#joe nick patoski

[countryhixes]

Arthur Miles "Lonely Cowboy" Parts 1 & 2 (Dallas, Texas, 1929) cowboy throat singing = Tuvan khoomei

‘You want authentic? You want history?  You want creepy? (But in a good way.)  Take a listen to this, Jack.  Joe Nick Patoski shared this & he comes up again with only the best shit...’

We hear a strange type of singing called "cowboy throat signing."  This is in addition to the yodeling. You'll know what I mean by "strange" when you hear it in the song.  How did Arthur Miles learn throat-singing?  Ancient cultures had this technique, and it is known in parts of the world, but how did someone in Texas know to do it in 1929? Tuvan throat singing, known as khoomei, is one particular variant of overtone singing practiced by people in Tuva, Mongolia, and Siberia. Arthur Miles performs "Lonely Cowboy" (Parts 1 & 2) on Victor V-40156, recorded in Dallas, Texas, on August 8, 1929. 

“A group of jolly cowboys on the Franklin ranch one night, their heads up on a saddle and a campfires burning bright. Some were telling stories and some were singing song, and some were smoking cigarettes while the others rolled along. 

At once they began to talking of distant friends so dear,. A boy raised his head from his saddle and brushed away a tear... This boy was tall and handsome, and his face showed a life of good cheer. His eyes were all but heavenly blue and he had light wavy hair. We asked him why he left his home, it being so dear to him. He raised his head from his saddle--with tears his eyes grew dim. 

As he raised his head from the saddle and he gazed a rough cried oar, said "boys, Ill tell you the reason why I stay at home no more." I fell in love with the neighbor's girl Her cheeks was very white Another fellow loved this girl And it ended in a fight This fellow's name was Tommy Smith And we had been great chums We shared each others troubles We shared each other's bond 

It almost makes me shudder To think of that sad night When Tom and I was quarrelling I stabbed him with my knife I fell on my knees beside him And tried to stop the blood That flowed down so gently It was like crimson flood 

I can almost hear Tommy's voice As the boys all gathered around Saying "Bob ol' boy you'll remember when I am under the ground" Now boys you know the reason why That I am compelled to roam And why I am so far away from dear old home sweet home” 

Sound file was done by Frank Dalton.

[dirtylowdown2]

Rockin’ Sydney with The Dukes.

(via Joe Nick Patoski)

#rockinsydney #louisianamusic #swampfavorites #bluesfashion

[ttexed]

Jimmy Reed by Jimmy Willis, Walker Auditorium, Waco 

(via Joe Nick Patoski) I don’t really know, I’ve had alot of favorites in my lifetime. But if I had to choose my favoritest favorite, it might be Jimmy Reed...

[dankusner]

DID YOU GO THERE?

Help us name a lost Austin bar on East Sixth Street

Somebody should write a history of East Sixth Street.

To be fair, Allen Childs did produce the slender yet instructive volume, “Sixth Street,” for Arcadia Publishing’s Images of America series.

Crackling tales of Sixth Street turn up in books by Jesse Sublett, Michael Corcoran and Joe Nick Patoski, among others.

A comprehensive history, however, is waiting for an ambitious author.

(Don’t look at me. I’m busy finishing the fifth volume of the “Indelible Austin” series. Expect a box set by the end of the year.)

The subject of Sixth Street history came up again last week when reader Jess Airaudi asked Austin Answered about one of the many long-gone joints on the iconic way.

“I wondered if anything recent has come up about a place I had asked you about some time ago, a bar on Sixth Street near Congress run by two Lebanese brothers, ‘Benny,’ for one, which I think gave the bar its name, at least informally,” Airaudi wrote. “The long bar in front was popular, but it seems a back room was exclusive to highly-placed men who met there gathered round the potbelly stove to eat chili and spin stories. Maybe a poker game, too. I was invited in once in the mid-’70s. Any information would be appreciated!”

My first impulse was to consult Sublett.

If there was even a hint of illicit gambling, this master of Austin noir would know about it.

“I don’t suppose the guy was referring to JJJ’s Tavern?” responded the author of “The Last Gangster in Austin” and other deliciously lurid books. “It wasn’t that close to Congress but it fits the bill in several other respects.”

Airaudi replied that JJJ’s “brings back fond memories of many afternoons I spent with pals at the old ‘Three Hooks’,” but no, it was not the Lebanese establishment of his original query.

Later, Patoski had better luck: “Sounds like Benny’s Tavern, the last ‘men’s’ beer bar on Sixth, on the same 100 half block as the original Antone’s, OK Records, Moma’s Money, the adult book store and Catman’s Shine Parlor.

Margaret Moser broke the gender code and had a draw.

Soon afterwards, Pat Conway, a retired AP reporter, bought the bar and renamed it Don Politico’s.”

Airaudi responds: “Yup, that’s it. Joe’s ‘the last ‘men’s bar’ cinched it.

My young wife once entered to leave some cash as a surprise gift for me and my pals to celebrate getting my Ph.D. from U.T., and Benny and his brother had a good laugh at how timidly she peeked in at the door.

One other thing I remember, even as a ‘men’s’ bar, it was the cleanest, tidiest bar I’ve ever been in.

There must be pictures out there.

It would be great if some showed up. Go!”

The man in the Sixth Street picture.

That is my daddy!

Our exchange about a vanished Sixth Street bar reminded me of several Austin Answered columns from years past.

Two of them involved today’s featured photograph, taken by Hans Beacham in 1958, that appears to capture a part of Sixth Street’s palpable past, that included a jumble of nightlife, retail outlets and entertainment.

The following excerpt ran in a followup column about the photograph on Feb. 11, 2017 under the headline: “The man in the picture. That is my daddy!”

“Geneva Campbell Perius and Bill Campbell, both in their 70s, separately identified the man in a hat — turning and putting his right hand into his back pocket — as their father, the late Heber Campbell.

“Previously, reader Doug Dawson had quipped: ‘That fella looks like he’s fixin’ to draw.’

“‘He was reaching for his billfold,’ Geneva admonishes. ‘Not a gun.’

“Turns out that the elder Campbell, a stone and brick worker, loved walking the lengths of Sixth Street and Congress Avenue on the weekend.

“’My mother would go shopping at Scarbrough and Levine’s,’ Bill says. ‘My sister and I would go to a movie.’

“Geneva says the movie theater was probably the Cactus, located across the street from the Ritz and owned by entertainer Cactus Pryor’s father.

“She also names the young man walking into a bar as her brother, Arthur ‘Bubba’ Campbell.

“’Daddy knew everybody on Sixth Street,’ she says. ‘They’d go to Jo Jo’s place or Freddy Jabour’s.’

Either of those spots still open when Airaudi visited that bar in the 1970s?

What was Sixth Street before it was ‘Dirty Sixth’?

Since the question comes up all the time, I’ll include in the full answer to a reader’s question about Sixth Street’s history that ran in this column on Feb. 15, 2018:

The road east.

Called Pecan Street for its first 50 years, East Sixth Street was the dirt road to Bastrop, hence the principal route toward the most settled parts of Texas since the 1830s.

This roadway stood generally above the high water mark when the Colorado River flooded badly.

A second Main Street.

Other than Congress Avenue, Sixth Street was the most densely commercialized Austin thoroughfare well into the 20th century.

It hosted grocery stores, apparel shops, dry good spots, liquor stores, barber shops, furniture stores and movie theaters as well as saloons, restaurants and inns, including the grand Driskill Hotel in 1886.

Melting pot.

As Austin became more segregated in the early 20th century, East Sixth Street, along with Red River Street, was where African-American, Latino, Lebanese and Chinese merchants and customers could potentially mingle, although along one block, African Americans kept mainly to the north, Hispanics to the south into the postwar period.

Bourbon Street.

After World War II, as more residents and businesses moved out to the suburbs, East Sixth Street increasingly was lined was bars, clubs, brothels and tattoo parlors before inking was considered a near universal rite of passage.

Music Row.

By the 1970s, when liquor laws were liberalized, East Sixth Street was one of the primary magnets for live music, including the original Antone’s.

At the same time, against all odds, the first new downtown residents moved into the upper floors of the vintage brick buildings.

Electric Street. To

borrow a term from composer Sterling Price-McKinney, East Sixth Street became wonderfully electric and eclectic in the 1980s.

Waves of curious tourists, game day celebrants, old hippies, SXSW guests and offduty military personnel joined poets, comedians, entertainers, street food vendors and, for a while, feuding street gangs on this Avenue of Dreams.

Dirty Sixth.

We don’t know who first applied the adjective “Dirty,” as popularized by hip-hop culture, to “Sixth.”

Yet as Central Austin spawned a half dozen other, nattier nightlife districts, East Sixth Street acquired a reputation — embraced by some, reviled by others — for a certain level of intentional rowdiness.

[farm2turntable]

Paul English, RIP (Nov. 6, 1932 – Feb. 12, 2020)

Check out Joe Nick Patoski’s Paul English bio written for the Oxford American.

[invincible-selfxmade-punk]

Just finished another round of the Texas Music Hour Of Power

Which is hosted by Joe Nick Patoski on Marfa Public Radio and made available to everyone via a facebook link.  It happens every Saturday night and ask he spins fairly obscure Texas tracks of all kinds (conjunto, zydeco, rock and roll, western swing, blues, etc) people comment with photos of either the band that is playing, or images of what the song is about or how the song makes them feel.

Joe calls these people the “Image Wranglers”.  For the longest time, I had no idea how it worked.  I would see the facebook prompt come up on Saturday nights but didn’t realize it didn’t take any special membership or invitation to join.  I finally figured it out about three months ago and it has been a Saturday night tradition ever since.

I still cannot believe I met the man whose words I have been reading and being inspired by since I was 15.  He brought the world to me via Texas Monthly magazine, which I dreamed of writing for most of my life. He wrote biographies of my idols.  He plays and is the authority on my favorite music.   He’s the kindest, most humble, funniest, entertaining guy.  Between the gas to get there and back, getting food on the way, and the books I bought, I spent about $90 that I really didn’t have, but OMG it was worth it.  I am still reeling.

THIS IS WHY YOU DON’T KILL YOURSELF.

YOU NEVER KNOW WHAT IS GOING TO HAPPEN. If you’d have told me at 20 that I could meet this man face to face, talk to him, that he would even not only remember my name but know how to pronounce it and give me an unsolicited hug.............I would have thought you were insane.  I would have never believed you.

And yeah, maybe I did have to wait half my life, but you know what? IT WAS WORTH IT. And then some.

I’m still kind of congested, still coughing and sneezing up all kinds of crud, but no more fever like symptoms or intense fatigue, dizziness, nausea or any of that.   I’m going to go to church tomorrow then try to get work done at home.  Grades are due at 8 am on Monday even though (thank god) Monday is a holiday. I can’t go in to work itself because (again, thank god) we are having the campus sanitized via GERMBLAST, which we sorely need b/c EVERYONE is sick.

I think I’m gonna be up for a long time, I still cannot get over what a great day this was.

[bigtickhk]

Austin to ATX: The Hippies, Pickers, Slackers, and Geeks Who Transformed the Capital of Texas by Joe Nick Patoski https://amzn.to/2FudhfJ

I Know Who You Are by Alice Feeney https://amzn.to/2WYhfIt

[1962dude420-blog]

Today we remember the passing of Stevie Ray Vaughan who Died: August 27, 1990 in East Troy, Wisconsin

Born on October 3, 1954 in Dallas, Texas, Stevie Ray Vaughan played guitar as a child and became lead singer for the Texas band Double Trouble, which led to work with David Bowie and Jackson Browne. Vaughan had hit albums with his band before the 1989 release of In Step, for which he earned a Grammy

In 1960, when Vaughan was six years old, he began stealing his father's drinks. Drawn in by its effects, he started making his own drinks and this resulted in alcohol dependence. He explained: "that's when I first started stealing daddy's drinks. Or when my parents were gone, I'd find the bottle and make myself one. I thought it was cool ... thought the kids down the street would think it was cool. That's where it began, and I had been depending on it ever since." According to the authors Joe Nick Patoski and Bill Crawford: "In the ensuing twenty-five years, he had worked his way through the Physicians' Desk Reference before finding his poisons of preference—alcohol and cocaine."

On Monday, August 27, 1990, at 12:50 a.m. (CDT), Vaughan and members of Eric Clapton's touring entourage played an all-star encore jam session at Alpine Valley Music Theatre in Alpine Valley Resort in East Troy, Wisconsin. They then left for Midway International Airport in Chicago in a Bell 206B helicopter, the most common way for acts to enter and exit the venue, as there is only one road in and out, heavily used by fans. The helicopter crashed into a nearby ski hill shortly after takeoff.

Vaughan and the four others on board—pilot Jeff Brown, agent Bobby Brooks, bodyguard Nigel Browne, and tour manager Colin Smythe died. The helicopter was identified as being owned by Chicago-based company Omniflight Helicopters. Initial reports of the crash inaccurately claimed that Clapton had also been killed.

According to findings from an inquest conducted by the coroner's office in Elkhorn, all five victims were killed instantly.

The investigation determined the aircraft departed in foggy conditions with visibility reportedly under two miles, according to a local forecast. The National Transportation Safety Board report stated: "As the third helicopter was departing, it remained at a lower altitude than the others, and the pilot turned southeasterly toward rising terrain. Subsequently, the helicopter crashed on hilly terrain about three fifths of a mile from the takeoff point." Federal Aviation Administration (FAA) records showed that Brown was qualified to fly by instruments in a fixed-wing aircraft, but not in a helicopter. Toxicology tests performed on the victims revealed no traces of drugs or alcohol in their systems.

Vaughan's funeral service was held on August 31, 1990, at Laurel Land Cemetery in Dallas, Texas. His wooden casket quickly became adorned with bouquets of flowers. An estimated 3,000 mourners joined a procession led by a white hearse. Among those at the public ceremony were Jeff Healey, Charlie Sexton, ZZ Top, Colin James, Stevie Wonder, Bonnie Raitt and Buddy Guy. Vaughan's grave marker reads: "Thank you ... for all the love you passed our way

[go-go-devil]

If You Have Ghosts: The Story of a Song

This is an informative/personal essay I wrote about the history of Roky Erickson’s well-beloved song, “If You Have Ghosts.” Honestly I should have written & posted this on the 1-year anniversary of his death back in May, but I completely forgot. This piece is mostly a study of Erickson’s original and the band Ghost’s famous cover of it, alongside some other things. I would also appreciate some feedback on this if you all don’t mind.

The information I used as a reference when describing the making of the original song comes entirely from Joe Nick Patoski’s writing on Roky Erickson’s career and the making of The Evil One (included as a booklet in recent vinyl additions of said album).

Throughout our lives there will be songs that capture us in ways that we cannot escape from. Oftentimes it’s as simple as an infectious melody that we refuse to discard from our memories, either due to it becoming attached to a pivotal part of our lives or because we cannot dislodge it no matter how hard we try. Other times it can be something that attracts us so much that we begin to covet it to the point of obsession, and it is through this attitude that the song transforms from merely a piece of music into a piece of ourselves.

“If You Have Ghosts” is one of these songs for me.

What can I say about this wonderful track that hasn’t already been said? It is fierce, yet subdued. It is both hard rocking joy incarnate and a solemn reflection of one’s self, and it says so much by saying so little. The reason for all of these seemingly contradictory phrases I’m using is because this song, unlike many others, is a shared entity that exists in multiple forms. Quite an odd way of stating that the song has been played by more than one band, but hopefully this essay will demonstrate how the meaning of the original piece can mutate into different forms while still keeping its essence intact.

There’s no better place to start than with the original, recorded in 1977 and released in 1981 by rock n’ roll legend Roky Erickson.

Originally recorded as part of a four-song demo of what would later become his first solo record, The Evil One, “If You Have Ghosts” contains many of the themes Erickson presents in his music as a whole. Those of which being: horror-themed esoteric lyrics, high-energy playing, soaring guitar riffs, and a general sense of raw, psychedelic power.

In less than 15 seconds the song has already built itself up and blasted into your eardrums, but never does the melody ever resort to sounding like a wall of noise. Each instrument weaves its sound around each other like some tripped-out embroidery design in order to create a rich tapestry in the listener’s mind. The lyrics are as catchy and repetitive as any of Roky’s songs, yet for this one he sounds less like he’s singing but instead simply proclaiming each line like it’s a definitive statement.

“If you have ghosts, you have everything”

“One never does that”

“The moon to the left of me is a part of my thoughts and a part of me is me”

“In the night, I am real”

“I don’t want my fangs too long”

Barring a few other scattershot words present in the chorus, what you’ve read above is all that you get for what this piece is trying to say. Unlike most of the other songs from the album, whose lyrics clearly convey the story/theme presented, this one does not have a lucid form to it and thus its meaning can only truly be grasped through interpretation. Personally, I always saw it as a proud declaration of one’s deviance from society, with the rip-roaring instruments serving to show how this person’s mind finally feels free enough to run wild in the night, with only the moonlight and their own invisible spirits to guild them.

But of course, all forms of speculation can never undermine Roky’s own intent when crafting this song, which, unfortunately, is not nearly as liberating as my previous presumption…

“If You Have Ghosts” as we know it is a direct product of Erickson’s mental illness. There really is no way of sugarcoating it. After being diagnosed with schizophrenia in 68’, Roky was sent to various state hospitals in 69’, where he was subjected to multiple electroshock treatments by doctors alongside being heavily sedating with Thorazine. Even after he was discharged in ’72 he never fully recovered from the abusive “therapies” he was given, resulting in decades of battling intense mood swings and heavy drug reliance as well as making it difficult for him to record many of his songs in studio.

Roky was under one of these spells whist recording the vocals for this song. He was only able to sing the chorus once, and after recording was no longer able to remember any of the lyrics. Out of all the tracks, Producer Stu Cook had to put the most effort into inserting the vocals into this song using a complex progress called wild-syncing to place multiple takes of audio alongside the instruments without using synchronization. It’s honestly a miracle that we even have this song fully formed in the first place given the circumstances of its creation.

Despite all of the hardship and effort put into creating this piece, for a long while there didn’t seem to be as much appreciation for it compared to Erickson’s other work. Partially because it was not present on certain releases of the album back in the day as well as the fact that Roky seemed to rarely play it live in concert (even on YouTube, recordings of these performances are scarce). As much as I love this version of the song, even I’m willing to admit that if I were ever forced to rank each song on The Evil One, I would probably place it somewhere in the middle. What can I say? When you make an album that great, the competition can be fierce!

For many obscure classics, the story would end there. Yet another buried treasure forever existing in the mind of one musician. But that’s not what happened, for several decades later a new band from Sweden will emerge, different in form but identical in spirit to Roky’s sound, whose frontman will breathe new life into a once forgotten masterpiece…

…Or at least that’s what I would lead into were it not for the existence of this version.

Interestingly, the first notable cover of “If You Have Ghosts” was not done by Ghost but instead by an English folk-rock group called John Wesley Harding & The Good Liars on the 1990 album Where the Pyramid Meets the Eye: A Tribute to Roky Erickson. This now-obscure album consisted of a compilation of various bands and artists covering the songs of, you guessed it, Roky Erickson. There was actually a great deal of artists present on this record, including several well-known musicians such as ZZ Top, R.E.M., and The Jesus and Mary Chain (and even Butthole Surfers too!).

I’ll be the first to admit that I am not at all familiar with John Wesley Harding or his backing band; however, I will say that this piece is a worthy follow-up to the original in it’s own right. It slows down the song to a level not unlike the many psychedelic songs that followed in 13th Floor Elevator’s wake, keeping the main melody in tack while filling in the gaps with many little flourishes as a means of expanding it into something new. I’m especially fond of the echoing effect given to the vocals, which gives the already obscure nature of the lyrics a more outwardly ethereal quality.

Anyway, on to what you’ve been waiting for!

After enduring another two decades of invisibility from the public eye, the song was once again exhumed and resurrected by an emerging metal band named Ghost for their 2013 EP If You Have Ghost. Considering Roky Erickson’s wide array of demon-inspired songs, it’s interesting how Linköping’s residential Satanic metal group chose this piece as opposed to more well-beloved hits like “Night Of The Vampire” or “Stand For The Fire Demon,” many of which work perfectly with the band’s themes of evoking retro horror films and devil worship. It almost seems like they just chose “If You Have Ghosts” solely on the basis of it having the word “Ghost” in it. However, just one listen to this cover will quickly prove otherwise.

Right off the bat, the instruments and vocals are a far cry from the original. Unlike the previous J.W.H. cover that made sure to keep the main melody in tack while adding onto it, Ghost instead chose the more daring option of altering the melody and tempo of the piece significantly. From the ominous drawing of violin and cello strings in the opening seconds to the melancholic metal sound of the guitars throughout (with the rhythm guitar being played by none other than Dave Grohl, who also produced the EP), this version slows the once fast-pace beat of the song down until it becomes almost unrecognizable save for the lyrics. Even Tobias Forge’s singing creates significant contrast with the original; his silky smooth, haunting baritone guiding a melody once held by Roky’s hard-edged yells.

And yet… the spirit still remains.

Although the sound itself has been thoroughly converted to the stylings of Ghost, they still managed to keep the fierce energy that ran through the veins of Erickson’s version, albeit with a twist.

Both songs convey a contemplative examination of one’s mind, with instrumentals and singing that amplify the power one feels from this reflection. However, Ghost’s version differs in that it amplifies the sense of isolation and longing present in the lyrics. The music notably softens at the beginning of many of the verses, particularly lines like “One never does that” or “I don’t want my fangs too long,” only to grow in power through the repetition of each line. It conveys the feeling of the singer having to grapple with these feelings before they can fully accept them.

Nowhere is this more apparent than the band’s acoustic cover of the song.

At this point, the piece has been stripped down to an entirely naked form, its themes conveyed only through the guitars of two nameless ghouls alongside Forge’s vocals (presented here in his previous stage persona, Papa Emeritus III). There is no triumphant shouting or swelling electric guitar solos here anymore, just a somber reflection gently carried by melodic strumming and mournful singing. Despite now being as far from a rockin’ tune as humanly possible, it actually manages to come closest in recapturing the sense of rawness in the original, albeit on the exact opposite scale.

I remember watching a recorded acoustic performance in Paris back in 2015 where Papa introduced “If You Have Ghosts” as being a song about “loneliness,” which is an interpretation I can definitely agree with. In fact, I would even say that with this acoustic cover brings the entire meaning of the song full-circle. Through its peeled-back, unflinching depiction of being enclosed in darkness and isolation, it serves as a perfect end-note for a song that began from such troubled origins by telling the listener that, despite all the hardships, this beautiful piece of music will never lose its everlasting spirit.

Thanks for giving us everything, Roky.

[astronautalis]

SO SO SO EXCITED TO ANNOUNCE THE PROJECT I HAVE BEEN WORKING ON! I have taken over as the host of “The Opus” podcast. In a partnership with @consequence & @sony Legacy, we take a deep dive into classic records from the Legacy Catalogue. First up, is @willienelsonofficial’s classic western gothic masterpiece, “Red Headed Stranger” In part one of three, I talk to Texas writer/historian Joe Nick Patoski, and music writer Rebecca Bengal, about the events that lead to the creation of this album, and how there may not be a Willie Nelson as we know it, without it. Search “the opus” on wherever you get podcasts, or just smash that link in the bio, baby! https://www.instagram.com/p/B2mln8MlGkC/?igshid=4o48rt45985k

[lastresraices]

Thanks to Genevieve B. Southgate, Joe Nick Patoski, Martin E. Delgado, and Professor Maite Zubiaurre for taking the time to write an editorial review for The Story of Selena Quintanilla, available now everywhere book are sold! “Finally, a Selena book for new readers, one that is told concisely and honestly, and is eminently readable” —Joe Nick Patoski, author of Selena: Como La Flor “What a wonderful story to inspire girls to follow their dreams. A story that many girls will identify with, especially those from traditional and multicultural families. I liked all the little sidebar lessons throughout the book. Gloria is a very talented teacher.” —Genevieve B. Southgate, director of community programs, Bowers Museum “Selena Quintanilla’s youthful talent and positive drive are brought to life in Prof. Arjona’s latest book, this one geared to young readers. A highly appealing read highlighting Selena’s flexibility in overcoming obstacles to achieving her dreams and her trailblazing contributions to music and her community. The Callisto Media format of encouraging critical, organized thought via questions, maps, timelines, and a glossary make this an enjoyable learning experience.” —Martin E. Delgado, community library manager “This is the story of Selena Quintanilla, and what a story it is! In a time where young readers, and young women, need role models more than ever, this book brilliantly depicts the profound humanity, bravery, and talent of a deeply inspiring Latina woman who relentlessly fought for her dream.” —Maite Zubiaurre, UCLA professor https://amzn.to/3wgn3vz https://www.instagram.com/p/CgFAVFxrJYJ/?igshid=NGJjMDIxMWI=

[dreambelievecreate]

5 Collection Archives

The Declaration of Independence: 

The Reason why this document is part of an important collection is because it stands for what we the people fought for today. This takes the principles on which our government and identity as Americans. Though it may not legally be binding but its is powerful. Our former 16th president Lincoln called it “a rebuke and a stumbling-block to tyranny and oppression” this is a reminder to inspire all around the world and fight for our freedom and equality. We all bleed the same, We're more beautiful when we come together. Let's keep it that way.

Selena Research Collection 

This collection was created by Joe Nick Patoski, as he is writing about the tragedy of a well-known celebrity Selena Quintanilla-Perez. The collection of the Tejano Singer has clippings, manuscripts, interviews, photos, and more of the star's life career till her tragedy in 1995. If after the stars pass still talks of her death and her killer sentenced. Selena is a big part of my culture and as my role model, I wanted to include her in my collection to show how she inspired not only me of millions and still on. 

Selena Research Collection, The Wittliff Collections, Texas State University.

John Williams- Star Wars

 This PDF tells us the story of how John Williams created the franchise collection music of “Star Wars” which jump-started John Williams career. Which made him the most famous score which is part of his collection. He then created more classics such as Jurassic Park, Jaws, Harry Potter, and Indian Jones. I like his work collection for I am a big score lover, and his work collection inspires me especially towards artwork. 

12 Olympian Gods: 

The 12 gods of Mount Olympus were important deities in Ancient Greece, This collection is unique for most of my childhood its all I could hear throughout history and English class and I have admired them for quite some time, they are part of an important collection for all over the world they're statues, stories, and lessons throughout each of the gods. 

Vera Bradley: 

         This collection is more popular than any other collection in the shopping business. Known for beautiful, colorful, bright, and quilt patterns on purses, bags, and suitcases. This collection was founded in 1982 and still thrives to this day in collaboration with Disney, Harry Potter, Peanuts company, and soon more! This collection brings a milestone in my middle school and high school life, it was a very popular item to own, especially the backpacks. 

[imblog839]

Selena Quintanilla Greatest Hits Rar

Selena Quintanilla Death Scene

Selena Quintanilla Age Now

I Could Fall In Love 3. Captive Heart 4. I`m Getting Used To You 5. God`s Child ( Baila Conmigo ) 6. Dreaming Of You 7. Missing My Baby. Greatest Hits Selena Quintanilla Mp3. Download Greatest hits selena quintanilla mp3 Song Mp3. You can listen Greatest hits selena quintanilla mp3 video, We just retail information from other sources & hyperlink to them. When there is a damaged backlink we're not in control of it.

Netflix

Selena Quintanilla was the face and voice of Selena y Los Dinos, but Selena's brother, A.B., was also a driving force behind her most famous songs. The bassist turned songwriter helped to pen several of her hit singles, including the well-known 'Como la Flor.' After Selena's untimely death in 1995, he continued to create music and carry on her legacy, which is told in Netflix's Selena: The Series.

Abraham Isaac Quintanilla III was born on Dec. 13, 1963, the first of Marcella and Abraham's kids. When A.B. was born, Abraham was still trying to make his music career with Los Dinos work. According to Joe Nick Patoski's book Selena, Abraham would often be gone on tour for so long that A.B. would forget he was his father. The band's popularity waned by 1969, so Abraham quit and settled down to raise A.B. and his second kid, Suzette. Though Abraham gave up his dreams of his own music career, A.B., Suzette, and later Selena all showed an aptitude for music, which led him to form the family band, Selena y Los Dinos. Rod Cannon, their teacher at Brazoswood High School in Texas, told Patoski that A.B. had 'an obvious gift for music as well as art' and was a 'talented, if somewhat introverted, guitarist in the jazz ensemble.'

Selena Quintanilla Death Scene

With Selena singing, Suzette on drums, and A.B. on bass, Selena y Los Dinos often performed at their family restaurant, Papagayos, during dinner. When the restaurant shut down, the band hit the road, and A.B. started to learn more about the nuts and bolts of being a musician. Per Patoski, he started learning about studio electronics and radio exposure after they signed with Bob Grevér's Cara label. Eventually, he began to move into more of a writing and producing role, penning songs like 'Dame un Beso' with keyboardist Ricky Vela. He later went on to write Selena's other hits like 'Como la Flor,' 'Amor Prohibido,' and 'No Me Queda Más.'

Selena Quintanilla Age Now

And A.B. wasn't just a bassist and songwriter. He was also integral to building out the band and paving their path to success. As vocalist and songwriter Pete Astudillo told The Houston Chronicle, it was A.B. who convinced Abraham to let him and keyboardist Joe Ojeda join Selena y Los Dinos. 'We built a really good friendship with all of the band, but there was a really good connection with A.B.,” Astudillo said. “Little by little, he started to convince his father to get Joe and I to join the band.' Astudillo went on to co-write 'Como la Flor' with A.B., and he also helped to write Selena's hits 'Bidi Bidi Bom Bom' and 'Amor Prohibido.'

By the time Selena released Ven Conmigo in 1990, A.B. had fully matured as a producer. 'Before, my dad had a lot of say-so in the songs and the music,' Selena told Patoski. 'And now I guess since my brother has proven himself, he's able to handle everything on his own.'

By 1993, A.B. had set up his own production and publishing studios and was working with Astudillo on more English language albums that would broaden Selena's appeal. But on March 31, 1995, Selena was shot and killed by Yolanda Saldívar. They released her final album, 'Dreaming of You,' posthumously.

In the wake of her passing, A.B. laid low but eventually reappeared to produce more music. In 1999, he created Kumbia Kings, a Mexican-American cumbia group that performed until 2006. He also produced songs for Latin pop diva Thalia and Cristian Castro. “I wasn’t planning to come back,” A.B. told BMI, noting how Selena's death nearly pushed him to retire from music. He continued, “Then I bumped into these two ladies at a restaurant in Corpus Christi. They told me to keep fighting and to continue the family dream. What those ladies told me that day resonated.”

In 2016, A.B. and his new musical group, Elektro Kumbia, signed with DEL Records. He faced legal troubles in 2017 relating to nonpayment of child support and contempt of court, as reported by People. On Aug. 16 that year, he was arrested after failing to appear at a scheduled court hearing. Still, despite all the personal drama, A.B. has continued to share Selena's legacy just like the rest of his family. In March 2020, Ven Conmigo was added to the Library of Congress. Most recently, he held a livestreamed concert in Selena's honor in April.

[douglarue]

Click Contest Link Ad above to VOTE FOR ARMADILLO ART SQUAD TO APPEAR ON BILLBOARDS NATIONWIDE! What a great way to celebrate these Austin Art Legends!

THE MORE VOTES THE BETTER SO SHARE WITH YOUR FRIENDS that know and like the Armadillo Art Squad!

From left to right... Blackie White aka. Guy Juke (artist), Artly Snuff, Micael Priest (artist), Danny Garrett (artist), Jim Franklin (artist), Kerry Awn (artist, musician), Jesse Sublett (artist, musician), Alan Schaefer (writer, publisher), Mike Tolleson (lawyer), Sam Yeates (artist), Joe Nick Patoski (writer), Tom Wilmore (collector), Nels Jacobson (writer), Bill Narum (artist) and Terry Raines (printer) at The Wittliff Art Museum Collections. 

They were all on hand to sign copies of their new book "Homegrown" featuring there iconic music art that centered around poster art for the legendary music venue Armadillo World Headquarters in Austin, Texas. All the major bands of the 1960s and 1970s graced this iconic stage during that time period. This artwork hung in Austin's City Hall for 1 year and now is in permanent residence at The Wittliff Collections at the Albert B. Alkek Library at Texas State University.

They are responsible for well known album covers and posters for a wide range of major recording artists and a few were cohorts and contributors to the Fabulous Furry Freak Brothers. Bands like ZZ Top, Willie Nelson, Jerry Jeff Walker, Doug Sahm, Freddie Fender, Frank Zappa, Stevie Ray Vaughan, Jimmie Vaughan, Arc Angels, Charlie Sexton, Ugly Americans, Edie Brickell and the New Bohemians, Shake Russell, Fastball, and so many more... 709

THANK YOU ALL!!

[davidhesseauthor-blog]

“Heaven’s Closed and Hell’s Overcrowded” Paul English is Dead

By Max Fly Private Eye and Famous Music Critic

The Devil or Paul English? Yes

“I told Lana we could do something,” Paul was saying. “We could break his legs. We have to do something to him. We cain’t go and leave him walking. We’d of done that to him. That’s nothing.”

He was discussing the shoot-out at Ridgetop back in 1970, just outside of Nashville, when Willie Nelson and Paul English defended a house full of family against Willie’s daughter’s husband and his gun-toting brothers, one of many larger-than-life incidents that have been burnished into legend over the course of the career of Paul English’s boss and best friend, Willie Nelson. Except from Willie Nelson: An Epic Life, By Joe Nick Patoski

Years ago, well maybe not years ago, but some time ago,  I rode horses with the former drummer of David Allen Coe’s band. His name is Lawson Hunt. He lives in Canton Georgia. He said he quit the band because of the life style and because he was tired of getting in fights almost every night. I guess David Allen Coe liked to mix it up a bit with his heckling fans. David Allen Coe is a country singer, one of the “Outlaws” of country music. I never was a big fan of country music - that is until I received a job transfer from Jacksonville Florida to Atlanta Georgia back in ’73. After one year, I realized the job wasn’t what I thought it would be and I left and went to work for a company out of New Haven Conneticut selling folding cartons to the rapidly disappearing textile industry in the rural south. I hit every small city in the south, from Balls Ferry Georgia to Nankipoo Tennessee. I traveled between 85,000 to 100,000 miles a year by automobile and it would be safe to say, I knew the geography of those states better than most residents who lived their entire life there. It was while traveling down the highways and byways of the rural south that I acquired an appreciation for country music. I didn’t have much of a choice. All the radio stations either played gospel or country music. Two country singers became my favorites, Willie Nelson and Waylon Jennings - who, back in 1973, became the original “Outlaws” of country music. What I like are the stories they tell about their lives, from lost loves to the trouble they would get into while out raising hell in the bars in the towns they were performing in. Of course they weren’t really outlaws in the sense of the old wild west outlaws robbing banks and trains. It was a term coined for them by a record producer back in 1973. But more than one of these characters spent time in prison. Merl Haggard and David Allen Coe come to mind, and so did Paul English, Willie’s longtime drummer, bodyguard, and best friend. I was informed he passed away a couple of days ago at age 87. Many people in the music business say if it wasn’t for Paul English there wouldn’t be any outlaws. I read where Paul met Willie in 1955 when Willie was playing live on a radio station and his drummer didn’t show up. So, he asked Paul to fill in for him. Paul told Willie he didn’t know how to play the drums. Willie told him that was okay, just beat on that cardboard box and tap your feet. Paul said he has been tapping his feet for Willie ever since. Paul English had a glass eye and carried two guns and wasn’t afraid to use them and was also a former pimp and leader of the Peroxide Gang before he became Willie’s big drummer boy. They were namedPeroxide Gang because they died their hair with peroxide - not quite as menacing as MS 13. He made Fort Worth’s 10 Most Unwanted List five years in a row. Something he was always proud of. It has been said that if it wasn’t for Paul, Willie would be living under a bridge. Paul said, “If it wasn’t for Willie, I would either be dead or in a penitentiary.” Evidently it wasn’t uncommon for club owners to try to stiff bands of the money they were supposed to get. In one of their songs, Waylon and Willie talk about sending the big guy for the money. That big guy was Paul English. While performing on stage Paul would dress in all black including a black cape and black hat and got the nickname The Devil. Willie wrote a couple of songs about Paul. One is “Devil In a Sleeping Bag” and one of my favorites, “Me and Paul” that includes a line about them not being allowed to board a plane in Milwaukee, my hometown.  https://youtu.be/AMJhc7p6lvI

The outlaws are/were rough characters, with an emphasis on “characters.” Most of them started with nothing and worked hard many times sacrificing their health and families to achieve the money and fame they wanted so badly. Sometimes I look at these singers and wish I could have made it big time like many of them did. But then I think back thank my lucky stars that I lived a pristine life and did nothing to defile this bodily temple of mine

[invincible-selfxmade-punk]