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Before Austin became the "live music capital of the world" and
attracted tens of thousands of music fans, it had a vibrant local
music scene that spanned late sixties psychedelic and avant-garde
rock to early eighties punk. Venues such as the Vulcan Gas Company
and the Armadillo World Headquarters hosted both innovative local
musicians and big-name touring acts. Poster artists not only
advertised the performances-they visually defined the music and
culture of Austin during this pivotal period. Their posters
promoted an alternative lifestyle that permeated the city and
reflected Austin's transformation from a sleepy university town
into a veritable oasis of underground artistic and cultural
activity in the state of Texas. This book presents a definitive
survey of music poster art produced in Austin between 1967 and
1982. It vividly illustrates four distinct generations of
posters-psychedelic art of the Vulcan Gas Company, early works from
the Armadillo World Headquarters, an emerging variety of styles
from the mid-1970s, and the radical visual aesthetic of
punk-produced by such renowned artists as Gilbert Shelton, Jim
Franklin, Kerry Awn, Micael Priest, Guy Juke, Ken Featherston,
NOXX, and Danny Garrett. Setting the posters in context, Texas
music and pop-culture authority Joe Nick Patoski details the
history of music posters in Austin, and artist and poster art
scholar Nels Jacobson explores the lives and techniques of the
artists.
(Book). The Outlaw phenomenon greatly enlarged country music's
audience in 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. Complementing the Country Music Hall of Fame
and Museum's exhibition Outlaws & Armadillos: Country's Roaring
'70s , this 120-page, fully illustrated book examines the 1970s
cultures of Nashville and fiercely independent Austin, and the
complicated, surprising relationships between the two.
In this gonzo history of the "City of the Violet Crown," author and
journalist Joe Nick Patoski chronicles the modern evolution of the
quirky, bustling, funky, self-contradictory place known as Austin,
Texas. Patoski describes the series of cosmic accidents that tossed
together a mashup of outsiders, free spirits, thinkers, educators,
writers, musicians, entrepreneurs, artists, and politicians who
would foster the atmosphere, the vibe, the slightly off-kilter
zeitgeist that allowed Austin to become the home of both Armadillo
World Headquarters and Dell Technologies. Patoski's raucous,
rollicking romp through Austin's recent past and hipster present
connects the dots that lead from places like Scholz Garten-Texas'
oldest continuously operating business-to places like the
Armadillo, where Willie Nelson and Darrell Royal brought hippies
and rednecks together around music. He shows how misfits like
William Sydney Porter-the embezzler who became famous under his pen
name, O. Henry-served as precursors for iconoclasts like J. Frank
Dobie, Bud Shrake, and Molly Ivins. He describes the journey,
beginning with the search for an old girlfriend, that eventually
brought Louis Black, Nick Barbaro, and Roland Swenson to the
founding of the South by Southwest music, film, and technology
festival. As one Austinite, who in typical fashion is
simultaneously pursuing degrees in medicine and cinematography,
says, "Austin is very different from the rest of Texas." Many
readers of Austin to ATX will have already realized that. Now they
will know why.
Willie Nelson has spent the last 30 years on that higher plane of
celebrity where he signifies many things to many people--American
folk hero, national treasure, Outlaw, tax dodger, country
traditionalist, actor and friend of the farmer amongst many others.
Acclaimed biographer and journalist Joe Nick Patoski offers a frank
and thorough portrait, adding some surprising insight on this
beloved performer. From his humble beginnings in Waco, TX, cared
for by his grandparents, to learning to play guitar at 6 and wrote
his first song at 7 to his remarkable rise to legendary status as a
genre-bending music maker and a bona fide Hollywood darling,
Patoski draws from his own association with Nelson, a relationship
that began in the 1970s when Patoski began writing about the man
and his music. Why does Nelson keep going down the road, steady as
a mountain stream, creating an illusion for the millions that sit
in awe of him as he sings the same repertoire night after night?
With relish, Willie delves into these questions and more as Patoski
reveals the true motivations for the Texanmost Texan.
"How did this city, one that has such an ineffable but palpable
personality and spirit, become what it is--for better and worse?
Joe Nick Patoski's recent book, Austin to ATX: The Hippies,
Pickers, Slackers and Geeks Who Transformed the Capital of Texas,
answers the question both empirically and spiritually, tracing the
many people and the many places they built along the way toward
establishing this weird, idiosyncratic, flat little planet."--NPR
"In Austin to ATX: The Hippies, Pickers, Slackers and Geeks Who
Transformed the Capital of Texas, author Joe Nick Patoski digs into
what made Austin the city we live in today. With everything
included--from Amy's Ice Creams to ZZ Top--Patoski covers its rich
history with a candor and keen eye that keeps Austin weird without
becoming maudlin."--Austin Monthly
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My Guitar Is a Camera (Hardcover)
Watt M. Casey; Foreword by Steve Miller; Contributions by Mark Seal, Joe Nick Patoski, Herman Bennett, …
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R1,175
R1,076
Discovery Miles 10 760
Save R99 (8%)
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Ships in 12 - 17 working days
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The evening of May 10, 1970, found a young Watt M. Casey Jr.
standing awestruck, only a few feet from Jimi Hendrix as the
legendary guitarist tore into his unique arrangement of "The
Star-Spangled Banner" on the stage of San Antonio's Hemisfair Arena
during the Texas leg of his Cry of Love Tour. Bemoaning the fact
that he had no camera to document the amazing experience or the
visionary musicians creating it, Watt promised himself that he
would make up for his oversight in the weeks and years to come.
Little did he realize at the time that Hendrix had less than five
months to live. Casey made good on his resolution, and My Guitar Is
a Camera provides the evidence. With a foreword by Steve Miller,
this rich visual history of the vibrant live music scene in Austin
and beyond during the 1970s and early 1980s allows Casey's lens to
reveal both the stage, awash in spotlights and crowd noise, and the
more intimate backstage moments, where entertainers hold forth to
interviewers and friends. As Outlaw Country's cosmic cowboys mixed
with East Coast rockers, Chicago bluesmen, and West Coast hippies,
Watt Casey roamed at will, capturing the people, places, and
happenings that blended to foster Austin's emerging reputation as
"Live Music Capital of the World."
To keep the land in the family . . . To operate the land profitably
. . . To leave the land better than they found it . . . Each year,
Sand County Foundation's prestigious Leopold Conservation Award
recognizes families for leadership in voluntary conservation and
ethical land management. In "Generations on the Land: A
Conservation Legacy," veteran author and journalist Joe Nick
Patoski visits eight of the award-winning families, presenting
warm, heartfelt conversations about the families, their beloved
land, and a vision for a healthier world.
"Generations on the Land" celebrates these families' roles as
conservation leaders for the nation--far beyond the agricultural
communities where they live--and reinforces the value of
trans-generational family commitment to good land stewardship. The
eight landowners profiled by Patoski include six ranchers, a
forester, and a vintner. They reside across the country: in
California, Nebraska, Texas, Utah, Wisconsin, and Wyoming. Their
conservation accomplishments range from providing a habitat
corridor for pronghorn antelope to hammering out an endangered
species "safe harbor" agreement for grape growers.
A short introduction by a fellow conservation or ranching
professional precedes each of the personal portraits by Patoski,
which are written in an informal, conversational style. Brent
Haglund, president of the Sand County Foundation, provides an
introduction to the purpose and work of the foundation, and a
conclusion summarizes the substantive conservation contributions of
the Leopold award winners.
With more and more attention being focused on the tensions between
the agricultural and economic potential of land and the
preservation of the natural environment, a better understanding of
sustainable agriculture is becoming increasingly vital. By
showcasing the leadership of these Leopold Conservation Award
winners, "Generations on the Land "will inspire a whole new cadre
of landowners to build a lasting heritage of conservation and
sustainable land use--benefitting the earth and its inhabitants for
decades to come.
"Paper used in printing this book was provided by Mixed Sources:
materials manufactured under certification by the Forest
Stewardship Council." "In 1939, Aldo Leopold wrote 'When land does
well for its owner, and the owner does well for his land, when both
end up better by reason of this partnership, we have conservation.'
"Generations on the Land" demonstrates this simple yet powerful
concept through a series of inspirational and instructional essays
drawn from hardworking landowners from across the nation. Whether
you manage a working landscape yourself, or are one of the urban
many seeking insights into how humanity can achieve a sustainable
future, you need to study this book."--Richard C. Bartlett,
Thinking Like a Mountain Foundation
His blistering guitar playing breathed life back into the blues.
Performing night after night - from his early teens to his tragic
death at age thirty-five, in tiny pass-the-hat clubs and before
thousands in huge arenas - Stevie Ray Vaughan fused blazing
technique with deep soul in a manner unrivaled since the days of
Jimi Hendrix. The genuineness and passion of his music moved
millions. It nearly saved his life. Stevie Ray Vaughan: Caught in
the Crossfire is the first biography of this meteoric guitar hero.
Emerging from the hotbed of Texas blues, Stevie Ray Vaughan
developed his unique style early on, in competition with his older
brother, Jimmie Vaughan, founder of the Fabulous Thunderbirds - a
competition that shaped much of Stevie's life. Fueled by drugs and
alcohol through a thousand one-night stands, he lived at a fever
pitch that nearly destroyed him. Musically exhausted and close to
collapse, in his final years Stevie Ray mustered the courage to
overcome his addictions, finding strength and inspiration in a new
emotional openness. His death in a freak helicopter crash in 1990
silenced one of the great musical talents of our time. Stevie Ray
Vaughan: Caught in the Crossfire reveals Stevie Ray Vaughan's life
in all its remarkable, sometimes unsavory detail. It also brings to
life the rich world of Texas music out of which he grew, and
captures the staggering dimensions of his musical legacy. It will
stand as the definitive biographical portrait of Stevie Ray.
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