MUSIC INFORMATION SUBMITTED

Austin City Limits (Texas Music)
Nashville Had Never Seen The Likes: The Outlaws were rewarded with platinum albums, national media coverage, films and music festivals that exceeded 90,000 fans. Outlaw music is personal with a healthy sense of tradition, cultural pride and individual freedom.

GTT (Gone To Texas)
Local talent was thick in Austin. National magazines exposed the challenge Austin was posing to Nashville. Free-thinking nonconformism, led by the Outlaws, attracted progressive artists to the live music capital from Nashville, California, New York, Boston, or any other place. Some were on sabbatical to escape the status quo.

Family Values -- Not A Rank Stranger In The Lot
Southern hippies and their longhaired redneck cousins stood side by side playing and listening to the new country music with Lone Star beer in one hand, marijuana in the other. Highwayman Kristofferson who wrote "Sunday Morning Coming Down" and "Me And Bobby McGee" summed up the group's contradictions with his song, The Pilgrim: He's a poet (he's a picker) He's a prophet (he's a pusher). Michael Murphy popularized the term "cosmic cowboy" to describe the part-hippie, part-redneck values of the Austin crowd. Neo-Beatnik cult hero Townes Van Zandt wrote Pancho And Lefty. Jerry Jeff Walker was a New Yorker who wrote a successful song called Mr. Bojangles. Richard Nixon said it was his favorite. Walker settled in Austin, where he acquired stature second only to Willie Nelson's as a leader of the young poet singers clustered in the town. The 1970s Austin music scene was a Renaissance within a Renaissance. The live music capital gained wide acceptance for its musical mix of country, blues, folk, rockabilly, Cajun, Western swing, rock and roll, and any combination thereof.

Sources: My memories and the Fine Arts Library, University of Texas at Austin.