Austin's 30 Most Influential
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1 Is Austin Still Austin?
1 IS AUSTIN STILL AUSTIN? A CULTURAL ANALYSIS THROUGH SOUND John Stevens (TC 660H or TC 359T) Plan II Honors Program The University of Texas at Austin May 13, 2020 __________________________________________ Thomas Palaima Department of Classics Supervising Professor __________________________________________ Richard Brennes Athletics Second Reader 2 Abstract Author: John Stevens Title: Is Austin Still Austin? A Cultural Analysis Through Sound Supervisors: Thomas Palaima, Ph. D and Richard Brennes For the second half of the 20th century, Austin, Texas was defined by its culture and unique personality. The traits that defined the city ushered in a progressive community that was seldom found in the South. In the 1960s, much of the new and young demographic chose music as the medium to share ideas and find community. The following decades saw Austin become a mecca for live music. Austin’s changing culture became defined by the music heard in the plethora of music venues that graced the city streets. As the city recruited technology companies and developed its downtown, live music suffered. People from all over the world have moved to Austin, in part because of the unique culture and live music. The mass-migration these individuals took part in led to the downfall of the music industry in Austin. This thesis will explore the rise of music in Austin, its direct ties with culture, and the eventual loss of culture. I aim for the reader to finish this thesis and think about what direction we want the city to go in. 3 Acknowledgments Thank you to my advisor Professor Thomas Palaima and second-reader Richard Brennes for the support and valuable contributions to my research. -
Austinmusicawards2017.Pdf
Jo Carol Pierce, 1993 Paul Ray, Stevie Ray Vaughan, and PHOTOS BY MARTHA GRENON MARTHA BY PHOTOS Joe Ely, 1990 Daniel Johnston, Living in a Dream 1990 35 YEARS OF THE AUSTIN MUSIC AWARDS BY DOUG FREEMAN n retrospect, confrontation seemed almost a genre taking up the gauntlet after Nelson’s clashing,” admits Moser with a mixture of The Big Boys broil through trademark inevitable. Everyone saw it coming, but no outlaw country of the Seventies. Then Stevie pride and regret at the booking and subse- confrontational catharsis, Biscuit spitting one recalls exactly what set it off. Ray Vaughan called just prior to the date to quent melee. “What I remember of the night is beer onto the crowd during “Movies” and rip- I Blame the Big Boys, whose scathing punk ask if his band could play a surprise set. The that tensions started brewing from the outset ping open a bag of trash to sling around for a classed-up Austin Music Awards show booking, like the entire evening, transpired so between the staff of the Opera House, which the stage as the mosh pit gains momentum audience visited the genre’s desired effect on casually that Moser had almost forgotten until was largely made up of older hippies of a Willie during “TV.” the era. Blame the security at the Austin Stevie Ray and Jimmie Vaughan walked in Nelson persuasion who didn’t take very kindly About 10 minutes in, as the quartet sears into Opera House, bikers and ex-Navy SEALs from with Double Trouble and to the Big Boys, and the Big “Complete Control,” security charges from the Willie Nelson’s road crew, who typical of the proceeded to unleash a dev- ANY HISTORY OF Boys themselves, who were stage wings at the first stage divers. -
Coda: the Value of Architecture
A General Theory of Value, Coda .......Page 11–1 Not to be duplicated or cited without author's permission. THE VALUE OF ARCHITECTURE being the Coda of A General Theory of Value © 2003, Michael Benedikt We have been engaged in what could fairly be described as a study of the architecture of value—with "architecture" understood quite abstractly. Here, in the Coda, we turn to the value of architecture quite literally. Our question: can the theory of value developed in this book shed light upon how architecture is valued?—and, by extension, how the whole designed, built, and landscaped physical world is valued? Or ought to be? We ask because around the world the quality of buildings and the condition of the physical environment is for the most part lamentable and on the whole getting worse. At the beginning of the 21st century, several overlapping factors can be listed as contributing to this trend: • continued rapid population growth in and around cities, causing crowding and over-stressing all physical and legal infrastructures; • powerful market forces, intensified by globalization, riding roughshod over traditional practices, values, and uses of the land; • distraction by the mass media and by other technologically-assisted entertainments and communication systems; • a general lack of understanding of the kind of good that (good) architecture is, and the value of what it does for everyone, not just for elites; A General Theory of Value, Coda .......Page 11–2 • people's passion for individual freedom over liberty—freedom in the form of physical mobility, job opportunity, experiential variety, "better deals," and greater consumer choice...at almost all costs; • citizen reluctance to pay (and government reluctance to dedicate) the tax monies required to create and keep public buildings in good repair and civic spaces a reason for pride; • the values, doctrines, and strategies of architects, engineers, and other design professionals throughout the latter part of the 20th century attempting to respond to above conditions—but exacerbating them instead. -
San Antonio's West Side Sound
Olsen: San Antonio's West Side Sound San Antonio’s SideSound West Antonio’s San West Side Sound The West Side Sound is a remarkable they all played an important role in shaping this genre, Allen O. Olsen amalgamation of different ethnic beginning as early as the 1950s. Charlie Alvarado, Armando musical influences found in and around Almendarez (better known as Mando Cavallero), Frank San Antonio in South-Central Texas. It Rodarte, Sonny Ace, Clifford Scott, and Vernon “Spot” Barnett includes blues, conjunto, country, all contributed to the creation of the West Side Sound in one rhythm and blues, polka, swamp pop, way or another. Alvarado’s band, Charlie and the Jives, had such rock and roll, and other seemingly regional hits in 1959 as “For the Rest of My Life” and “My disparate styles. All of these have Angel of Love.” Cavallero had an influential conjunto group somehow been woven together into a called San Antonio Allegre that played live every Sunday sound that has captured the attention of morning on Radio KIWW.5 fans worldwide. In a sense, the very Almendarez formed several groups, including the popular eclectic nature of the West Side Sound rock and roll band Mando and the Chili Peppers. Rodarte led reflects the larger musical environment a group called the Del Kings, which formed in San Antonio of Texas, in which a number of ethnic during the late 1950s, and brought the West Side Sound to Las communities over the centuries have Vegas as the house band for the Sahara Club, where they exchanged musical traditions in a remained for nearly ten years.6 Sonny Ace had a number of prolific “cross-pollination” of cultures. -
Fiction Resume
GREG GARRETT Professor of English/ 2013 Baylor Centennial Professor Baylor University Waco, TX 76798-7404 (254) 710-6879 [email protected] SELECTED PUBLICATIONS Nonfiction A Long, Long Way: Hollywood’s Unfinished Journey from Racism to Reconciliation. New York: Oxford University Press, 2020. A lead trade title for Spring 2020. Featured in Publishers Weekly, LitHub, Read the Spirit. In Conversation: Rowan Williams and Greg Garrett. With Rowan Williams. New York: Church Publishing, 2019/London: SPCK, 2020. Featured in Publishers Weekly, Read the Spirit, BBC Radio. The Courage to See: Daily Inspiration from Great Literature. With Sabrina Fountain. Louisville: Westminster John Knox Press, 2019. Featured in Read the Spirit, BBC Radio. Living with the Living Dead: The Wisdom of the Zombie Apocalypse. New York: Oxford University Press, 2017. A lead trade title for Spring 2017. Featured in The Spectator, Vice, Christianity Today, Church News, The Baptist Standard, BBC Radio, The Daily Mirror, Christianity, and many other media sources. Featured book at the Edinburgh International Festival of Books, the Greenbelt Festival (UK), and the Texas Book Festival. My Church Is Not Dying: Episcopalians in the 21st Century. New York: Morehouse Publishing, 2015. Featured in Christian Century. Entertaining Judgment: The Afterlife in Popular Imagination. Oxford: Oxford University Press, 2015. A lead trade title for Spring 2015. Starred review in Library Journal. Lead reviews in The New Statesman and Christianity Today. Excerpted as lead article in Salon.com and featured in Christian Century. Faithful Citizenship: Christianity and Politics for the 21st Century. Englewood, CO: Patheos Press, 2012. Featured in Read the Spirit. The Other Jesus: Leaving a Religion of Fear for the God of Love. -
My Guitar Is a Camera
My Guitar Is a Camera John and Robin Dickson Series in Texas Music Sponsored by the Center for Texas Music History Texas State University–San Marcos Gary Hartman, General Editor Casey_pages.indd 1 7/10/17 10:23 AM Contents Foreword ix Steve Miller Acknowledgments xi Introduction xiii Tom Reynolds From Hendrix to Now: Watt, His Camera, and His Odyssey xv Herman Bennett, with Watt M. Casey Jr. 1. Witnesses: The Music, the Wizard, and Me 1 Mark Seal 2. At Home and on the Road: 1970–1975 11 3. Got Them Texas Blues: Early Days at Antone’s 31 4. Rolling Thunder: Dylan, Guitar Gods, and Joni 54 5. Willie, Sir Douglas, and the Austin Music Creation Myth 60 Joe Nick Patoski 6. Cosmic Cowboys and Heavenly Hippies: The Armadillo and Elsewhere 68 7. The Boss in Texas and the USA 96 8. And What Has Happened Since 104 Photographer and Contributors 123 Index 125 Casey_pages.indd 7 7/10/17 10:23 AM Casey_pages.indd 10 7/10/17 10:23 AM Jimi Hendrix poster. Courtesy Paul Gongaware and Concerts West. Casey_pages.indd 14 7/10/17 10:24 AM From Hendrix to Now Watt, His Camera, and His Odyssey HERMAN BENNETT, WITH WATT M. CASEY JR. Watt Casey’s journey as a photographer can be In the summer of 1970, Watt arrived in Aus- traced back to an event on May 10, 1970, at San tin with the intention of getting a degree from Antonio’s Hemisphere Arena: the Cry of Love the University of Texas. Having heard about a Tour. -
Homegrown: Austin Music Posters 1967 to 1982
Homegrown: Austin Music Posters 1967 to 1982 Alan Schaefer The opening of the Vulcan Gas Company in 1967 marked a significant turning point in the history of music, art, and underground culture in Austin, Texas. Modeled after the psychedelic ballrooms of San Francisco, the Vulcan Gas Company presented the best of local and national psychedelic rock and roll as well as the kings and queens of the blues. The primary 46 medium for advertising performances at the 47 venue was the poster, though these posters were not simple examples of commercial art with stock publicity photos and redundant designs. The Vulcan Gas Company posters — a radical body of work drawing from psychedelia, surrealism, art nouveau, old west motifs, and portraiture — established a blueprint for the modern concert poster and helped articulate the visual language of Austin’s emerging underground scenes. The Vulcan Gas Company closed its doors in the spring of 1970, but a new decade witnessed the rapid development of Austin’s music scene and the posters that promoted it. Austin’s music poster artists offered a visual narrative of the music and culture of the city, and a substantial collection of these posters has found a home at the Wittliff Collections at Texas State University. The Wittliff Collections presented Homegrown: Austin Music Posters 1967 to 1982 in its gallery in the Alkek Library in 2015. The exhibition was curated by Katie Salzmann, lead archivist at the Wittliff Collections, and Alan Schaefer, a lecturer in the Department of English Jim Franklin. New Atlantis, Lavender Hill Express, Texas Pacific, Eternal Life Corp., and Georgetown Medical Band. -
Front Page 1
Presorted Standard U.S. Postage Paid Austin, Texas Permit No. 01949 This paper can be recycled Vol. 38 No. 8 Website: theaustinvillager.com Email: [email protected] Phone: 512-476-0082 Fax: 512-476-0179 July 9, 2010 Dr. Marvin Griffin to be Austin All-Star Band scores victories honored for 41 years of service in Houston Band Competition RAPPIN’ Tommy Wyatt Our schools need to have a Black presence! Ebenezer Baptist The program theme is, Black citizens of Church will honor Dr. “Recognizing the Blessings Austin are asking to Marvin C. Griffin, pastor, for of Longevity”, Scripture: 1 have some input in the 41 years of dedication service Thessalanians 5: 12-13A. selection of the new prin- to the church and commu- Guest speaker is Reverend J. cipal for the L. B J. High nity. The service of Apprecia- C. Adams, Pastor of St. The Austin All-Star ton. The Austin Band com- school. With the depar- tion will be held on Sunday, Edward’s Baptist Church of Band, composed of 140 stu- The Austin band, un- peted against bands from ture of principal Patrick July 11, 2010 at 3:30 p.m. at Austin. The community is in- dents from the Austin and der the director of Reagan Texas, Louisiana, Georgia Patterson from the the church, 1010 East 10th vited to attend all of the ser- surrounding school district, High School Band Director and Tennessee. Above school, the district is left Street. The morning services vices. recently earned honors in Ormide Armstrong, won photo of the Austin All-Star without an African at 8:00 a.m. -
Home with the Armadillo
Mellard: Home with the Armadillo Home with the Armadillo: Public Memory and Performance in the 1970s Austin Music Scene Jason Dean Mellard 8 Produced by The Berkeley Electronic Press, 2010 1 Greezy Wheels performing at the Armadillo World Headquarters. Photo courtesy of the South Austin Popular Culture Center. Journal of Texas Music History, Vol. 10 [2010], Iss. 1, Art. 3 “I wanna go home with the Armadillo Good country music from Amarillo and Abilene The friendliest people and the prettiest women You’ve ever seen.” These lyrics from Gary P. Nunn’s “London Homesick Blues” adorn the wall above the exit from the Austin Bergstrom International Airport baggage claim. For years, they also played as the theme to the award-winning PBS series Austin City Limits. In short, they have served in more than one instance as an advertisement for the city’s sense of self, the face that Austin, Texas, presents to visitors and national audiences. The quoted words refer, if obliquely, to a moment in 9 the 1970s when the city first began fashioning itself as a key American site of musical production, one invested with a combination of talent and tradition and tolerance that would make of it the self-proclaimed “Live Music Capital of the World.”1 In many ways, the venue of the Armadillo World Headquarters served as ground zero for these developments, and it is often remembered as a primary site for the decade’s supposed melding of Anglo-Texan traditions and countercultural lifestyles.2 This strand of public memory reveres the Armadillo as a place in which -
'Blues Boy' Hubbard
Blues Boy Hubbard courtesy of Todd Wolfson. Henry ‘Blues Boy’ Hubbard “I Just Fell In Love With T-Bone Walker Licks” By Scott M. Bock lues Boy Hubbard has helped anchor the rich Austin Hubbard says that he stopped leading his own band when he hit age music scene for six decades. Now, eighty years old, he 75 and his second guitarist left town. He works with the East Side Kings talks about his career without regret despite the fact that when he feels like playing. Today, he sits on a chair while on stage but Bhe never gained much notice outside of Austin. While many his hands still run the fret board with ease. musicians he taught or worked with were busy recording and “My real full name is Henry L. Hubbard. I was born 16th February 1934. I’m from La Grange, Texas – born and raised. It was just me and touring, Hubbard made a living for years leading a band that my brother. That’s it. I went from the first grade to the twelfth grade and backed national artists and, when times were lean, worked day finished high school there. La Grange is east from Austin on Highway 71. jobs to take care of his family. The first town is Bastrop, the next one is Smithfield, and then La Grange. Hubbard is a confident man who laughs easily while sitting in his From La Grange you can get on Highway 10 and go to Houston. comfortable apartment. He wears large glasses, a cowboy hat, and It’s a small town. -
2017 Annual Report T E X a S B O O K F E S T I V a L 2 0 1 7 a N N U a L R E P O R T
2017 ANNUAL REPORT T E X A S B O O K F E S T I V A L 2 0 1 7 A N N U A L R E P O R T FROM THE EXECUTIVE DIRECTOR AND BOARD CHAIR The Texas Book Festival's vision is to inspire Texans of all ages to love reading. Our programs improve literacy and literary engagement throughout the state, thanks to the investment of board members, donors, sponsors, partners, and volunteers who believe in the power of reading to change lives. 2017 marked the annual Festival Weekend’s twenty-second year. This past November 4 - 5, the Festival drew its largest crowd ever, as 50,000 turned out to meet literary legends like Jeffrey Eugenides, breakout novelists like Min Jin Lee, critically acclaimed YA authors like Jason Reynolds, beloved members of Texas's former first family Jenna Bush Hager and Barbara Bush, and the one and only Tom Hanks. The Texas Book Festival, though, is so much more than a festival. 2017 marked a year of intentional, creative growth throughout the state. We piloted our Reading Rock Stars program in Dallas, held our first literary salon in Midland with Skip Hollandsworth, and expanded our Board of Advisors to include advocates from Galveston to El Paso (797 miles!). The work we do would not be possible without your involvement and support. Thank you for sharing our commitment to literacy and literary culture in Texas. Warm regards, Lois Kim Karen Brimble Executive Director Board Chair T E X A S B O O K F E S T I V A L 2 0 1 7 A N N U A L R E P O R T FESTIVAL IMPACT 50,000 people attended the 22nd annual Festival Weekend, held on November 4 & 5 in and around the Texas State Capitol. -
Eddie Stout, Dialtone Records, and the Making of a Blues Scene in Austin1
Eddie Stout, Dialtone Records, and the Making of a Blues Scene in Austin1 Josep Pedro 22 The Dynaflows at Rome Inn, 1982. (L-R) Eddie Stout, Stevie Fulton, Stevie Ray Vaughan, and David Murray. Courtesy Eddie Stout. Austin, Texas, native Eddie Stout’s dedication to the preservation and celebration of the blues over the past four decades has earned him tremendous respect and admiration within the local blues community. A performing bass player since 1972, Stout has been active in the global expansion of blues. He also has been a prolific producer of African-American roots music, including blues, gospel, and jazz, with 23 the creation of labels such as Pee Wee Records (1984), Dialtone Records (1999), and Dynaflow Records (2014). Stout has served as an international representative, distributor, and publisher for several companies, such as Justice Records, Independent Artists, Doolittle, New West, Antone’s Records, and Malaco Records. Because of his broad knowledge and experience in the field of blues, he is frequently invited to serve as a panelist and label representative at music conventions throughout the world, as well as a producer and director of forty episodes of the popular television show Songwriters across Texas (2012-2013). The Dynaflows at Rome Inn, 1982. (L-R) Eddie Stout, Stevie Fulton, Stevie Ray Vaughan, and David Murray. Courtesy Eddie Stout. The artists and recordings that Eddie Stout and Dialtone Records promote are rich in spatio-temporal bonds resonating across different historical periods and geographical regions. On