DOCSLIB.ORG

The Newsletter of the Texas Music Museum 30Th ANNIVERSARY COUNTDOWN H O N O R

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Newsletter of the Texas Music Museum 30Th ANNIVERSARY COUNTDOWN H O N O R W. C. W. C. )6789:%5;%'6<%5% “Preserving Texas Music” !"#$$%%4"5!% The Newsletter of The Texas Music Museum “Distinguished Texas Musician Award”%4"5!%%% H O N O R E E “The Godfather of Austin Blues” !"#$%&''()*+,&+-%./0'12/3'% * Current Exhibits……….. pages 4 & 5 !"#$%&'($)*+",-($ * Honoring W. C. Clark….pages 6 & 7 !"#$%&'$()! ! * Texas Music Series .………pages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ҋUH,Q&KDUJH60 This project is supported in part by the City of Austin through the Economic Growth and Redevelopment Services HIJJ!9.3=#.53!G/74>B!(<60$!KJH! Office/Cultural Arts Division believing an investment in the Arts is an "$/>!LMKHN!OPMQKJJJ!!!!!!!A2?R!LMKHN!OPHQOHMM!!!! investment in Austin’s future. Visit Austin at NowPlayingAustin.com. DDD>0$?4.-1./>-.;! H! 1009 East 11th St., Austin, TX 78702 Our vision of TMM future facility ǡ ǫ ͙͜͡͠ Ǧ Ǧ ͙͘͝ȋ Ȍ͛ - Ǥ ͙͡͠͝Ǥ ͙͡͠͞ Ǧ Ǧ Ǥ ƥ ǡ ǡ Ǧ Ǧ ǯ Ǧ ǣ Ǥ Ǥ Ǥ facebook.com/texasmusicmuseum Ǥ Ǥ Ȁ Ǧ ǡ ǣ- ͡-͝ ǡ ǡ ǡ ͙͙͙͘͘͡Ǥ Ǥ ǣ ͙͚͝-͚͜͟-͙͙͚͠͠͡͝-͙͜͟-͚͘͘͝ ǡ͚͘͟͟͠ Ǥ ǡǡ Ǧ ǡ Ǧ Ǧ ǣ͙͚͝-͚͜͟-͙͠͠͡ Ǥ Ǧ Tear-off Form Title ǣ ͚͆͝Ǥ͘͘ ǣ ǣ ͙͙͙͘͘͡Ǥ ͆͘͝Ǥ͘͘ ǡ͚͘͟͟͠ ǣ͙͚͝-͚͜͟-͙͠͠͡ ͙͆͘͘Ǥ͘͘ Ǥ Ǥ ͚͆͘͝Ǥ͘͘ ͆͘͘͝Ǥ͘͘ ǣ ͙͆͘͘͘Ǥ͘͘ Ǩ TEXAS MUSIC HISTORICAL JOURNEY 1800 - 1930 Mexican-American Music – Spotlight Austin 7&'#501>=/&*#501%0*)#$)$%-.%<0$)%=+$)#1%#15,+6&%)"&%D*0//4%=@0*6%@#11#1;%E+(&1%E0/-$% 016%F0/#,4A%D*0//4%=@0*6%@#11#1;%!-*)#,,0%F05)-*4%016%701+&,%BG-@(-4C%H-1,&4?% Contributions of East Austin African-American Musicians to Texas Music !"#$%&'"#(#)%#$%)"&%*&$+,)%-.%/-*&%)"01%23%4&0*$%-.%*&$&0*5"%016%6-5+/&1)0)#-1%(4%!&'0$%7+$#5% 7+$&+/8$%9-,+1)&&*$%#1%01%&..-*)%)-%:*&$&*9&%)"&%*#5"%"&*#)0;&%-.%<0$)%=+$)#18$%=.*#501> =/&*#501%/+$#5#01$?%!"#$%#$%01%&9&*>;*-@#1;A%B,#9#1;C%&'"#(#)?% This project is supported in part by the City of Austin through the Economic Growth and Redevelopment Services Office/Cultural Arts I% Division believing an investment in the Arts is an investment in Austin’s future. Visit Austin at NowPlayingAustin.com. TEXAS MUSIC HISTORICAL JOURNEY 1800 - 1930 Visit Texas Music Museum between February and September 2013 to learn about and enjoy the music of Texas Native Americans such as Kiowa, Wichita, Caddo and many more. Spaniards brought the first cattle and horses to Texas, spurring cattle ranching in Texas. The exhibit includes materials on early cowboy songs. In the early 1800s immigrants from many parts of Europe settled in Texas. Many of these immigrants were classical composures, musicians, and music teachers that led to the development of early symphonies and publishing companies, German singing societies, community bands, and dance halls. The early 1900s saw the development of early Mexican American bands, orchestras, early gospel, blues, jazz, popular music and country with emerging talent such as fathers of country music Vernon Dalhart and Erick Robertson, and King of Ragtime Scott Joplin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iscography: !"#$%&'()*+",*-.$,/0"1/!!!!!!! "#$%! !!!!!!!!!!!!!!!!!&'())(*+!,)'(*-.!/012'3.! 2$3,%*"4*5"61!!!!!!!!!!!!!!!!!!!!!!!!!!!!"##4!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!5671892)!/012'3.! 7$839*!":6*********************************"##%!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!5671892)!/012'3.! ;".$,<9*=6$3!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!"##$! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!5671892)!/012'3.! +,"#*>:9%'(*?'%&*!":6!!!!!!!!!!!:;;:! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!<66(-792'!/012'3.! @$$A*B(*7&$*2$3,%!!!!!!!!!!!!!!!!!!!:;;4! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!<66(-792'!/012'3.! ?$,$*C":*7&$,$D!!!!!!!!!!!!!!!!!!!!:;""! /012'303!=(>0!79!9?0!,7@2*!ABC!CD! !"#$%&'()%**+,-! EFGF!?7.!H2*!9?0!12>0903!EFGF! I7*3D!56B0.!<H7'3!J!9(K0.!L2'! M0@7.!,2B6!N,2B6!56B0.!<6CBK!2L!9?0! O07'!"##%PQ!N<'9(.9!R2.9!&0.0'>(*-! 2L!E(30'!/012-*(9(2*!"##$P!L2'! =2>0'+.!A607Q!N56B0.!,2*-!2L!9?0!O07'! :;;JP!L2'!=09!S9!/7(*Q!7*3! *2K(*7903!L2'!R760!,2B6!<'9(.9!2L! 9?0!O07'!N:;;4PQ!56B0.!<6CBK!2L!9?0! O07'!7*3!,2B6T56B0.!<6CBK!2L!9?0! O07'!L2'!&00)!S*!M?0!I07'9!7.!H066! 7.!,2B6T56B0.!R760!<'9(.9!2L!9?0! O07'F! EF!GF!H(66!C0!)0'L2'K(*-!79!9?0!!'(* E'%/*!":6*3(1*F6:$9*G$.'.36!79!9?0! /(2!I2906!(*!=7.!U0-7.Q!VUQ!#T"%! H(9?!9?0!R76L2'3!R(66(-7*!57*3!H(9?! &7>(3!W'(..2KQ!9?0!M030.1?(!M'B18.! 57*3Q!/2C0'9!G'7DQ!=2.!=2*06D!52D.! 7*3!JX!29?0'!-'079!C7*3.F!I(.!HI%&* F',%&13/*F39&!H(66!C0!?063!79!9?0! ,7@2*!ABC!2*!,79B'37DQ!V2>0KC0'! "%9?F!Y2'!K2'0!(*L2!7*3!3790.!>(.(9! ?EE63,JKL"#! Z! VALMON RECORDS At age 26 in 1950 Ben Moncivais of East Austin, was a reputable watchmaker and leased space inside the Martin Valdez furniture store at 413 East 6th street. By the early 1960's Mr.and VALMON Records became Mrs.Moncivais operated the first independent their own Jewelry and Mexican-American record Record shop at 313 East label from Austin,Texas. 6th street, across from the where early recording historic Ritz Theater sessions took place in East downtown Austin. Austin on East 3rd street at Combining the first three the Pan American letters of 'VALdez" in Recreation Center.
Load more

Recommended publications
  • Southeast Texas: Reviews Gregg Andrews Hothouse of Zydeco Gary Hartman Roger Wood
    et al.: Contents Letter from the Director As the Institute for riety of other great Texas musicians. Proceeds from the CD have the History of Texas been vital in helping fund our ongoing educational projects. Music celebrates its We are very grateful to the musicians and to everyone else who second anniversary, we has supported us during the past two years. can look back on a very The Institute continues to add important new collections to productive first two the Texas Music Archives at SWT, including the Mike Crowley years. Our graduate and Collection and the Roger Polson and Cash Edwards Collection. undergraduate courses We also are working closely with the Texas Heritage Music Foun- on the history of Texas dation, the Center for American History, the Texas Music Mu- music continue to grow seum, the New Braunfels Museum of Art and Music, the Mu- in popularity. The seum of American Music History-Texas, the Mexico-North con- Handbook of Texas sortium, and other organizations to help preserve the musical Music, the definitive history of the region and to educate the public about the impor- encyclopedia of Texas tant role music has played in the development of our society. music history, which we At the request of several prominent people in the Texas music are publishing jointly industry, we are considering the possibility of establishing a music with the Texas State Historical Association and the Texas Music industry degree at SWT. This program would allow students Office, will be available in summer 2002. The online interested in working in any aspect of the music industry to bibliography of books, articles, and other publications relating earn a college degree with specialized training in museum work, to the history of Texas music, which we developed in cooperation musical performance, sound recording technology, business, with the Texas Music Office, has proven to be a very useful tool marketing, promotions, journalism, or a variety of other sub- for researchers.
    [Show full text]
  • THEMES of VOYAGE and RETURN in TEXAS FOLK SONGS Ken Baake Texas Tech University
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Spring 2010 "IT'S NOW WE'VE CROSSED PEASE RIVER" THEMES OF VOYAGE AND RETURN IN TEXAS FOLK SONGS Ken Baake Texas Tech University Follow this and additional works at: http://digitalcommons.unl.edu/greatplainsquarterly Part of the American Studies Commons, Cultural History Commons, and the United States History Commons Baake, Ken, ""IT'S NOW WE'VE CROSSED PEASE RIVER" THEMES OF VOYAGE AND RETURN IN TEXAS FOLK SONGS" (2010). Great Plains Quarterly. 2575. http://digitalcommons.unl.edu/greatplainsquarterly/2575 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. "IT'S NOW WE'VE CROSSED PEASE RIVER" THEMES OF VOYAGE AND RETURN IN TEXAS FOLK SONGS KENBAAKE Stories of development from childhood to narratives, its protean form identified repeat­ adulthood or of journeying through a 1ife­ edly in world mythologies by scholar Joseph changing experience to gain new knowledge Campbell. According to Campbell, the hero are replete in oral and written tradition, as comes in many forms, bearing "a thousand exemplified by the Greek epic of Odysseus and faces," but always with the same underlying countless other tales. Often the hero journeys experience-moving from a call to journey naively to an alien land and then, with great and often an initial refusal, then acceptance difficulty, returns home wiser but forever followed by a crossing of the threshold into scarred.
    [Show full text]
  • Country-Musik?"-Some Notes on the Popular Music of Texas and the Gulf Coast in West Germany
    "COUNTRY-MUSIK?"-SOME NOTES ON THE POPULAR MUSIC OF TEXAS AND THE GULF COAST IN WEST GERMANY by Richard C. Helt The lead article in the October 1976 issue of country corner, one of two nationally circulated country music periodicals in West Germany, details the rift between the Nashville country music "establishment" and the "out- laws'' of the fledgling Texas progressive country movement, and portrays in enthusiastic metaphors the music of the "sogenannte Texas Outlaw Souxld" ("the so-called Texas Outlaw Sound") of Waylon Jennings, Willie Nelson, and colleagues: "In der Tat, im Rieseneintopf der Produkte aus den Studios von Music City, U. S. A. muten die Klange der 'Rebellen' wie exotische Farbtupfer an . ."("It's a fact that the sounds of the 'rebels'come across as exotic spots of color in the gigantic ragout of products which come out of the studios of Music City, u.s.A.").' Similarly, the other German Cotlntrjl- Zeitschr(ff (("country journal"), Hillbillj~,featured a lengthy report on Jennings in its September issue of the same year, including an introductory editorial'comment on the central role played by the singer in the formation of the new movement: Diese T~telstory1st etnem modernen Kunstler gew~dmet.der 7war schon se~tgeraumer Zeit eln profil~erterVertreter d~eserMusik 1st. aber doch immer wieder neue Wege suchte-und auch fand. Ausdruck dieser Unruhe war selne mangebliche Bete~l~gungan der Begrundung der v~eld~skutierten"Outlaw-Bewegung," mlt der e~nigeprogresswe Country-Mustker aus den e~ngefahrenenstarren Gle~sender In Nashv~lleetabl~erten Country Music ausbrachen und nach Texas gingen Man kann Waylon Jenn~ngsfast als "Anfuhrer" d~eserOutlaws beze~chnen,("Th~s t~tle story 1s dedicated to a modern artist who, desp~tehis having been for some time a well-known representatwe of this genre [Nashville sound], has always sought new paths-and found them.
    [Show full text]
  • Society of Composers, Nc 2005 Region VI Conference
    The University of Texas at San Antonio presents the Society of Composers, nc 2005 Region VI Conference UTSA Department of Music February 24-26, 2005 Daniel Adams • Aaron Alon • Karim Al-Zand • Peter Askim .• Daniel Barnard • Mike Barnett • Kenneth R. Benoit • Douglas Bianclu • Per Bloland • Clifton Callender • Alan Chan • George B. Chave • Adam Cotton • James Crowley • Doug Davis • Juan Luis de Pablo Enriquez Rohen • S ue Dellinger • Rhodell T. Fields • Robert Fleisl1er • Mark Francis • Bruce Hamilton • Trent Hanna • David Heuser • Robert Hutchinson • Austin Jaquith • Donivan Johnson • David Korevaar • Timothy Kramer • Frank La Rocca • HyeKyung • Sabin Levi • Stepben Lilly • Carleton Macy • Melissa Maier • Cbarles Norman Mason • Ken Metz • Shirely Mier • Gary Masse • Kirk O'Riordan • Taiga Zafer Ozdemir • Daniel Perttu • Ricbard Power • Bill Ryan • Phillip Sckoeder • Paul Siskind • Rob $ mitb • Mark Snyder • Lesley Sommer •John Stafford II • Jack Stamps • Paul Steinberg • Greg A Steinke • Erich Stem • George Tanner • Michael Sidney Timpson • Michael Twomey • Guy Vollen • Andrew Walters • Marc Wooldridge :--c1 Society of Composers, Inc. [ SCI Sodety of Composers, inc. Region VI Conference at the University of Texas at San Antonio Department of Music David Heuser, Host Region VI Co-chairs: Phillip Schroeder and Samuel Magrill President: Thomas Wells Table of Contents Message from the Department Chair. .... ... .. .. .. .. ... .. .. .. 3 Message from the Host . ... ........... ..... .... .... ..... ... .. ... 4 Conference Schedule .. .
    [Show full text]
  • Texas Co-Op Power • July 2012
    LOCAL ELECTRIC COOPERATIVE EDITION JULY 2012 PECOSPECOS CANTALOUPESCANTALOUPES FEEDINGFEEDING AA CROWDCROWD COOLCOOL ROOFSROOFS SPEAKINGSPEAKING UPUP forfor HERITAGEHERITAGE Alabama-Coushatta Tribe Is Striving To Preserve Its Native Tongue and Traditions BornBorrnnnw withwiiittthh farmingffaarmmiiinngg ini youryyoouurr bblood?lood? RRuralural LandLand LLoansoans CountryCountry HHomeome LoansLoans FarmFarm & RRanchanch LoansLoans LivestockLivestock & EEquipmentquipment LLoansoans OperatingOperating CapitalCapital WWee’rree tthhhee answweeerrr.. RRealeal EEstatestate AAppraisalppraisal SServiceservices C apital Farm Credit has made agricultural production, real AAgribusinessgribusiness FFinancinginancing estate and agribusiness loans ffoor 95 years. We embrace our LLeasingeasing cooperative structure and our commitment to return profits to our customers. Through our patronage program, we return almost 100 percent of our net earnings back to our customers ̶ a distinct benefit of doing business with us. CapitalFarmCredit.com 8777..944.5500 TEXAS’T E X A S ’ LARGESTL A R G E S T RURALR U R A L LENDERL E N D E R July 2012 VOLUME 69 NUMBER 1 FEATURES 8 Speaking Up for Heritage By Helen Cordes Photos by Dave Shafer The Alabama and Coushatta tribes have long been linked, even before they started arriving in East Texas’ Big Thicket in the late 1700s. Today, as one tribe, these proud people are fighting to preserve their native tongue and venerable way of life. 14 The Truth About Pecos Cantaloupes By Lonn Taylor Most Pecos cantaloupes are now grown in Pecos County, not Pecos (which is in Reeves County). But the location change hasn’t 88 diminished their famous sweetness. DEPARTMENTS ONLINE Footnotes by Martha Deeringer Elizabeth Bacon Custer 29 TexasCoopPower.com The following July stories are available Recipe Roundup Food for a Multitude 31 on our website.
    [Show full text]
  • South Central Chapter the COLLEGE MUSIC SOCIETY
    South Central Chapter THE COLLEGE MUSIC SOCIETY 21st Regional Conference March 9–11, 2006 Texas State University San Marcos, Texas S TEINWAY IS THE OFFICIAL PIANO of THE COLLEGE MUSIC SOCIETY’S NATIONAL CONFERENCE School of Music 601 University Drive San Marcos, TX 78666-4616 Office: 512-245-2651 Fax: 512-245-8181 March 9-11, 2006 Dear Conference Participants, We are delighted to welcome you to our campus for the 21st College Music Society (CMS) South Central Chapter Conference, held as a joint conference with the Texas Chapter of the National Association of Composers USA (NACUSA Texas). We will offer a rich program of 11 lecture-recitals, 17 research papers, nine posters, two panels, and six concerts. Among the many performances of compositions by CMS and NACUSA Texas composers, we will be able to enjoy 10 world premiere performances. We are especially delighted to welcome our Keynote Speaker, the well-known American composer Charles H. Ruggiero, who will present the keynote lecture on “Creative Collaborations: A Composer’s Perspective.” Two of his compositions will be performed by saxophonist Joseph Lulloff and pianist Jun Okada. Furthermore, an invited recital will be given by flutist Danilo Mezzadri, accompanied by pianist Faith DeBow. As part of the conference, the Annual NACUSA Texas Membership Meeting will take place on Thursday, March 9, after the evening concert. The Annual CMS South Central Membership Meeting will take place on Friday, March 10, immediately following the Conference Luncheon. Let us tell you a bit more about our university and our School: Texas State University has about 27,000 students and is the flagship of the Texas State University System, the oldest multi-campus system in Texas with currently nine institutions.
    [Show full text]
  • TEC Fall 2019 Events Calendar
    FALL 2019 SEPTEMBER • OCTOBER • NOVEMBER EVENTSC A L E N DA R SNAPSHOT Yesterland Farm’s FESTIVALS, CONCERTS, EXHIBITS, PARADES, Fall Fest See more inside... AND ALL THINGS FUN IN TEXAS! EVENTS FALL 2019 Beach spotlights all this beach town has to offer tition in “food sport,” taking place in when the temperatures begin to dip, Dallas Oct. 16-20. Meanwhile, during the Bonanza including a fishing tournament to benefit Harvest Moon Regatta Oct. 10-13, the longstanding summer play- wounded warriors and their families, a largest point-to-point sailing regatta in ground, Port Aransas shows music festival, and an art walk. At the U.S. coastal waters, spectators can cheer it has just as much to offer Texas Super Chef Throwdown Series on sailors as they race from Galveston to visitors in the fall during Sept. 18-21, 30 talented chefs compete Port A during what is traditionally the Aits seven-week Beachtoberfest, for a chance to qualify for the World best offshore sailing time of the year. Sept. 13-Oct. 30. The slew of events Food Championships, the largest compe- portaransas.org/beachtoberfest ON THE COVER MEANWHILE, BACK AT THE FARM Fall is in full swing at Yesterland Farm’s Fall Festival in Canton every weekend from Sept. 21-Nov. 3. Make your way through the pumpkin patch or the 3-acre corn maze, then hop on the carousel, Ferris wheel, and vintage rides for a trip back in time—as well as up and down, and round and round. Feed the farm ani- mals—including goats, pigs, and turkeys—or feed yourself brisket, funnel cakes, and burgers.
    [Show full text]
  • Texas Music History Overview
    Texas Music History Overview Narrator: Roots of Texas music run deep. N: Although many iconic musicians have emerged from the Lone Star State, the real treasure of Texas music is in its diversity and development. N: Texas has long been a cross roads for a wide variety of different cultures and music of this dynamic and diverse society reflects a distinct and rich heritage. N: From Cajun to conjunto, blues to western swing, the music of Texas and the Southwest provides a window into the traditions and history of past generations. (Music playing) N: Music has been a part of the story of Texas since the first humans set foot in the region. N: Native tribes, including the Caddos of East Texas and the Karankawas of the Gulf Coast, have left archaeological evidence of a musical tradition that was heavily percussive but also included primitive wind instruments. N: Texas-based tribes, such as the Kickapoo, Tigua, and Alabama-Coushatta, continue to celebrate their culture through music to this day. N: When Spanish conquistadors claimed the region as New Spain, they brought new music traditions to the region, including those of the Muslim African Mores, who had occupied Spain for centuries, as well as those of the African slaves that the Spanish had brought. N: When Spain took over the French owned Louisiana colony, cultural traditions mingled further. N: By the early part of the eighteenth century, a unique mix of Spanish, French, African, Arabic, and Native American cultures was present in Texas. N: In the early nineteenth century, Spain began encouraging Americans to settle in the region by offering land grants.
    [Show full text]
  • Performance Program Notes and Translations (In Program Order)
    Performance Program Notes and Translations (in program order) Concert 1 Thursday, March 12, 1:30-2:30 (McCastlain Hall Fireplace Room) The Platypus Story by Stephanie Berg (1986) performed by The Platypus Players Beth Wheeler (Arkansas Symphony Orchestra), oboe; Rochelle G. Mann (Fort Lewis College), flute Tatiana R. Mann (Texas Tech University), piano Richard Wheeler (University of Arkansas Medical School), Narrator #1 Julian Mann (Elementary School), Narrator #2 The Platypus Story follows the tale of various forest creatures, each belonging to their own bird, fish or mammal group, who come across an animal that seems to defy categorization. The story is adapted from the traditional Aboriginal Australian tale, which is one of the original stories of the Dreamtime. “Dreamtime” is the Aboriginal Australian understanding of the world, its creation and the beginning of knowledge as described through a series of tales. Its wonderful message of strength of unity and beauty in diversity reflects the belief that all life as it is today is part of one vast, unchanging network of relationships that can be traced to the Creation and Great Spirit ancestors of the Dreamtime. The music chosen to accompany this tale utilizes an expanded yet familiar tonal language that is evocative, charming and quirky enough to match that strangest of animals, the platypus. Incantation and Dance by William Grant Still (1895-1978) performed by Toot Suite Tara Schwab (Arkansas State University), flute Kristin Leitterman (Arkansas State University), oboe Emily Trapp Jenkins (Arkansas State University), piano An Arkansas Son: William Grant Still (1895–1978) William Grant Still (1895-1978) was born in Mississippi and raised in Little Rock, Arkansas, where he developed his love for music and ability on numerous instruments before moving to Ohio to attend Wilberforce University and later Oberlin Conservatory.
    [Show full text]
  • February 2020
    Vol. 37 , Issue 2 NorthWest Western Swing Music Society February 2020 PO Box 14003, Mill Creek, WA 98082 Included In This Issue Preserving the music that is too country for Jazz and too jazz for Country 1 2020 Festival Announcement 4 Cherishing the Memories/Members’ Forum 5 Announcing the NWWSMS Winter White Dinner/Dance and Fundraiser 6 Voting for the 5th Annual People’s Choice Award (Showcase Band of the Year) 9 Paula Jungmann’s AWA nomination Anhalt Western Round-Up Jody Nix Celebration Cruise 11 Academy of Western Artists 2020 Event Information 12 Festival Event Calendar for 2020 13 Cowtown Society of Western Music 19831983--20202020 CelebratingCelebrating 3636 Years!Years! 2020 Heroes of Western Swing Texas Steel Guitar Association The NorthWest Western Swing Music Society’s Annual Jamboree Information 30th Annual Western Swing Music Festival and 14 Kaua’i Steel Guitar Festival Tommy Thomsen & the C.O.W.S. Hall of Fame Induction Celebration 15 WS Music Society of the Southwest along with the Second Annual Upcoming San Angelo Events Western Swing Summer Music Camp 16 2020 Ameripolitan Awards Event Flyer 17 San Angelo Cowboy Ball Information AUGUST 6TH - 9TH, 2020 In Every Issue We are returning to the historic Field House (aka: Pete’s Pool) 2 at the Enumclaw Event Center! NWWSMS Mission Statement/Contact Information Click on the photo to the left for more information on the facility or go to: Current Officers & Board Members http://www.enumclawexpocenter.com/ Meeting Minutes of the Board Additional information on the festival and summer music camp coming soon! 3 Upcoming Showcase Information President’s Corner Renew, join or donate - Here’s how! Around the Northwest-bring local, live music to your event 7 Event Photo Highlights 8 Swingin’ West’s Top Tens & Review by Mike Gross NWWSMS Membership Application 10 Showcase/Festival Highlights 11 Top 10 from DJ Skeebo Norris, Texas MEMBERSHIP REMINDER: RENEWALS DUE JAN.
    [Show full text]
  • 2007 Catalog
    2 Table Of Contents / Welcome Where To Find Us 3 Table Of Contents Arhoolie Welcomes You How To ORDER Arhoolie’s History. 4 to the best authentic, and pure roots & You can order ALL items in this ARHOOLIE CATALOG and most items in the Arhoolie Foundation . 12 NEATWORK Catalog by filling out the enclosed ORDER FORM and enclosing the 40th Anniversary Box Set. 14-15 vernacular music on records! In the fall of correct amount, or you can order by phone TOLL FREE with VISA or Blues . 16-48 MASTERCARD by calling 888-ARHOOLIE (888-274-6654). (This is an order Cajun/Zydeco . 50-77 2005 Arhoolie celebrated its 45th year of number only – for all other Arhoolie business, please call 510-525-7471.) Or, you can order via our website, www.arhoolie.com. Mexican-American/Tejano/ presenting these traditions. Tex-Mex/Conjunto/Mexico . 79-115 Thank you, World Music . 116-130 This 2007 ARHOOLIE/FOLKLYRIC The ARHOOLIE staff Afghanistan . 116 CATALOG lists all items released through Caribbean/Bahamas . 116 Where To Find Us Caribbean/Belize . 117 JULY 30, 2007. For details about releases ARHOOLIE RECORDS ARHOOLIE WEBSITE: Caribbean/Dominican Rep. 117 10341 San Pablo Avenue Caribbean/Martinique . 117 after July 2007, please request our www.arhoolie.com El Cerrito, CA 94530 Keep up to date with our latest releases Caribbean/Trinidad . 118 CATALOG SUPPLEMENTS or visit our Carribbean/Puerto Rico . 119 Phone: (510) 525-7471 and news by visiting our website. You’ll Colombia . 119 WEBSITE: WWW.ARHOOLIE.COM. Fax: (510) 525-1204 find our complete catalog with full color Cuba.
    [Show full text]
  • Authors of Senate Bills and Resolutions
    5163 SENATE JOURNAL Ð REGULAR SESSION 5163 AUTHORS OF SENATE BILLS AND RESOLUTIONS BIRDWELL, BRIAN SBi14,iiRelating to requirements to vote, including presenting proof of identification; providing criminal penalties. SBi16,iiRelating to informed consent to an abortion. SBi24,iiRelating to the prosecution, punishment, and certain criminal and civil consequences of offenses involving or related to the trafficking of persons and to certain protections for victims of those offenses. SBi99,iiRelating to persons authorized to control the disposition of the remains of certain members of the United States armed forces. SBi165,iiRelating to zero-based budgeting for state agencies as a part of the sunset review process. SBi178,iiRelating to requirements to vote, including presenting proof of identification; providing criminal penalties. SBi202,iiRelating to achievement benchmarks in fiscal notes and to legislative review of those benchmarks. SBi257,iiRelating to the issuance of "Choose Life" license plates and the creation of the Choose Life account in the general revenue fund. SBi321,iiRelating to an employee 's transportation and storage of certain firearms or ammunition while on certain property owned or controlled by the employee s' employer. SBi353,iiRelating to the territory and dissolution requirements of the Southern Trinity Groundwater Conservation District. SBi354,iiRelating to the carrying of concealed handguns on the campuses of and certain other locations associated with institutions of higher education. SBi444,iiRelating to eliminating the set-aside of a portion of designated tuition for student financial assistance at public institutions of higher education. SBi514,iiRelating to the acquisition of land and facilities by the Texas State Technical College System.
    [Show full text]