Vol.I,02The Tejanos ProjectPenny De Los SantosThe Tejanos ProjectPenny De Los Santos Vol.I,02

In the Heat of the Night

“Black people and death? Even Ray Charles could see through it. Black mothers crying. Black blood flowing.” So exclaimed Mae Leonard to Austin Police Chief Art Acevedo at the May 16th “People’s Forum” held at the Austin Community College Eastview campus only days after the May 11th fatal shooting of Nathaniel Sanders II by officer Leonardo Quintana in East Austin.

Acevedo has handled similar exchanges over the past several weeks at a series of public gatherings discussing the shooting. Leonard, Chair of the Forum’s Executive Committee, which represents a coalition of East Austin neighborhoods, was not shy in stating there is room for improvement.

“The problem is the lack of visibility of police patrolling the streets,” said Leonard. “Where’s officer ‘Long Tall’ Jones?” Acevedo concurred, stating “the problem is the numbers. We’ve requested fifty more officers to be put on the street for high crime neighborhoods. But competition for funding is high across the country.”

On June 1st, Acevedo addressed several hundred mostly Eastside residents for two hours at the Delco Center during a more prickly, noticeably tense City-sponsored community meeting. Residents posed questions regarding racial profiling, the misuse of deadly force, and the ineffectiveness of patrol car cameras. Quintana’s patrol car video was not running at the time of the shooting.

As Acevedo volunteered earlier at the People’s Forum, he routinely reminds his officers, “Guys, turn your camera on.” The central reason he gives for the mishandling of police cameras is that “the system is obsolete.”

“We can fix the problem, we have the technology,” Acevedo said. “But the department has been turned down when we’ve asked to upgrade the system.”

On June 2nd, Sanders’ family filed a 10-page wrongful death federal lawsuit against officer Quintana and the City of Austin, alleging racial discrimination and the use of excessive force. But as Acevedo stated earlier at Eastview, “Let’s keep this in perspective. I want to paint an accurate picture with the numbers and data. Violent crime is way down.” -– by GLG

Always a Friend in A-Town

Austin will open its’ arms to 600 refugees this year including families from Iraq, Burma, Bhutan, Cuba, Iran, Afghanistan, Nepal, Somalia, Ethiopia, the Congo, and Burundi. To welcome them to our community, the annual “Celebrate World Refugee Day” was held at the Bob Bullock Texas State History Museum on June 20th.

“Refugees living in Austin are legal, international refugees brought to the United States by the Department of State because they have been persecuted in their home countries,” said Lubna Zeidan, Refugee School Coordinator for Austin

Area Interreligious Ministries. “The U.S. government only provides for short-term assistance so all refugees are expected to be self-sufficient within two to four months of arrival regardless of their level of education, English speaking capabilities and exposure to western society.”

The event, coordinated by several refugee support groups, featured Sara Hickman, WinoVino, El Tule, and a refugee fashion show, with a moving naturalization ceremony and performances by refugee musicians and dancers.

On July 25, Refugee Services of Texas will need volunteers for a wide variety of tasks when more than 60 new refugees participate in a full-day cultural orientation from 9:00am-3:30pm. If interested, please contact RST.david@sbcglobal.net or call 472-9472.

In mid-August, the Amala Foundation – whose mission is to create a peaceful, equitable and compassionate world by unifying communities in service – is hosting their annual Global Youth Peace Summit from August 8-16 in Wimberley. In past years, children from as far as Thailand and Dubai have experienced this extraordinary summer camp.

“The Summit serves as a village for every human being with a willing heart and a yearning for peace, unity and healing,” states Vanessa Stone, founder of the Amala Foundation. “This vision includes those who go unseen – those who have fled out of necessity – the communities, villages and cultures that they have known. This vision focuses on the youth of the world, from the American straight ‘A’ student to the Congolese refugee to the Iraqi child uncertain about life in America.” Amala’s service programs for youth are offered with low-cost and scholarship options in order to ensure that all children receive the opportunity to take part. For more info contact youthprojects@amalafoundation.org or call 476-8884. -- Joe Duncan

Another Victory on the Grill

The commercial revitalization of East 11th Street has redefined the once-blighted gateway to downtown. The Historic Victory Grill, one of the last remaining, original “Chitlin’ Circuit” juke joints, has long cultivated integration due to the efforts of Eva Lindsey.

Lindsey, a fourth-generation native Austinite, reopened the venue in 1995 after years of neglect and has guided the cultural landmark through several trials. Though it’s listed on the National Registry of Historic Places, keeping the venue running efficiently has been a taxing undertaking; consequently, family has been called in for support.

“Mary Lindsey, my sister, has agreed to come aboard as Director of Operations. She will actually take on about fifty percent of my load,” remarked Lindsey. “After living in Memphis, Tennessee for nearly 15 years, Mary is now home, working in her native community and neighborhood. She brings a wealth of resources, talents and skill including

production and marketing management. Mary will ensure that the cafe, venue and bar work efficiently.”

The Victory Grill is perhaps the most vital piece of Austin’s African American cultural roots in a neighborhood that is undergoing change. Few personalities in Austin’s music industry carry the dynamism and optimism of Lindsey, who in 1971 was a guiding force in the civil rights movement, helping end segregation in Texas public schools.

With Mary now in management, the venue should enjoy more stability. “First and foremost it is a privilege to join my sister Eva and all the people that have been involved in the initial growth and restoration of such a prestigious landmark,” said Mary. “I look forward to working to bring continuity within the infrastructure of the venue and creating an establishment that draws the attention of all diverse backgrounds internationally through the arts.”

During its first run, the Victory Grill saw cultural giants from Billie Holiday to Muddy Waters grace its stage. Arriving from Memphis, Mary sees similarities in the two music capitals. “The connection I realize between Austin and Memphis is that Austin was the springboard for people like B.B. King, Bobby Blue Bland, Little Milton, Ike & Tina Turner and many others to build their recognition through the Chitlin’ Circuit. I believe that as people learn more about the circuit and its contributions to the music industry, they will then see how the two cities are parallel.”

The Historic Victory Grill, as Mary Lindsey puts it, will continue to “nourish the soul” with a schedule of blues and jazz, and remain available for community meetings, workshops, concerts, children events, etc.–- Dean Windsor

TODO Austin

Volume I, Number 002

Publisher/Editor - Gavin Lance Garcia

Art Director - Dave McClinton

www.dmdesigninc.com

Production Director - Mark Gates

Contributing Writers/Artists - Deborah

Alys Carter, Donya Andrews, Tracy Frazier,

Tiffany Hamburger, Crystal Ashley Hammond,

Alexandra M. Landeros, Gilbert Rivera, Maverick

Shaw, Tony Spielberg, Kristina Vallejo, Kuetzpalin

Vasquez, Dean Windsor Advertising - Skeeter

Amesquita, Lynn de los Santos

TODO Austin is published by Spark Awakened

Publishing. © 2009 Spark Awakened Publishing. All

rights reserved. Unsolicited submissions (including, but

not limited to articles, artwork, photographs) are not

returned. Contact Us: contact@todoaustinpress.com

/ 512.538.4115

About the Cover

From “The Tejanos Project”

by Penny De Los Santos

www.pennydelossantos.com

APD Chief Art Acevedo addresses East Side neighborhood coalition

Mae Leonard, Chair of the People’s Forum

AAIM’s Lubna Zeidan and CEO Tom Spencer at World Refugee Day

Sofia Casini, Area Director of Refugee Services of Texasat the Bullock

A D V E R T I S I N G & I N S I G H T S2802 Flintrock Trace Ste 102 Austin, TX 78738 512.374.2800 mosak.com

Behind the scenes. ahead of the game.

carla wanted to see how other agencies think.

We deliver proven results by thinking outside the box.CREATIVE SERVICES/MEDIA BUYING

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CUSTOMER RELATIONSHIP MANAGEMENT PROSDatabase Analysis Email Blasts List Acquisition

Program Development Personalized Communications

RESEARCH & ANALYSISQualitative & Quantitative Research Focus Groups

Telephone/Exit Surveys Competitive Research

Local advertising agency MOSAK Advertising & Insights was recently named #15 on the Austin Business Journal’s list of Top 25 Advertising Agencies. Having only been in Austin for two years after relocating from Las Vegas in 2007, MOSAK is making an impressive entry into the Austin advertising community. Considering agencies whose clients include the likes of Southwest Airlines, Wal-Mart and the Army, the competitive environment in the Austin advertising market is fierce.

“We’re very proud to be named one of the top agencies in Austin,” said Monique Threadgill, president and owner of MOSAK. “Although we now share this distinction with some of the largest agencies in Austin, what sets us apart is that we’ve been able to maintain our small agency attitude, agility and attentiveness to our clients despite our growth.”

Works with Companies Large and SmallFounded in 2000 by native Texan Monique Threadgill, MOSAK is a full-service advertising agency that specializes in creating marketing strategies and advertising campaigns for local and national companies within the entertainment, hospitality and gaming industries. MOSAK works with large, well-established companies as well as start-up ventures and utilizes its years of experience in developing, designing and implementing targeted creative advertising solutions that are strategic, compelling and cost effective.

MOSAK’s extensive and varied client roster includes Hyatt Regency Lake Tahoe, WMS Gaming, The Harbors on Lake LBJ, the Austin Turfcats, country artist Gabe Nieto, the Tex-Mex-Fest and many others.

Continuing to Grow and Hire While many advertising agencies have been forced to make cutbacks due to reduced client billings, MOSAK has continued to add clients and hire additional employees. “While MOSAK has experienced exponential growth and great success in the past nine years,” said Threadgill, “we try to remain

grounded, keep our sense of humor and give back to the community whenever possible.” MOSAK’s community involvement includes numerous pro-bono projects. Austin area organizations impacted by MOSAK’s pro-bono work include the Austin Planetarium, Ten Thousand Villages, College House and the Lake Travis Chamber of Commerce.

Serving the Austin Community Along with these Austin organizations, MOSAK has also worked closely with the Busby Foundation, which provides support for families and individuals affected by ALS (or Lou Gehrig’s disease). MOSAK was chosen by the Foundation to build the brand, cultivate a support base and raise awareness of ALS by developing marketing and advertising efforts to promote Busby’s Flavors of the Town event. MOSAK is responsible for the Busby Foundation’s brand enrichment, advertising and Web enhancement as well as assisting with their special events and fundraising efforts.

Building Strong RelationshipsMOSAK prides itself on building strong client relationships and still represents many clients that helped establish the company years ago. Their carefully cultivated small agency attitude and agility allows them to provide their clients with high quality creative work, quick turn around on projects and very personalized service. In addition, their honest, straightforward approach and commitment has earned them accolades from their clients.

Dedicated to Client Success“MOSAK is unlike other agencies that seem more interested in producing glitz and glamour and winning awards,” said country artist Gabe Nieto. “They never recommend anything to us that they don’t believe in one-hundred percent and they always keep our budget constraints in mind.”

MOSAK was also honored by Entrepreneur magazine as “One of America’s Fastest Growing New Businesses” in 2004. For more information on MOSAK, visit their website at www.mosak.com.

Austin Advertising Agency Thriving In Spite of Economy

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In 1967, as Cesar Chavez marched and organized in Delano, California for the United Farm Workers, I held my first picket sign in Austin. It was red with a white circle and a black eagle. Cesar’s words to action, “Si Se Puede,” resonated in me and other Austin Chicanos who asked shoppers of the Safeway market at E. 6th St. and Waller to boycott grapes and Gallo wine. I can still visualize people yelling, cursing and spitting at us. This was the height of the Civil Rights era, and Austin Chicanos accomplished a number of important “firsts” during that time. Between 1965 and 1975, Austin saw its first Chicano Director of Community Action Programs, its first Chicano Travis County Commissioner, its first Chicano Austin City Council Member and first Representative to the Texas State House.

Despite all of the strides forward there still remained a great deal of discrimination and brutality. Just one example was the case of a ten year old Chicano boy who was found dead, hanging on a barbed wire fence with a bullet in his back. An investigation revealed he was shot by the police for stealing a loaf of bread. Throughout the 1960s, Austinites of color were all too often forced to defend themselves from law enforcement, an inefficient school system,

and unsympathetic elected officials who wanted to maintain a racist status quo. On the Eastside, mothers, fathers and elders in the community turned to a few, curious Chicano youth for help. We founded the Austin Chapter of the Texas Brown Berets. In 1972, Elias and Angie Mendez, Zeke Uballe, Ernesto Fraga, Sabino Renteria, Susanna Renteria and I hoped to bring to light racism, abuses, police brutality and other injustices occurring, especially on the Eastside. We were proud that children, parents and elders saw us as protectors.

The Austin School District was another case in point. What citizens called the “Mexican high school,” Albert Sidney Johnston (named after a Confederate General, ironically, but that’s another story), was opened in 1960 and immediately began to serve as a point of organization and pride for our community. By the mid-70s, the Brown Berets agreed with the Hispanic community that the school should be renamed Emiliano Zapata High. General Zapata, of course, was a figure the students could relate to. The proposition fell on deaf ears. When Johnston High was ordered closed a year ago to be “repurposed,” community leaders, activists, parents and students asked to rename the school Cesar Chavez High. Again, we were rejected. The school is now known as Eastside Memorial.

Seems like some things haven’t changed.Still, the most visible concern in the 1970s was an uproar at the annual city-wide summer celebration, Austin Aqua Festival, held in what we called “Chicano Park” in East Austin. Attendees, predominantly Anglo, were mostly from other parts of the city and a key attraction during Aqua Fest were the Town Lake drag boat races. Race fans cam in droves and parked in private yards and driveways, left trash everywhere, urinated in lawns and disrespected Chicano residents to such an extent that they turned to the Berets for help. We first tried working with the City Council to alleviate the problem, without success. Demonstrations and picket lines were ignored by the good-old-boy network. Inevitably, confrontations between festival-goers, homeowners and the Berets became more and more aggressive. Finally, it cam to a head as one demonstration turned violent with several Berets being arrested and some beaten by police officers.

This was an historic stance against the powers on the west side of Interstate 35 (we called it “Interracial 35”). The positive result from the incident was a change in the hearts of many Austinites. Soon after the final row, the boat races were moved elsewhere. Conversely, APD increased their harassment of the Berets, stopping

members without cause and holding us in jail for long periods of time without charges. I was beaten at a Brown Beret fundraiser. Several other Berets were beaten in peaceful protest actions as late as 1983 when Paul Hernandez, Maria Limon and Adela Mancias were roughed up while protesting a Ku Klux Klan rally downtown.

The legacy of groups like the Brown Berets is still evident today. The Mexican American Cultural Center, the Austin Police Monitors Office, bilingual education in Austin’s schools, and numerous elected officials of Latino heritage are due in part to the struggles of days past. But much remains to be done. So in these days of new social beginnings, we shout: ¡Que Viva La Raza!

Gilbert Rivera today continues to be socially involved and is active in the struggles of East Austin. He is President of the Rosewood Glen Oaks Neighborhood Association, Advisory Board Member of the Blackland Neighborhood Clinic, Board Member of Community Partnership for the Homeless, Member of the Austin Tejano Music Coalition, Representative to the East Austin Neighborhoods Council and is a 25 year employee of the City of Austin.

To Protect and to Serve By Gilbert Rivera

Brown Beret Gilbert Rivera, left photo, in 1970s Austin and today, right.

In my opinion, the act of sharing your time examining the contents of our paper is a bold gesture. Print media is, as widely reported, out of fashion. Yet here you are attempting to connect with some part of our community through our pages. I think it likely we share a common philosophy as we strive to be tolerant, optimistic and forward-looking citizens.

As a native, I’ve spent the whole of my adult life continuously promoting, advocating, branding and supporting civic leaders in their pursuit of raising Austin’s profile. As a journalist, musician, event producer and Austin Music Liaison, I learned that the underlying motive for almost every endeavor was profit.

Whatever my motives were, I cooperated with all manner of collaborators – corporate management, academicians, clergy, politicians, various officials and the creative class – based on the belief that our endeavors would be of some benefit to the community. How I’ve come to redefine “community” personally

racism than we dare to admit. Growing up in Austin, I faced the same kind of uncomfortable social circumstances still common today. As a child, I quickly realized there was one part of town where Anglos lived, another for Hispanics and yet another for African Americans. Thus, we attended what were in effect segregated schools, recoiled from public mixers aside from the occasional festival and generally kept to our individual sides of the cultural tracks. I learned all of this from the relative comfort of a middle class upbringing in North Austin where I enjoyed equal social status based on my light complexion. Likewise, I discovered it was impolite to raise the sensitive issue of racism with friends and acquaintances that to this day grow quiet at the mention of social injustice in our liberal oasis.

I hold to the belief that we all wish to exist in harmony, no matter our address or class distinction. But my faith in good intentions is often disturbed by cold reality. We, in short, have a few issues to resolve. There is little evidence showing racial and economic

Tejano, Norteno, Grupero, Conjunto and Tex-Mex music could be found not only on KTXZ but be reintroduced to the market via Univision and Border Media radio frequencies, and perhaps Emmis stations as well.

Goings-on in the African American community could be made more visible through new media created by the City, the various Chambers of Commerce and with corporate support.

The City could commit to raising the quality of life for the working poor through improving the availability of and access to shelter for low-income families.

Print and electronic media could discontinue dividing Latin immigrants and American nationals of Hispanic ancestry into two autonomous groups and report on the community as a whole.

Hip hop, jazz and other forms of urban culture could be celebrated throughout the year (beyond Texas Relays weekend) on the

that has caused suffering and debasement on both sides while decreasing political clout.

The Music Commission and Music Office could demonstrate effective means of marketing artists of color and exploit our diversity for economic development.

The City Council could mirror Austin’s demographics more fairly, ending the “gentleman’s agreement” of having one Hispanic and one African-American serving at a time.

Racial profiling by the Austin Police Department could be a myth as an APD citizens action committee flourishes.

A Mahatma Gandhi statue could be placed on the University of Texas campus to compliment the Barbara Jordan, Cesar Chavez and Martin Luther King, Jr. statues.

City government could convene an annual conference of recognized leaders from various ethnic communities, representing

has brought me to this paper and the administration of its affiliated non-profit organization, Humanitarians Engaged in the Arts for Respectful Dialogue (HEARD). As the staff throws itself into publishing TODO at an impractical time economically, with no financial support save for considerate advertisers, I will ask for your thoughtful consideration of our appeal.

I ask you to join us in envisioning and building a city with a higher moral and equitable standard. Though Austin is generally more accepting of racial, cultural, and religious differences than other cities, there are more examples of

integration has occurred across Austin. The long-time segregated housing patterns persist. I acknowledge that the majority of us want to be part of the solution, so what is keeping change from transpiring? Here are only a few considerations that “could” help bridge cultures:

The City’s housing policies could affirmatively further fair housing and weaken historical patterns of racial and economic segregation.

An East End/11th Street Chinatown could be developed to match North Austin’s Asian Centers, thus spreading Asian-American culture across a spectrum of neighborhoods.

live music circuit, over the airwaves, in retail shops and through consistent coverage from the influential alternative press.

As the city’s second-largest minority group in waiting, Austinites of Asian heritage could shed their linguistic isolation as their cultural celebrations are promoted in equal measure to Cinco de Mayo and St. Patrick’s Day.

Though a heterogeneous group, Hispanics could seek common ground and shed nativist ideologies. Mexican Americans and Mexican nationals could remember their ancestors with more respect and discontinue the “us versus them” mentality

all shades of opinion, to develop innovative initiatives.

The common denominator is that we are all, in the end, of the Americas. We are not powerless to create unity and harmony within the entire community. Events outside and within ourselves can be meaningful, shared experiences if we can locate that place where all are treated with dignity. But we must be rational in aiming for moral and economic transformation. Progress will only be as rapid as is our will to build a community in which we all thrive.

At The OutsetBy Gavin Lance Garcia

Begun as a proposal for National Geographic to identify and document South Texas and Tejano culture, it’s called The Tejanos Project, and it is turning into photographer Penny De Los Santos’s life work.

This evolution—from the professional to the personal—is perhaps because in the process of documenting the culture, she began to document herself. Or, more accurately, the part of herself that is the shared, remarkable story—the quiet history—of so many Texans.

Over the four years that it took to shoot and develop this story, finally published in November 2006, De Los Santos came away with close to 1,000 rolls of film filled with images of life along the Texas border: girls in pink quinceañera ruffles, mustachioed men in hats drinking beer, the patrician women of Laredo’s high society, a family selling the grapefruits that spill from their car’s trunk.

Over the course of a thousand rolls of film, something happened to her: “My editor kept telling me, ‘You’re covering it, you’re still covering it, stop trying to cover it. Just try to feel it,’” she says. “What I realized later…is

that there’s a difference between covering an event, and really going to an event and allowing what you’re supposed to see be seen.”

De Los Santos, the daughter of a career military man, was born in Germany, but spent the majority of her upbringing in central Texas. She says it was important to her parents that she understand what it meant to be Mexican-American along the border, and so she spent summers and holidays in Laredo with her extended family. Still, The Tejanos Project, she says, became “more about me figuring stuff out for myself, because I’ve always felt kind of hyphenated.” Like so many Tejanos, De Los Santos’s ethnicity is not immediately apparent. “Everybody I photographed said, ‘You’re not Latina, you’re not Tejana,’ and the minute I said my last name, they were like, ‘OK.’”

Identity is difficult enough without the doubt of others, but eventually, and due in large part to the years spent documenting Tejanos, De Los Santos has claimed hers, and gained a tremendous amount of confidence from doing so. “This project really helped me

By Tiffany Hamburger

The Tejanos Project

“Everybody I photographed said, ‘You’re not

Latina, you’re not Tejana,’ and the minute I said

my last name, they were like, ‘OK.’”

Photography by Penny De Los Santos

realize that it’s OK that your Spanish isn’t perfect,” she says. “It’s OK that your accent gives you away immediately. It’s OK that you don’t look Latino.”

When she’s not working along the border, De Los Santos travels all over the world shooting food for various clients, including Saveur. On one particularly dangerous assignment in Beirut, she had a revelation after shooting a candlelit Ramadan meal prepared by Iraqi refugees. “It was one of those moments when I realized, holy shit, I really love photographing food.”

Food photography subsidizes The Tejanos Project, but De Los Santos also has come to venerate the intrinsic power of food to foster cross-cultural communion. “I think amazing connections happen around food,” she says. “Most of my assignments, especially in The Tejanos Project, started in someone’s kitchen. It’s where people are most unguarded. You can be in any other place in the world and speak a completely different language and, for a few hours, sit down at the same table and connect with someone, just on food. It’s pretty awesome.”

But while Texans do enthusiastically connect to Tejano food traditions, De Los Santos wishes for a more widespread acceptance of the fullness of Tejano culture. “It’s the one thing we don’t as a state embrace, and it breaks my heart,” she says, adding that this lack of recognition and documentation is one reason she’d like to expand The Tejanos Project into a book, which she acknowledges could take 10 or 15 years to do right.

Another reason she gives for the book is that she sees things along the border changing so rapidly, and believes that the culture and region deserve a historical record. So many people, she says, “come through that region of the country. It is the Ellis Island of our times.” Other than daily journalists, she doesn’t know of anyone photographing the region like she is.

“I think this book is so important,” she says. “I think it would be a great opportunity to look at ourselves and celebrate it and be awed or be disillusioned, or something. It needs to happen.”

Looking through De Los Santos’s photos, the magnitude of that something hits you. These images—of the enchanting, the heartbreaking, the iconic, the shameful—these are the missing images of Texas, the ones that complete the picture, make it whole.

Villa’s Music Garden a Lean and Hungry Venueby Kristina Vallejo

Music

In mid-June, the Austin live music community received news that another club had closed its doors for good while another was on its way to bankruptcy. In the throes of an economic malaise, where does Austin turn? Does the city have the wherewithal to support yet another music venue? One respected musician and accordionist extraordinaire, Joel Guzman, seems to think so and he’s betting the farm that it’ll fly. On Saturday, June 27, he and four associates will open a new venue in deep South Austin named Villa’s Music Garden (4406 South Congress). As Guzman states, the idea

for the venue was hatched when he and his wife and music collaborator Sarah Fox were discussing a possible venue for their upcoming CD release party. Leonard Davila, a former member of the pioneer Austin Tejano band Street People, suggested they take a look at the space behind his nephew’s restaurant on South Congress near Hill’s Cafe. Tony Villa, owner of Villa’s Taco Shack and A-1 Auto Body & Electric had already been thinking of using the vast space in back of the lot for live music. With two businesses already on the same property, Villa went to work, practically building a stage, a bar and a deck overnight. Guzman approached two more owners who

had collective experience in music and media, and the idea became a reality. Villa’s Music Garden was born.

“Our vision is to provide Austin with a venue that features cross-cultural concerts, a relaxed atmosphere, and great Mexican food,” said Guzman. The venue’s capacity is approximately 500, with an upstairs deck and bar seating an additional 50 people, and a cool evening breeze. A full bar will be fully operational on opening night, and the venue will feature Tex-Mex food from Villa’s Taco Shack’s kitchen. Free parking will be available next door, with additional parking across the street.

In the long run, Guzman predicts “Villa’s Music Garden will be great for the local music community. Our vision is to bring national touring acts that will share the stage with Austin’s culturally diverse bands.”

Villa’s Music Garden will open its doors on Saturday, June 27 at 6:00 p.m. with music from 7:00 – 11 p.m. Featured acts are Joel Guzman & Sarah Fox, with Ponty Bone &the Squeezetones, Los Texas Wranglers, and Shawn Nelson and the Ramblers. Advance tickets are available at www.frontgatetickets.com Call 444-5551 for more info.

Los Texas Wranglers

Joel Guzman & Sarah Fox Shawn Nelson

When I first heard about the Steamboat reunion show at Threadgill’s South (June 14), I thought it was a little odd to have a gathering for a retired, but beloved, club at a thriving venue that was built on the ashes of yet another revered concert hall, the Armadillo World Headquarters. I had anticipated a gathering of Steamboat old timers re-hashing the past and thinking about the old glory days. Walking through

the door, however, I realized it was less a wake and more a family reunion. With an almost overwhelming feeling of nostalgia in the air—well, the overwhelming part could have been the humidity and face-of-the-sun Texas heat—the atmosphere was thick with emotion from music fans and musicians hugging, kissing, laughing, and crying. Among the crowd were KLBJ-

FM deejays past and present, bouncers, bar tenders, sound engineers, and of course, legendary-in-his-own-right Steamboat proprietor Danny Crooks. There were 6th Street staples everywhere; faces seen on any given night when live music dominated the once fertile cutting-edge music strip.

The line up was comprised of the bands who helped create an Austin music identity in the

1980s at Steamboat with the guidance of Crooks: David Garza, MC Overlord, Rhythm Child, The Alice Rose, Vallejo, Johnny Goudie, and Sister 7. Watching KLBJ’s Peg Simmons dancing deliriously during Vallejo’s set, the déjà vu set in, and for that moment we were all back at the old Steamboat—a mass of dancing, sweaty people living in one perfect moment when nothing but music mattered.

Steamboat Reunion Show at Threadgill’sby Kristina Vallejo

Fiesta Gardens provided an impressive setting for the 2nd annual Pachanga Latino Music Festival on May 30. The Eastside park offered fans scenic elements missing in the inaugural event held at Waterloo Park. From its lakefront location with its superior view of downtown, fans circulated among the multi-stage festival, Austin’s first major Latin themed music, cultural arts and food fiesta.

With over twenty acts representing most every genre of Latino music, Pachanga presented the audience with choices for every taste. Among the highlights was the performance by the Pachanga All-Stars, which included the talented front man Hadyn Vitera and members from the host band,

Vallejo. Later in the evening, David Garza rocked center stage to a galvanized throng, and Charanga Cakewalk, with their heavy cumbia beats, inspired the formation of an impromptu conga line.

Another highlight of Pachanga was the enthralling Mariachi Las Altenas. The multi-talented, all female group dripped charisma and easily engaged the large audience gathered under the pavilion in song and dance. Upon introducing the old mariachi standard, “Volver,” to a roar of cheers, the crowd joined in the refrain in all manner of dialects and broken Spanish. As they finished their set with another favorite, “La Cascabel,” it was clear Las Altenas had enchanted the audience and

gained a number of fans along the way. The festival organizers showed they’ve earned their fest stripes by pulling off the deft trick of presenting two distinctly different headliners. At the pavilion, Michael Salgado entertained his adoring audience with accordion driven Tejano strains. Meanwhile, across the way, the Latino influenced electronic beats of Mexican Institute of Sound created a club atmosphere dance party to another appreciative throng. Throughout the night, the “Latino” music theme created a sense of community found in only the best of Austin’s annual outdoor fests, and the audience was a snapshot of the city’s diverse demographics. The common denominator was that at some point, all were moved to dance.

Pachanga Latino Music Fest Sails East by Kristina Vallejo

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Ponty Bone

Joel Guzman & Sarah FoxRenowned master accordionist Joel Guzman, a guiding spirit in Texas music who’s collaborated with a Who’s Who of artists, and singer-songwriter Sarah Fox are celebrating their much anticipated release, “Conjuntazzo.” Guzman and Fox are arguably musical Austin’s most distinguished duo. With their hybrid Latin-American R&B repertory, they’ve become unique, central music figures who speak a cross-cultural language. With Guzman’s incomparable accordion playing, tackling traditional styles from conjunto to jazz, and Fox’s singular vocals, the group’s sound is explicit in its integrity. Coupled with production and performing fetes including the 2004 Grammy-winning “Polkas, Gritos y Acordeónes,” and 1998’s “Los Super Seven” album, the pair mirror with particular intensity the Austin sound of the twenty-first century.

Ponty Bone & the SqueezetonesPassing from one generation to the next, the name Ponty Bone has become a metaphor for musical virtuosity. Mixing in Texas blues with Louisiana zydeco and Latin sounds, the accordionist is a bandleader who’s collaborated with a quintessential list of artists around the world while leading the Squeezetones to popularity throughout the states and Europe. Bone has shared stage & studio with such luminaries as The Clash, Tom Petty, Linda Ronstadt, Ronnie Lane and Texas’ “A” list of artists, cultivating admirers at every turn. Bone has gained new respect in his illustrious career for the accordion, lifting the instrument to a higher form of musical art.

Los Texas WranglersLos Texas Wranglers’ music is the sound of liberated Austin. Treating their compositions as if they were appropriated material from ancient civilizations, the Wranglers revere their roots and are a barometer for Latin artists in the city. Multiple winners of the Austin Music Awards in the Best Latin/Traditional Band category, the crowd pleasing band is not one to passively enjoy success as they impose their feel good rhythms on audiences from SoCo to East 5th St. Once named Austin’s premier conjunto band by Austin Mayor Gus Garcia, the group has adopted a strategy to keep the music form influential and alive in the minds of the community, without subtlety or restraint.

Shawn Nelson and the RamblersShawn Nelson makes music that arrives at a place with established traditions, yet emerges with a distinct sound that flourishes live and in the studio. The singer-songwriter has a devoted audience which appreciates his many musical manifestations—from country to blues to rock—each interdependent on a faithful interpretation of genuine Americana. From his first self-titled release in 2004, Nelson’s songs have represented the realities of life’s chapters, and his “Live at Antone’s” (2005) directed listeners to self-contained storytelling of the highest order. His latest release, “Ain’t No Easy Way,” continues to showcase the infinite possibilities ahead for Nelson and the Ramblers, a genuine article.

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photo by Crystal Ashley Hammond

Vallejo @ Steamboat Reunion

Mariachi Las Altenas @ Pachanga Latino Music Festival

9/18 Guitars & Saxes withEuge Groove, Jeff Lorber, Jeff Golub & Jesse J

10/16 Sinbad10/18 David Sanborn

11/6, 7 & 8 George Winston11/20 Paula Cole12/6 Jane Monheit

12/13 Manhattan Transfer12/19 Take 6

1/17/10 Jesse Cook1/29/10 Big Bad Voodoo Daddy1/30/10 The Travelin' McCourys2/5/10 Jerry Jeff Walker

Ray Price& Dale Watson

7/17

Boney James7/10

Tommy Emmanuel 8/30

Ottmar Liebert8/6 & 7

Larry Gatlin8/21

Paula Poundstone8/28

Blood, Sweat and Tears w/Chuck Negron of

Three Dog Night

8/27

These shows presented by

Call 512.32.WORLDVisit www.OneWorldTheatre.org

512.454.9663 x215 • 888.440.4649 x215109 Denson Dr. Austin, TX 78752

shawna@bellsintl.com • www.bellsintl.com

Bells InternationalPromotional Products | Advertising Specialties

It’s never too hot to dance in Texas, nor too early to make plans for cooler fall outings, especially with Ballet Austin’s promising 2009-2010 schedule.

Ballet Austin reflects some of the city’s best attributes: natural beauty, uncompromising artistic vision and positive reflections on life. Cookie Ruiz, Executive Director of Ballet Austin, said of the upcoming season, “Artistic Director Stephen Mills created Ballet Austin’s 2009-2010 season to share with us the exquisite beauty of classical ballet, the delightful comedy that results from mistaken identity, the magic of the land of crystal snow and sugar plum fairies and the extraordinary excitement of a world premiere work.”

The fun kicks off in mid-September when you’re invited to show off your own fancy steps while learning some new footwork from Ballet Austin. The company will open its doors to the public for a free day of dance classes on Sunday, September 13 from 1-5 p.m. “Come Dance! 2009 Celebration” classes are for ages 3 and up. Dust off your dancing shoes and make your way to Ballet Austin’s Butler Dance Education Center, 501 West Third Street (at San Antonio Street). For more information on tickets and other events go to www.

balletaustin.org or call 476-9151.

2009-2010 BALLET AuSTIN SCHEDuLE(All shows at the Long Center for the Performing Arts except where noted)

Truth & BeautyBy Deborah Alys Carter

Q: “My girlfriend has several tattoos and is thinking of getting another one. It didn’t bother me at first when we started dating but it has been lately. My friends say she is the queen of tramp stamps. What do I tell her?” ~ Tattoo’d in Texas

A: First, if you really don’t like tattoos why are you dating a girl who has several? You must have found something beautiful about her making you disregard her body art. Second, why do your friends think they can safely trash your girlfriend (‘Queen of Tramp Stamps’?), without you calling them on it? Body art can become a hobby and a habit for some people but most girls want to please their lovers and be attractive for them. Today’s young women are very independent and hate being told what to do, so try admiring the beauty of her skin, her natural, unadorned skin. Give her honest, genuine compliments, not criticisms or orders, and she just might give you what you want. Q: “I want to be an alternative model in Austin. Where do I begin?”~ Adorable in Austin

A: What do you mean by ‘Alternative Model’? If you mean you want to take your clothes off and sit as still as a rock for an hour while a room full of art students

sketch versions of you, any local live drawing group can give you info. If you want to strut across a stage in front of an audience wearing really cute clothes from local boutiques and get your photo taken, here are a few tips:

1. Make friends with your favorite stores. Most stores keep a collection of favorite girls they call for fashion shows, photoshoots, etc.

2. Call local fashion editors. Who’s writing about fashion shows? Email them and ask about upcoming events.

3. Talk to hairdressers and make-up artists. All fashion shows use hairdressers and make-up artists, so making friends with the pros in your city who work the shows almost guarantees a place in future line-ups.

4. Create a portfolio. Collect good photos of yourself and assemble them in a book or in an online website.

5. Practice walking. Watch all the runway shows you can find, and practice your walk in front of full length mirrors and a video camera.

Write Deborah at Contact@todoaustinpress.com

Getting to the PointeBy Donya Andrews

Season Opener f OcT 2-4, 2009 | Swan Lake (Act II) Choreographed by Marius Petipa and Lev Ivanov to the music of TchaikovskyThe Firebird Choreographed by Stephen Mills with music by Stravinsky

The 47th annual production of The Nutcracker f DEc 5-23, 2009 | Choreographed by Stephen Mills with the Austin Symphony Orchestra and music by Tchaikovsky

The Bach Project f FEB 12-14, 2010Choreographed by Stephen Mills with music by J.S. Bach

New American Talent/Dance f MAR 25-APR 4, 2010 | A juried choreographic competition at the AustinVentures StudioTheater

coppelia f MAy 7-9, 2010 | Choreographed by Arthur Saint-Leon with the Austin Symphony Orchestra and music by Delibes

photographer Tony Spielberg