Keegan Osinski's dog doesn't care for her kisses. Read the rest
Drink to remember. Read the rest
A Dallas arbitration panel today ordered Lance Armstrong and Tailwind Sports Corporation to pay $10 million in a fraud dispute with a promotions company. Read the rest
For more than decade, a shadowy, heavily resourced, sophisticated hacker group that Kaspersky Labs calls the Equation Group has committed a string of daring, cutting-edge information attacks, likely at the behest of the NSA. Read the rest
Lesley Gore, singer of the 1963 hit "It's My Party," died today from cancer at age 68. Read the rest
Silly dog! You could have stepped over it, you're so big. Read the rest
A sample of works new and not-as-new by Russian photographer Katerina Plotnikova, who is based in Moscow. Read the rest
"Two Florence men have been arrested after police say they used camouflage underwear to disguise themselves during a robbery last fall." Read the rest
For those of us who do not live in Texas, and even for many who do, Austin is an outpost of progressive weirdness in a state better known for its regressive rectitude. Music has been the key to Austin’s enlightened reputation, and after a brief flirtation with psychedelia in the late 1960s, the posters that were created to promote the state capital’s music scene became as iconoclastic as the city itself, as a new book called Homegrown: Austin Music Posters 1967 to 1982 ably demonstrates.
With essays by noted Texas author Joe Nick Patoski and poster artist and historian Nels Jacobson, Homegrown is mostly organized into thematic sections, including Blues Portraits (Muddy Waters, Mance Lipscomb, Big Joe Williams, Johnny Winter), Traveling Bands (Frank Zappa, Gram Parsons, Bruce Springsteen, the Grateful Dead), and Punk (The Ramones, Iggy Pop, David Johanson). The first section, though, is devoted to the city’s first full-fledged rock hall, Vulcan Gas Company, which produced shows by local bands like Conqueroo, Shiva’s Head Band, and 13th Floor Elevators at 316 Congress Avenue, from the fall of 1967 until the spring of 1970. Gilbert Shelton, who is better known now for his Fabulous Furry Freak Brothers comics, was the venue’s first poster artist, hewing to the psychedelic sensibility being practiced by Wes Wilson and others in San Francisco.
After Shelton and three other Austinites moved to San Francisco to found Rip Off Press in 1969, Jim Franklin took over art-director duties at the Vulcan, bringing a more realistic style to the club’s rock-posters. Read the rest