Homegrown: Austin Music Posters 1967 to 1982 (Southwestern Writers Collection Series, Wittliff Collections), by Joe Nick Patoski, Nels Jacobson
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Homegrown: Austin Music Posters 1967 to 1982 (Southwestern Writers Collection Series, Wittliff Collections), by Joe Nick Patoski, Nels Jacobson
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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.
Homegrown: Austin Music Posters 1967 to 1982 (Southwestern Writers Collection Series, Wittliff Collections), by Joe Nick Patoski, Nels Jacobson - Amazon Sales Rank: #421915 in Books
- Published on: 2015-03-01
- Original language: English
- Number of items: 1
- Dimensions: 11.75" h x .75" w x 8.25" l, 1.50 pounds
- Binding: Paperback
- 176 pages
Homegrown: Austin Music Posters 1967 to 1982 (Southwestern Writers Collection Series, Wittliff Collections), by Joe Nick Patoski, Nels Jacobson Review "A sprawling illustrated monument to Austin music and culture."--Rob Caldwell"PopMatters" (04/02/2015)"Clubs close and are torn down. Bands break up. But posters endure as a history to admire."--Michael Corcoran"Texas Highways" (01/01/2015)
About the Author Alan Schaefer is a lecturer in the Department of English at Texas State University and a musician.Joe Nick Patoski has been writing about music and Austin for more than forty years. He has authored books on Stevie Ray Vaughan, Selena, Willie Nelson, and the Dallas Cowboys; is directing a film on Doug Sahm; and hosts the weekly Texas Music Hour of Power radio show.Nels Jacobson has been researching, writing about, and creating poster art for over thirty years. Under the moniker “Jagmo,” he’s designed posters for shows from Stevie Ray Vaughan’s “Rites of Spring” celebration in Austin to Los Lobos at San Francisco’s storied Fillmore. His work is archived at the Rock and Roll Hall of Fame. Jacobson serves on the board of the Rock Poster Society, and he is a founding director of both the South Austin Popular Culture Center and the American Poster Institute. In addition to his poster scholarship and design work, he has been practicing copyright law since 1995.
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18 of 18 people found the following review helpful. The revolution & renaissance of music poster art in Austin, Texas! By Atomic Jukebox "Homegrown: Austin Music Posters 1967-1982" has been a long time coming. This beautifully assembled & meticulously annotated volume, both documents and celebrates a most revolutionary artistic period & culture, and the amazing array of talented artists & of Austindesigners who laid the groundwork for rock music art as we know it today. Some may view it as a contradiction of terms, but this book showcases the melding of revolution AND renaissance....The psychedelic seeds planted with the opening of the Vulcan Gas Company were well-tended by the mindblowing artistry of Gilbert Shelton, Jim Franklin, Jim Harter, Tony Bell and John Shelton. Together, they created posters that were as fluid and adventurous as the music of pioneering Texas psych bands like The 13th Floor Elevators, Shiva's Headband, and Conqueroo. Thanks in large part to these guys, Austin's burgeoning hippy movement was gifted with an amazing multi-sensory playground, and a standard was now set for music art for years to come.As the various subcultures in Austin began to cross-pollinate in the early-1970s, a new collective-based venue opened it's doors, not only to this new mosaic of music lovers, but to a wide swatch of musical genres, from rock and psychedelia, to blues, jazz, punk, new wave, country and more. And with the formation of the AWHQ, artist Jim Franklin would create & establish a style and symbol that has become the single most iconic image associated with Austin music - The Armadillo. "Homegrown" does well to illustrate the progression of, what many see as, the epicenter & most progressive period in Austin poster art's timeline. In the chapter entitled "Reimagining Texas", we see armadillos as a sort of "sacred beast", as they rule the roads, ride in rocket ships, enjoy some herbal offerings, and turn up in the most unlikely places. We also see a fusion of grit, groove and whimsy , as now-legendary artists like Micael Priest, Danny Garrett, Henry Gonzalez, Guy Juke, Ken Featherston and the like, fuse images of cowboys & hippies, and insert them into an array of wild western settings. During the same time-frame, artist & cartoonist Kerry Awn began creating posters & the famed monthly calendars, for the Soap Creek Saloon, and countless classic posters for his own band, Uranium Savages. The book includes many examples of how Kerry's art became the recognized visual representation of the early "cosmic cowboy" scene.When Clifford Antone moved from Port Arthur, Texas to Austin, he had a vision of creating a club that would, at once, celebrate, honor and showcase the pioneering blues musicians (many of whom had slipped into obscurity), and nurture a new generation of up-and-coming blues artists.... And thus, Antone's "Austin's Home Of The Blues" was established. One of the poster artists that Antone commissioned, was Danny Garrett. Known for his beautifully detailed portraiture and stylized hand-lettering, the only requirement that Clifford had, was that the portraits be respectful to the musicians. Page after page in "Homegrown" showcase Garrett's knack for capturing the essence of these legends, from the furling of Muddy Waters' brow, to the lightning coming from (a then very young) Stevie Ray Vaughan's fingertips. This was all in-keeping with a deep tradition of blues portrait poster work in Austin, as we see numerous gorgeous examples from throughout the years... From Franklin's quintessential Freddie King paintings and Big Joe Williams & Mance Lipscomb portraits, to Sam Yeates' rattlesanke emerging from the head of Freddie King, to Micael Priest's most-soulful 1978 Johnny Winter AWHQ design, our blues heroes have always been revered and beautifully represented.The "Traveling Bands" chapter showcases the remarkable variety of famous musicians & venues that Austin seemed to be bursting at the seams with, and the propensity of the poster artists to capture the character of their subjects. Bill Narum fabulously blends tribal, mod, and art deco styles in his 1971 Taj Mahal masterpece, Yeates' 1976 Bob Seger/Ruby Starr poster features a roaring lion emerging from a ball of fire, with fangs bared, and a curled guitar neck & headstock as it's tongue, Dale Wilkins' 1978 J.J. Cale poster depicts Cale charming a Shiner Beer-drinking raccoon, under a wide-open Texas sky, and Priest's 1977 Grateful Dead tour de force melds a cyclops skull with yellow roses, eagle feathers, and other Southwestern imagery, making it purely "Texas".Wrapping up the time span covered in "Homegrown", is the emergence of the punk & new wave scene. As with the evolving and inventive new sounds that define this period, poster artists were also exploring new frontiers. Experimentation and unconventional styles became the norm of the DIY era. As the book exhibits, anyone with an idea and a heart for music & imagery would now become an element in the visual landscape. How wonderful it is to see Micael Priest's AWHQ Ramones poster, next to Jesse Sublett's 1978 Skunks & Violators flyer, alongside Nels Jacobson's David Johansen Club Foot poster, and Randy "Biscuit" Turner's Big Boys & The Judys "Pajama Party at Raul's" handbill!! In guitarist Davy Jones' 1982 flyer promoting The Next & The Dicks' Continental Club appearance, he parodied Saturday Night Fever by replacing Travolta on the dancefloor with Dicks singer Gary Floyd, dubbing the show "Disco Hell"! Everyone now had the "tools" to color the world.The book also includes eloquent and informed essays by two of the brightest historians, and most true-hearted musical advocates & souls, Joe Nick Patoski (biographer of Stevie Ray Vaughan & Selena, and host of the "Texas Radio Hour of Power" radio show), and Nels "JAGMO" Jacobson (graphic artist, journalist, and Director of the American Poster Institute). Their essays detail the history from the earliest known posters as an advertising tool, through the explosion of music poster art in Austin, Texas, with great affection given to the artists, musicians and venues within the 1967-82 era. Editor Alan Schaefer (Texas State University English Department lecturer, and musician) has also done an incredible job of assembling and overseeing the book, and the accompanying poster exhibit at TSUs Whittliff Collection gallery.There is so much more to "Homegrown: Austin Music Posters 1967-1982" than can be covered in one review, so rather than fearing that I've overlooked any of the artists or details, I'll simply say "If you have a passion, or even a mild interest, in classic music poster art & design, or in true homegrown Austin culture, this book is an absolute MUST HAVE". --Jerry Clayworth
0 of 1 people found the following review helpful. I have lived! By ISLAND GIRL I was at the Lewisville Festival. Janis did a free concert at the camp ground (tent ground.) the first night, I walked up to the concession stand and on the way back I was offered weed, an electric y0-y0 and a chastity belt. Aaah, those were the days! We counted 12 people hitching in the car we were in. the campus crusade for Christ was there, the red cross took care of OD's ect. I still count it as one of the best weekends of my life. Only matched seeing the Beatles live in Houston at the Sam Houston Coliseum. The Beatles came in to the stage in a Brinks Armored car. I spent the night under Ringo's Platform. Homegrown: Austin Music Posters 1967 to 1982 (Southwestern Writers Collection Series, Wittliff Collections)]]Homegrown: Austin Music Posters 1967 to 1982 (Southwestern Writers Collection Series, Wittliff Collections)Homegrown: Austin Music Posters 1967 to 1982 (Southwestern Writers Collection Series, Wittliff Collections)ingo's platform.
0 of 0 people found the following review helpful. Awesome Historic Art! By Amazon Customer Great book great service
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Homegrown: Austin Music Posters 1967 to 1982 (Southwestern Writers Collection Series, Wittliff Collections), by Joe Nick Patoski, Nels Jacobson
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Homegrown: Austin Music Posters 1967 to 1982 (Southwestern Writers Collection Series, Wittliff Collections), by Joe Nick Patoski, Nels Jacobson
Homegrown: Austin Music Posters 1967 to 1982 (Southwestern Writers Collection Series, Wittliff Collections), by Joe Nick Patoski, Nels Jacobson
Homegrown: Austin Music Posters 1967 to 1982 (Southwestern Writers Collection Series, Wittliff Collections), by Joe Nick Patoski, Nels Jacobson
