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PDF Armadillo World Headquarters First Edition Armadillo World Headquarters Ebook Full Chapter
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Copyright © 2017 by Edwin O. Wilson
All rights reserved
First edition, 2017
Published by
TSSI Publishing
6416 North Lamar Blvd
Austin, Texas 78752
Telephone: 512-574-2544
Fax: 512-451-3256
geninfo@threadgills.com
www.threadgills.com
Distributed by
University of Texas Press
P.O. Box 7819
Austin, TX 78713-7819
Telephone: 800-252-3206
Fax: 512-232-7178
info@utpress.utexas.edu
www.utexaspress.com
All images are courtesy of the author’s personal collection, unless otherwise noted.
PROOFREADING
Lynne Chapman
Facing: Burton Wilson and Sandra Wilson, October 18, 2000. Family snapshot.
FOR BURTON & SANDRA
“IT REMINDS ME OF WHAT THE BEAVER TOLD THE RABBIT AS
THEY STOOD AT THE BASE OF HOOVER DAM: ‘NO, I DIDN’T
BUILD IT MYSELF, BUT IT’S BASED ON AN IDEA OF MINE.’”
CHARLES TOWNES
“IT IS THE JOB OF ARTISTS TO PUT FEAR IN THE HEARTS OF
ADULTS.”
JIM FRANKLIN
“FAILURE IS THE ARCHITECT OF SUCCESS.”
M. K. HAGE JR.
CONTENTS
FOREWORD
PREFACE
ACKNOWLEDGMENTS
Introduction
Earning My Hippie Card
Now Dig This
Cosmic Justice
Head Honcho
The Armadillo Art Squad
A King, a Domino, a Captain, and a Leo
Digging for Progress
Living the Dream
A Cultural Refinery
Things Were Looking Up
The Great Redneck-Hippie Merger
A Breed Apart
Being Thankful for What We’ve Got
Not Your Daddy’s Beer Joint
The First Willie Nelson Picnic
Armadillo TV, or What Might Have Been
Then the Rains Came
Home with the Armadillo
Long Live Longnecks
Pot, Big Red, Acid, Coke, and Pumpkins
Feeding the Legend
Crosstown Competition
Traveling Armadillo Blues
Dear Lone Star
The First and Final Annual AWHQ Newsletter
Rough Waters
One Last Swing for the Fences
Eddie Has Left the Building
The Raw Deal and a White Rabbit
The Armadillo Emerges
Last Call
Full Circle
APPENDIX: A SELECTION OF GIG POSTERS FROM AWHQ
A NOTE ON SOURCES
NOTES
INDEX
FOREWORD
Like all the greatest stories told about the ’60s, Eddie Wilson’s starts
in the ’70s It stars a batch of redneck hippies, plus a slew of
politicians, an occasional jock, and many others, often involved in
nefarious activities, sometimes in alleyways, more often in the
statehouse Eddie and his crew set out to change the world, and at
the very least, they turned Austin into what it is today, God help us
all Eddie’s story is by turns hilarious, informative, and the living spirit
of its age, illuminating a previously under-detected transition point
between the psychedelic peace-and-love crowd and a world where
Shiner Bock—warm Shiner Bock—is the ideal social lubricant
Technically, it’s the story of the joint where Bruce Springsteen found
an audience about as far from New Jersey as you can get, and
where Don Meredith discovered his true home field But Eddie Wilson
serves up even better than that Eddie piles the most unlikely
anecdotes on top of one another, creating a land of enchantment
and an order of chemically altered consciousness that rescues an era
I’d thought not so much lost as forgotten Not only am I thrilled I’ve
read this story and wish I was in it, I wish I’d written it
Dave Marsh
April 2016
Ann Richards, AWHQ reunion, 1994. Photograph by Burton Wilson.
PREFACE
I SHARE MY BIG DREAM WITH THE
RICHARDS FAMILY
The next five years were a reminder that what goes up must come
down, and one of the casualties of that period was my own position
as head cheerleader, ringleader, and buck-stopper. In November
1976, I turned the reins over to Hank Alrich, who had already done
more than anyone could humanly expect to help keep the place
running.
During its remarkable and unlikely ten-year run, the Armadillo
helped nurture and grow an Austin music scene, spreading its gospel
around the world. In the thirty-five years since, the reputation of
Austin as a music city has experienced exponential growth, and no
small part of that is due to the work we did at AWHQ. Today, Austin
is renowned for having an astounding abundance of resident
musicians, venues, studios, and other essential organs for a thriving
music scene infrastructure, along with music festivals that are the
envy of the world. The biggest of them all, South by Southwest,
began in 1987, six years after the Armadillo run came to an end.
One of the other big Austin festivals is Austin City Limits (ACL),
where you’ll find even more Armadillo DNA and connective tissue.
The ACL music festival originated as a spinoff of the PBS series of
the same name, the longest-running live music program in television
history, which is produced by KLRU and first aired as a series in
1976. At the Armadillo, we were heavily involved in video production
and had been putting performances on cablevision ever since the
place opened. In fact, we produced a show called the Armadillo
Country Music Review in partnership with KLRU, then KLRN, in July
1973 and were involved in various aspects of developing a music
series when the TV station decided to produce its own show. Some
of my cohort remained involved for a time, even after that show was
produced and picked up in 1975 as a series under the name Austin
City Limits. Even after our involvement in the production ended, the
Armadillo got a shout-out every week—“I wanna go home with the
Armadillo / Good country music from Amarillo and Abilene”—in the
chorus of the theme song, Gary P. Nunn’s “London Homesick Blues.”
AWHQ staff, 1974. Photograph by Coke Dillworth.
In my opinion, AWHQ was quite simply the best music hall in the
country—maybe even the whole world. Thousands of musicians
played there: Willie Nelson, Frank Zappa, Bruce Springsteen, Taj
Mahal, AC/DC, Charlie Daniels, the Ramones, Roy Buchanan, and
Bette Midler, to name a random few. The interesting thing is that so
many of them kept coming back. They loved the place: the
acoustics, the people who worked there, the huge nachos and other
scrumptious food we served them, and the way the Armadillo made
them feel a part of something bigger.
Another secret to our tenacity might have been our affinity for the
lowly nine-banded armadillo. We named the place Armadillo World
Headquarters primarily because the anachronistic armored mammal
had already been established by Jim Franklin as the icon of Texas
hippies and, as such, we identified with the armadillo for spiritual as
well as artistic reasons.
Artists at the University of Texas humor magazine the Ranger first
began incorporating armadillo images in satirical pieces in the early
sixties. Frank Erwin—the head of the UT Board of Regents who was
held in special disdain by our community for his overarching,
fascistic, redneck influence—reacted as if the snide references to the
mammal were evidence of some sort of leftist plot or cult, a reaction
that naturally inspired even greater demand for armadillo imagery
and Dasypus novemcinctus itself.
In the late sixties, artists Gilbert Shelton and Jim Franklin
pioneered a new visual style and vocabulary for the underground
scene. Franklin had taken over from Gilbert at the Vulcan Gas
Company. Armadillo images figured prominently in their handbills
and other work created to promote the venue. Gilbert departed for
San Francisco, and the Vulcan folded in 1970, but Franklin dug in his
heels in Austin and brought the emerging visual vocabulary and
attitude to the Armadillo on day one.
Music historians have also credited the Armadillo with being the
place where two previously clashing groups of people—rednecks and
hippies—found themselves under the same roof, enjoying a new
blend of country music and rock, along with cold beer and cheap
pot. The movement was already under way before Willie Nelson
played AWHQ, but once he did, he joined our armored mammalian
mascot as another icon of the cultural melting pot.
Jim’s first armadillo, the rest is history. Poster for a concert at Wooldridge Park,
September 29, 1968. Artwork by Jim Franklin.