By Travis D. Stimeling
State song of the past due Sixties and early Seventies used to be a strong image of staunch conservative resistance to the rising counterculture. yet beginning round 1972, the town of Austin, Texas turned host to a starting to be neighborhood of musicians, marketers, newshounds, and lovers who observed kingdom track as part of their collective background and sought to merge it with countercultural beliefs to forge a exceedingly Texan counterculture. innovative nation music-a hybrid of state track and rock-blossomed during this turning out to be Austin neighborhood, because it performed out the contradictions at paintings between its citizens. The tune was once instantaneously firmly grounded within the conventional Texan tradition within which they'd been raised, and profoundly stricken by their newly radicalized, convention-flouting ways.In Cosmic Cowboys and New Hicks: The Countercultural Sounds of Austin's innovative nation 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 facts, from habit and get dressed, to newspaper articles, to private interviews of musicians. alongside the best way, Stimeling uncovers parodies of the cosmic cowboy snapshot that toughen the eager for a extra peaceable lifestyle, yet that still realize an wisdom of the muddled, conflicted nature of this counterculture id. Cosmic Cowboys and New Hicks offers new perception into the interior workings of Austin's revolutionary state track scene-by bringing the track and musicians brilliantly to lifestyles.
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Additional info for Cosmic Cowboys and New Hicks: The Countercultural Sounds of Austin's Progressive Country Music Scene
68 Exchanges such as these are particularly instructive as they demonstrate the power that the broadcast media had to shape the rhetoric of the progressive country movement. On the other hand, they also suggest that, regardless of the opposition that was perceived by many in the movement, many of the musicians who were afﬁliated with the Austin scene had much more complicated musical, social, and economic relationships with the national music industry. Austin’s progressive country music scene was, regardless of its rhetoric, inextricably linked to the very institution it opposed.
In other words, your whole hour was planned 36 Cosmic Cowboys and New Hicks out for you by this list. It didn’t tell you what songs to play, but it did tell you what type of music to play. It wasn’t so bad, but I felt it was unnecessarily strict, considering this radio station and the people who work here. The format I’ve got up there now simply tells ’em to play a Progressive Country oldie out of the news at the top of the hour, which is just a good thing to do, and other than that, all I said was you have to play a well-balanced mix of Progressive Country Music.
The Armadillo could not have been transformed from an armory to a music venue so quickly, however, without the assistance of numerous volunteers from the scene who wished to expedite the process. 59 This sense of community and local activism was integral to the survival of the Armadillo’s communal business model and was equally important in keeping the audiences and owners alike out of trouble with law enforcement. 2. Artist Jim Franklin’s poster advertising the grand opening of the Armadillo World Headquarters, August 7–8, 1970.
Cosmic Cowboys and New Hicks: The Countercultural Sounds of Austin's Progressive Country Music Scene by Travis D. Stimeling