By Travis D. Stimeling
State song of overdue Nineteen Sixties and early Seventies used to be a robust image of staunch conservative resistance to the flowering hippie counterculture. yet in 1972, the town of Austin, Texas grew to become host to a starting to be neighborhood of musicians, marketers, reporters, and enthusiasts who observed nation song as part of their collective historical past and sought to reclaim it for his or her personal revolutionary scene. those teenagers of the chilly warfare, post-World struggle II suburban migration, and the child increase escaped the socially conservative global their mom and dad had created, to as an alternative create for themselves an idyllic rural Texan utopia. innovative nation music--a hybrid of state tune and rock--played out the contradictions at paintings one of the citizens of the transforming into Austin neighborhood: right now firmly grounded within the conservative Texan tradition within which they'd been raised and profoundly tormented by the present hippie counterculture.
In Cosmic Cowboys and New Hicks: The Countercultural Sounds of Austin's innovative state song Scene, Travis Stimeling connects the neighborhood Austin tradition and the revolutionary track that grew to become its trademark. He provides a colourful diversity of proof, from habit and get dressed, to newspaper articles, to private interviews of musicians as various as Willie Nelson, Jerry Jeff Walker, and Doug Sahm. alongside the way in which, Stimeling uncovers parodies of the cosmic cowboy snapshot that make stronger the eager for a extra peaceable lifestyle, yet that still realize an understanding of the muddled, conflicted nature of this counterculture identification. Cosmic Cowboys and New Hicks brings new perception into the internal workings of Austin's innovative state track scene -- by way of bringing the track and musicians brilliantly to life.
This e-book will entice scholars and students of renowned track reviews, musicology and ethnomusicology, sociology, cultural stories, folklore, American stories, and cultural geography; the lucid prose and interviews also will make the publication beautiful to lovers of the style and artists mentioned inside of. Austin citizens earlier and current, in addition to a person with an curiosity within the improvement of revolutionary tune or brand new 'alt.country' move will locate Cosmic Cowboys and New Hicks an informative, enticing resource.
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Extra resources for Cosmic Cowboys and New Hicks: The Countercultural Sounds of Austin's Progressive Country Music Scene
He sold beer during the evenings while we sat around the big round tables and sang. When he got up, he would come over to the table, still in his apron, and sing and yodel while we played. He . . ”28 Threadgill’s hospitality and congeniality also extended to his support of younger musicians, many of whom he encouraged to apprentice with him as a member of the Hootenanny Hoots or any of several other conﬁgurations of his band. Numerous musicians who were active in Austin’s progressive country music scene pointed to Threadgill as an important mentor, but most of them cannot recall him having done any direct teaching.
As early as 1964, Threadgill was publicly celebrated as a living relic of a distant and seemingly simpler Texas past. A piece in the Daily Texan, the University of Texas’s student newspaper, in December 1964 remarked that, “on North Lamar, out past the cluster of [the] usual Forty Acres places, is an old gas station. Passing by, you probably would not stop. ”13 Speciﬁcally, “the sounds of the late twenties” that Threadgill evoked were derived from the repertoire of Jimmie Rodgers, one of the ﬁrst stars of the nascent hillbilly genre in the late 1920s and early 1930s.
70 Rick Gilzow, the journalist who covered the transitions at KOKE-FM for Nashville West, suggested that, while Bell’s attempts to spread the message of progressive country music could beneﬁt people who were in search of a more authentic and personal form of musical communication, he must always remember the people and place from which this music sprang: The repercussions are obvious. Progressive Country music, which at present remains basically a Texas-popular art form, is now available [through recordings and Austin City Limits, as well as the clear-channel AM signal of WOAI] to the housewife in Idaho, the student in New York, the blue-collar worker in Montana, the transplanted Texan in Colorado and the businessman in Missouri.