance da 1 Wed 1/18 Introductions 2 Mon 1/23 Analyzing songs: • Listen to TVanZandt Live at the HW due: In a 2-page analysis of criteria of Old Quarter (TVZ).
Load more

Recommended publications
  • THE UNIVERSITY of TEXAS at AUSTIN UGS 302 Songwriting: Following in the Footsteps of Texas Legends Fall 2013 POLICY STATEMENT and SYLLABUS
    THE UNIVERSITY OF TEXAS AT AUSTIN UGS 302 Songwriting: Following in the Footsteps of Texas Legends Fall 2013 POLICY STATEMENT AND SYLLABUS Instruction Professor Moore [email protected] Office: ETC 5.140 (512)471-4478 Office hours: Thursday 10:30 – 1:30 or by appointment Teaching Assistant Sarah Kobetis [email protected] Office: Sutton Graduate Student Lounge Office hours: Monday 2 -- 4 Song is an art form that engages the mind, body, and creative spirit of listeners as well as musicians. Texas songwriters such as Willie Nelson, Townes Van Zandt, Guy Clark, and Nanci Griffith have written songs on their own terms rather than shape their art to fit the demands of Nashville, New York, or Los Angeles. Outside the mainstream of country or popular music, this unique community of artists is a wellspring of originality and creativity. This course allows you not only to study that group, but also to join it as songwriters yourselves. The course will follow two primary tracks. The first will involve analysis and study of songs by Texas songwriters. The second track will work like a creative writing workshop with students writing songs and critiquing each other's songs. The objectives of the class are to • analyze and do close readings of songs; • find and use credible sources for academic research; • learn the tools that songwriters use to craft songs; and • write and revise two original songs. Texts Required: Pattison, Pat. (2009) Writing Better Lyrics. Writers Digest Books: Cincinnati, OH. (You need to order this book on Amazon.com.) Recommended: Strunk, W., Jr. (1999).
    [Show full text]
  • Whiskey River (Take My Mind)  I 
    whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams.
    [Show full text]
  • 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.
    [Show full text]
  • Don Williams Examines the Hall of Fame, Recently Celebrated Her 40Th Wedding Anniversary with Johnny Wright
    Viewers will be seeing quite a bit of MCA's Mel Tillis on television in the near future. He has recently taped guest appearances on "Dinah" for CBS and "Hollywood Squares" at NBC. This month Tillis will tape "Laugh-ln"and a new comedy show, "Just For Laughs." This will mark the first television appearance for Tillis on an all-comedy show. And early in January he will act as a celebrity "gonger" on "The Gong Show." Taken from his latest album, "Love's Troubled Waters," Tillis' new single, "What Did I Promise Her Last Night," will be released this month. Elektra artist Eddie Babbitt has been touring out west the last few weeks. He has ap- peared in Arizona, and up and down the California coast. Rabbitt played Hollywood's Palomino Club two nights, and he also taped Harry Newman's Ar- med Forces Radio Show which is heard by over 500 million people worldwide. In addition to working on a new album here last week and a renewed concert schedule including numerous upcoming televi- sion appearances, Phonogram/Mercury's Jerry Lee Lewis will play COUNTRY EXCHANGE -A quartet of RCA Records artists recently appeared on the "Morning Exchange"television show, which originates in Cleveland, Ohio. a role in a new movie, "American Hot Wax." Also, Billy Carter has Pictured during the show are (I-r): Dave Roland, Vicki Baker put out the word that he has always wanted to see Jerry Lee per- and Sue Powell of Dave & Sugar; Charley Pride: and the host of the WEWS-TV show, Fred form.
    [Show full text]
  • The Gothic Trespass in the Life and Songwriting of Tennessee Blues Musician Ray Cashman
    DESOLATION BLUES: THE GOTHIC TRESPASS IN THE LIFE AND SONGWRITING OF TENNESSEE BLUES MUSICIAN RAY CASHMAN Victor Bouvéron A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Folklore in the American Studies Department. Chapel Hill 2017 Approved by: William Ferris Glenn Hinson Crystal O’Leary-Davidson © 2017 Victor Bouvéron ALL RIGHTS RESERVED ii ABSTRACT Victor Bouvéron: Desolation blues: The Gothic trespass in the life and songwriting of Tennessee blues musician Ray Cashman (Under the direction of William Ferris) This thesis explores the pervading feeling of the Gothic in the life and songwriting of Tennessee blues musician Ray Cashman. I argue that Cashman emotionally responds to the South through the framework of the Gothic to assert his identity as a white southern working- class male. As a reader, writer and performer, he trespasses the lines of race and class. The ethnographic fieldwork I conducted in Tennessee, Georgia and North Carolina between 2015 and 2017 led me to reflect on the intriguing relationship between blues, southern Gothic literature and white working-class culture in the South. The songs written by Cashman often express a feeling of desolation, bleakness and decay, invoke a sense of nostalgia for a bygone time, or describe eerie landscapes and supernatural presences. Cashman also retells southern Gothic stories, like “Snake Feast,” inspired by Harry Crews’s A Feast of Snakes. iii ACKNOWLEDGEMENTS This project started the day I met Bill Ferris in Lille, France, in 2013. Bill encouraged me to apply to UNC-Chapel Hill and introduced me to the field of folklore.
    [Show full text]
  • November '92 Sound
    mb Nove er ’92 . 2 , NoSS UUNN DD HHHH, YOU DON’T know the shape I’m “O in,” Levon Helm was wailing plaintively over the P.A. as the lights came up at Off Broad- way, a St. Louis nightclub. The DJ’s choice of that particular Band normally prohibits). Brian McTavish of the number couldn’t have been more Star’s “Nighthawk” column was on assign- relevant. Four days on the road ment, so no luck there. A television spot with the Tom Russell Band were wasn't in the budget, so we'd have to rely coming to a close, leaving me primarily on word of mouth for ticket sales. fatigued and exhilarated at the same time. Day 1 – Kansas City The show had run late, and The Tom Russell Band, standin’ on the corner: Barry the management was doing its Ramus (bass), Fats Kaplin (accordion, pedal steel, Waiting at the Comfort Inn for the band harmonica, and more), Tom Russell (guitar, vocals), to roll in to town provided a chance to see a best to herd patrons out the Mike Warner (drums, backing vocals), Andrew Hardin door. As the crowd congratulat- (guitar, harmony vocals). prima donna in action. A member of Lash ing the band dispersed, S LaRue’sband was pressuring the desk clerk staff cartoonist Dug joined me in ap- to change his room assignment, first to down the hall, then, deciding that wasn’t proaching Tom, and in our best Wayne and up a request for an interview left on his toll good enough, to a different floor.
    [Show full text]
  • TEN Wildness, Eschatology, and Enclosure in the Songs of Townes Van Zandt
    TEN Wildness, Eschatology, and Enclosure in the Songs of Townes Van Zandt Michael B. MacDonald INTRODUCTION Loss and tragedy were present in the earliest days of American country music in part because it emerged from the great urbanization of America. This was a time of massive relocation when American life quickly and violently became city life. Country music, like folk music before it, was born from the shock of urbanization. Lola Scobey, in the liner notes of Van Zandt' s 1978 release Flyin' Shoes, remarked: "Townes carries the terror and the sorrow of a deeply sensitive man who has looked into the abyss and seen... the abyss." But this is too romantic; there is no abyss. Van Zandt looked at the folk on Main Street and wrote about it; however, this makes it sound too obvious, perhaps too na1ve. Van Zandt is anything but naive. His observations cut to the bone and reverberate upon the fractured psyche of America gone wrong, an America suffering from loss. I would contend that he wrote about the dark side of the American dream, or, perhaps, that he wrote mini-docu­ mentaries of the American dream becoming nightmare. However, sloppy words such as these do Van Zandt an injustice. These are the words of platitude and marketing, of Hallmark sentimentality. Van Zandt does not choose these words; instead, he strikes out against marketing corpora­ tions and entertainment companies who ingest romanticism and replace history with an imaginary vision of an ideal past. Culture is transformed from a living system, developed to help the individual deal with the vagaries, dangers, and paradoxes of life, into a constellation of consum- 145 146 Michael B.
    [Show full text]
  • 1 2 | Lonestarmusic Lonestarmusic | 3
    LoneStarMusic | 1 2 | LoneStarMusic LoneStarMusic | 3 inside this issue SHOVELS AND ROPE pg 38 O’ What Two Can Do The triumphant union, joyful noise and crazy good times of Cary Ann Hearst and Michael Trent by Kelly Dearmore FEATUREs 34 Q&A: Paul Thorn — By Lynne Margolis 48 Sunny Sweeney finds the light — By Holly Gleason 52 Lee Ann Womack: When I come around — By Richard Skanse 56 Cory Branan: The wandering musical spirit of Americana’s free-ranging “No-Hit Wonder” — By Adam Daswon 58 Imagine Houston: An excerpt from Reverb, the new novel by Joe Ely Photo courtesy of All Eyes Media 4 | LoneStarMusic LoneStarMusic | 5 after awhile inside this issue Publisher: Zach Jennings Editor: Richard Skanse Notes from the Editor | By Richard Skanse Creative Director/Layout: Melissa Webb Cover Design: Melissa Webb Advertising/Marketing: Kristen Townsend Apart from the opportunity to work with a team of really good people Advertising: Tara Staglik, Erica — especially graphic designer Melissa Webb, who I’d already known and Brown greatly respected for years — one of the things that appealed most to me Artist & Label Relations: Kristen Townsend about joining this magazine five years ago was owner Zach Jennings’ vision that LoneStarMusic could be about more than just Texas music. Even more Contributing Contributing and Writers Photographers than Texas Red Dirt music. We all agreed that we would still focus on songwriters and roots and/or country(ish) music — pretty much anything Richard Skanse John Carrico that could directly or even indirectly fall under the category of “Americana” in Lynne Margolis Lynne Margolis Brian T.
    [Show full text]
  • 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.
    [Show full text]
  • David Grissom Press Release 2010 Final
    Asterope News Release GUITARIST LEGEND DAVID GRISSOM SELECTS ASTEROPE INSTRUMENT CABLES AS CABLE OF CHOICE AUSTIN, TEXAS, October 4 , 2010… Asterope today announced that legendary guitarist David Grissom has selected Asterope instrument cables as his cable of choice for performances and studio recordings. Grissom recently tested the Asterope cable against his previous favorite, a cable he had used for more than seven years, before switching to Asterope. In addition to his solo recording career, David Grissom has recorded and toured with a wide variety of other legendary artists. He is known for his early work with Joe Ely, after which he went on to perform with John Mellencamp. He then formed the critically acclaimed Storyville. He has toured or played with the Allman Brothers, the Dixie Chicks, John Mayall, Robben Ford, James McMurtry, Montgomery Gentry, Buddy Guy, LeeAnn Womack and Martina McBride. “A friend recommended Asterope to me,” said David Grissom. “I was very skeptical about ‘yet another cable.’ When I A/B’ed it against my favorite cable – one I had been using for seven years – I could hear a big difference. Asterope was the clear winner. It has warmer, fatter highs and clearer lows. Today, I use Asterope every time I play.” “David Grissom represents the type of iconic artist that is becoming the hallmark of our brand,” said Dariush Rad, Asterope founder and CEO. “Our goal as a company is to provide musicians with the best sound possible and to help them experience their music in a whole new way.” David Grissom now joins a number of elite musicians who have selected Asterope as their cable of choice, including Bob Babbitt, GRAMMY® Award-Winning Motown bass player, and Jack Pearson, renowned guitarist for the Allman Brothers.
    [Show full text]
  • Farm Aid Artists 1985 – 2017
    PHOTO CREDIT: PAUL NATKIN Pete Seeger performs with Farm Aid Board Members AUGUST 2018 FARM AID ARTISTS 1985 – 2017 • 40 Points • Mandy Barnett • Tony Caldwell Since 1985, Farm Aid concerts • Acoustic Syndicate • Roseanne Barr • Calhoun Twins have brought together the • The Avett Brothers • The Beach Boys • Campanas de America greatest artists in American • Bryan Adams • Gary Beaty • Glen Campbell music. Of all the concerts for • Kip Addotta • Beck • Mary Chapin Carpenter a cause that began in the mid- • Trace Adkins • Bellamy Brothers • Bill Carter • Alabama • Ray Benson • Carlene Carter 80s, Farm Aid remains the only • Alabama Shakes • Kendra Benward • Deana Carter one that has the unique and • Dr. Buzz Aldrin • Ryan Bingham & the Dead • John Carter Cash unwavering commitment of its • Dennis Alley & The Horses • Johnny Cash original founders. Nearly 500 Wisdom Indian Dancers • Black 47 • June Carter Cash artists have played on the Farm • Greg Allman • Blackhawk • Felix Cavaliere Aid stage to keep family farmers • The Allman Brothers Band • Nina Blackwood • Central Texas Posse on the land and inspire people to • ALO • Blackwood Quartet • Marshall Chapman choose family farm food. • Dave Alvin • The Blasters • Tracy Chapman • Dave Alvin & the • Billy Block • Beth Nielsen Chapman Allnighters • Blue Merle • Charlie Daniels Band PHOTO CREDIT: EBET ROBERTS • David Amram • Grant Boatwright • Kenny Chesney • John Anderson • BoDeans • Mark Chesnutt • Lynn Anderson • Suzy Bogguss • Dick Clark • Arc Angels • Bon Jovi • Guy Clark • Skeet Anglin
    [Show full text]
  • A 70Th Birthday Tribute to Guy Clark Wednesday November 2, 2011 the Long Center, Austin, Texas
    Wish I Was In Austin: A 70th Birthday Tribute to Guy Clark Wednesday November 2, 2011 The Long Center, Austin, Texas Concert Fundraiser for The Center for Texas Music History at Texas State University, San Marcos Featuring Guy Clark, Terry Allen, Shawn Colvin, Rodney Crowell, Joe Ely, Rosie Flores, Radney Foster, Terri Hendrix, Ray Wylie Hubbard, Jack Ingram, James McMurtry, The Trishas, Jerry Jeff Walker, Kevin Welch and surprise guests. Concert is companion to the release of the double CD set This One’s For Him: A Tribute To Guy Clark Austin, TX, September 6, 2011—The Center for Texas Music History will host the fundraising concert Wish I Was In Austin: A 70th Birthday Tribute to Guy Clark on Wednesday November 2, 2011 at The Long Center in Austin, Texas. The Center for Texas Music History at Texas State University is a 501(c)3 non-profit educational program that is recognized nationally for its efforts to preserve and document the unique musical heritage of the Lone Star State. All profits from the concert will benefit the Center. The live show also celebrates the release of the double CD-set This One's For Him: A Tribute to Guy Clark, to be released on November 8, 2011 to celebrate Clark's 70th birthday. Clark was born in Monahans, Texas on November 6, 1941. Many artists who recorded tracks for the tribute CD will perform their tracks at the Long Center concert on November 2. Scheduled to perform are Terry Allen, Shawn Colvin, Rodney Crowell, Joe Ely, Rosie Flores, Radney Foster, Terri Hendrix, Ray Wylie Hubbard, Jack Ingram, James McMurtry, The Trishas, Jerry Jeff Walker, Kevin Welch and more.
    [Show full text]