On the record

TABLE OF

The life of San Antonio’s Majestic Theatre pg. 5-6

Guy Flores takes the floor pg. 3

The history of Austin City Limits pg. 9

Top record stores in San Antonio pg. 13-14

SOSA: The Spirit of San Antonio pg. 7

Inside the beat with UTSA’s Jazz Ensemble pg. 12

CONTENTS

Q&A with Vortxz pg. 17

Atlas Maior at the Cave Without A Name pg. 15

‘I want you’ to listen to Jon Kobe’s new EP pg. 21

Porcelain Heights pg. 26

UTSA MOB: Musicians of Business pg. 19

A conversation with Hickoids’ front man Jeff Smith pg. 23-24

As I fastly approach the last few weeks of school before graduating from UTSA, I am reflecting on the wonderful experiences, friends and lessons I made and learned throughout my time. Joining The Paisano was the best thing I could have done, and one of my only regrets is not joining sooner. Because of the Paisano, I have become a better writer, graphic designer, page designer, communicator and leader. Not only have I learned so much in my 2 years working at the Paisano, I have also built a community of people that have truly become lifelong friends. I have a lot of people I would like to dedicate this letter to, first and foremost, Diane Abdo. Diane is our amazing, educated, sophisisticated, fashionable (and the list goes on..) advisor who has been leading the way for the students at the Paisano, and I think I can speak for the Paisano staff when I say we appreciate all that she does to ensure we have a safe, productive

working environment.

Letter from the Editor

The first person I met at the Paisano was Riley Carroll, Arts and Life Editor, and she is the reason I found the Paisano in the first place. I wrote most of my articles in the beginning for her section, and she has always been a hardworker and noticably kind to everyone, especially the newer staff. Not to mention, Riley writes and photographs such amazing work for both the newspaper and magazine every semester.

I’d also like to express my gratitude for Laynie Clark and Chloe Williams, our Editor-in-Cheif and Managing Editor for being such strong leaders the past two semesters. It has been an honor to watch two smart and empowered women be our leaders, and thank you for always being people I can rely on.

Another special shoutout to the sports team, Sports Editor Luke Lawhorn and his assistant Haley Aguayo, for being such funny,

positive people. I have come to you both for advice countless amounts of times, and I have always been met with support and a couple of laughs. Haley, you have been an amazing friend to me the past semesters and thank you for allowing me to confide in you.

Thank you to all of the editors this semester including Amber, Jake, Malaki, Dustin and Kara, it has been a joy working with you all, and thank you for the hard work you have all put into this magazine and the magazines prior.

Lastly, I would like to thank my friends, both in San Antonio and in Houston, and my parents for always loving and supporting me and being the first people I call when I finish the magazine.

Producing three magazines over the course of the past three semesters has been a life-changing experience, and I am proud of all the work that the staff has shown. I hope you enjoy the magazine.

Jenna Taylor Lust for Life by Lana Del Rey

Meet the Staff

All revenues are generated through advertising and donations. Advertising inquiries and donations should be directed toward: 14526 Roadrunner Way Suite 101

Haley Aguayo Abbey Road by The Beatles

Riley Carroll Punisher by Pheobe Bridgers

Laynie Clark GUTS by Olivia Rodrigo

Naydine De La Fuente Kid Krow by Conan Gray

Enrique Figueroa El Abayarde by Tego Calderón Lesley Fuentes Sessions With a Nasty Old Tree by Enjoy

Lauren Hernandez Blonde on Blonde by Bob Dylan Nicholas Kingman & Jake Mireles Wish You Were Here by Pink Floyd

Faith Koaudio Diamond Life by Sade Luke Lawhorn Dark Lane Demo Tapes by Drake Kara Lee Everybody’s Everything by Lil Peep

Malaki Lingg Around the Fur by Deftones

Allana Llabres Positions by Ariana Grande

Lauro Martinez When We Were Younger by Grentperez

Kayla McCutcheon CTRL by SZA

Rylan Renteria Hndrxx by Future

Amber Serio SOUR by Olivia Rodrigo

Armin Suljovic Hatful of Hollow by The Smiths

Sofia Mejia Electra Heart by MARINA

Jada Thomas Snow Angel by Renee Rapp

Dustin Vickers

A Brief Nirvana by Khamari Chloe Williams Enema of the State by Blink-182

Noah Willoughby Finally Famous by Big Sean Kelsey Zientek The Show by Niall Horan

GUY FLORES takes the floor

Written and photographed by Michelle Segura and page designed by Jenna

On the evening of Jan. 26, Studio 210 became a hub of musical energy as UTSA student, Guy Flores, took the stage for his first show of the year. This promising artist, who had 30 performances under his belt from the previous year, left a mark on the audience with his unique blend of beats and vocals.

Flores’ musical journey began during his freshman year of high school when he started making beats. However, it was not until his junior year that he decided to add his vocals to the mix, a decision that paid off, judging by the performance he delivered at Studio 210.

The intimate venue was the perfect setting for Flores to showcase his talents and he did not disappoint. The audience was treated to a setlist featuring some of his most popular tracks, including “Can’t Save Me,” “Ruby” and “Slumped.” Each song provided a peek into Flores’ musical evolution, demonstrating his growth as an artist and leaving the crowd anticipating what he has in store for the future.

What sets Flores apart is not just his musical talents, but also the unique story of how he found his way into the vibrant world of live performances. After meeting “Scrambled Eggs,”

Taylor

Flores gained valuable contacts that paved the way for him to start doing shows. This connection proved to be an important moment in his career, launching him from his studio to the live stage.

The atmosphere at Studio 210 was already buzzing with anticipation as Flores took the stage, setting the tone for the entire night and bringing an infectious energy that had everyone in the audience engaged from the very beginning. His confidence on stage was incredible, a testament to the numerous shows he had already performed. The beats played through the venue created an immersive experience that transported the audience into Flores’ world. His performance radiated passion and authenticity, drawing the audience deeper into the narrative of each song.

As a dedicated student, juggling the demands of a business management major, Flores showcased that his musical journey is as dynamic as his academic pursuits. With an impressive show tally behind him and a promising future ahead, it is clear that Flores is an artist on the rise, leaving an indelible mark on San Antonio’s local music scene.

Top 3 music venues in San Antonio

Written by Allana Llabres, photographed by Enrique Figueroa and page designed by Jenna Taylor

Texas is well known for its vibrant and diverse live music, and San Antonio is no stranger to this. You can find live music in various places throughout the week, with venues featuring both local and touring artists. San Antonio is home to many music venues, ranging from intimate clubs to large concert halls; however, there are three that stand out.

#1. Aztec Theatre

The Aztec Theatre is one of San Antonio’s larger music venues, with a capacity of 2,000 people for the 35,000-square-foot venue. Just blocks from the Henry B. Gonzalez Convention Center, the Aztec Theatre is known for its unique decoration and architectural style. Their main, multi-tiered music hall is perfect for large concert events. With main floor and balcony seating, you are likely to find a spot perfect for you. Their lobby is also a memorable one; with a large chandelier to go along with the impressive artwork, the lobby’s second-level balcony is the perfect place for a candid photo. Their smaller VIP lounge, the “Warrior Room,” is equipped for smaller gatherings, complete with opulent, plush seating, 60-inch TVs and even a private bar.

#2. The Lonesome Rose

The Lonesome Rose is a live music bar, and is located on North St. Mary’s Strip. With a capacity of over 300 people, this venue is perfect for those who are interested in live country, blues and rock music. Designed as an old-school Texas bar, The Lonesome Rose hosts both established and emerging artists. Their backyard is a selling point, and with fire pits and the Slab Side food truck, they have curated the perfect vibe for a Saturday night. The Lonesome Rose is limited to those 21 and older due to the bar focus, but if you are a local music enthusiast, this is the perfect place for you to catch some live music.

#3. Paper Tiger

Paper Tiger’s main stage is a 3,296-square-foot venue that holds anywhere from 250 to 1500 people. Right on North St. Mary’s Strip, Paper Tiger is a great place to hang out with friends and watch live music. The venue shows many different genres of music, including electronic, country, indie, hip-hop, hardcore and more. For smaller, more intimate gatherings, Paper Tiger offers a smaller stage with a capacity of 60 to 200 people which is 890 square feet. Their events are open to minors, so everyone is able and encouraged to experience live music. They often host local artists, so this is a great place to discover and support the local music scene.

The life of San Antonio’s Majestic Theatre

Written by Noah Willoughby, photography by Kayla McCutcheon and graphic and page designed by Jenna Taylor

San Antonio’s Majestic Theatre opened on June 14, 1929, and was designed by the brilliant mind of John Eberson for $3 million. The theatre was the largest movie house in the South at its opening with a seating capacity of 3,700. Inside was the latest sound technology and elevators that went up to the mezzanine. It also included air-conditioning, making it the first air-conditioned theatre in Texas.

Eberson was a notorious theatre architect who lived from 1875-1954. He and his firm invented atmospheric styles of movie theatres, which were popular in the 1920s. These theatres were designed and decorated to evoke a specific time and place through projectors and architectural elements to give patrons the sense of being outdoors. Eberson’s firm was responsible for over 100 atmospheric theatres by the end of the 1920s, with one of his most extraordinary builds here in San Antonio. He also built two other Majestic Theatres in Texas. One was in Houston and was demolished in 1971, and the other is currently in Dallas acting as a performing arts center.

The design of San Antonio’s iconic theatre was based on a combination of architectural styles: Spanish Mission, Baroque and Mediterranean. Inside, Eberson wanted patrons to be transported to a castle-like courtyard, so he designed various aspects to do so such as columns, arches, scrolls, statues and even a giant bell tower. He decorated the spaces with stuffed birds like doves, parrots, Texas turkeys and a rare white peacock which can still be seen today above the box seats. Other decorations were imported, like Spanish cypress trees from Italy and palms from South America. Texas bluebonnets were also incorporated into the decor.

The opening of The Majestic Theatre kicked off what was known in Texas as “Prosperity Month.” This special occasion was from June 14 to July 14, 1929, and promoted “the progress and development of Texas in recent years,” as depicted in the San Antonio Light, a local newspaper that ran from 1881 to 1993. The Light described the theatre as a “symbol of prosperity, for it represents an investment of millions of dollars in an undertaking that depends for its success upon the ‘good times’ enjoyed by this community.”

Seats were filled for the opening night which showcased the film “Follies of 1929” by Fox Movietime and live performances from banjoist Don Galvan, an acrobatic group called the Seven Nelsons, Eddie Sauer and his Syncopators and Jimmy Rodgers. Tickets were sold at $2 to $10 by the Junior League to help raise funds for the Children’s Hospital Fund and the Ella Austin Orphans Home.

The Majestic hosted many movie premieres in the next few years, including the “Lone Ranger.” The theatre was the first stop for the nationwide tour and the star of the show, Clayton Moore, came and promoted the film.

The building closed in December 1974 and was donated to the newly-created Majestic Foundation, which allowed small shows to be held for several years. By 1975, The Majestic was placed on the National Register of Historic Places.

In 1988, the City of San Antonio purchased the building and established the Las Casas Foundation, whose first mission was to restore the Majestic to its original 1929 design. Las Casas raised $4.5 million and the restoration was completed in 1989 with a new sound system and a seating capacity of 2,264. From 1989 to 2014, the Majestic was home to the San Antonio Symphony, which presently resides in the Tobin Center.

The new grand opening marked “Majestic Week” in San Antonio, which started with a performance of Beethoven’s Symphony No. 9, “Ode to Joy,” by the San Antonio Symphony on Sept. 14, 1989. The week also included a Gala on Sept. 19 with performances by Rosemary Clooney and Johnny Mathis.

In 1991, the Texas Historical Commission recognized the theatre as a Texas Historic Landmark. It was then designated as a National Historic Landmark on April 19, 1993.

The last update to the Majestic was done in 1996 with the expansion of the stage. Before, the stage was only 27 feet deep, which was not big enough to host the newly popular “mega-musicals.” The stage was expanded to a depth of 40 feet at the cost of $4 million. The first “mega-musical” to perform on the newly renovated stage was “Miss Saigon” in June 1997.

Since then, the Majestic has been home to countless touring Broadway shows such as “Cats,” “Hairspray,” “Annie,” “Les Miserables,” “Lion King,” “Wicked” and “Beetlejuice”. It has enclosed the voices of B.B. King, Tony Bennett, Wynton Marsalis, Lyle Lovett and Kenny Rogers. It also has laughed at the jokes of Jerry Seinfeld, George Lopez, Kathy Griffin and Chris Rock.

Today, the Arts Center Enterprises, Inc. maintains and runs the Majestic. Since 1989, thousands of shows and entertainment acts have been applauded on its stage, and millions of patrons have passed through its doors.

The Spirit of San Antonio

Written by Rylan Renteria, photograph courtesy of Brandon Fletcher, graphic designed by Jada Thomas and page designed by Jenna Taylor

In many ways, 2011 was one of the most important years in UTSA’s short history. The addition of a football program was the start of something massive for the university. While the new program meant new opportunities for local athletes, it also called for the creation of a marching band. To help bring energy to the Alamodome and to create the culture that is now synonymous with the program, UTSA hired former University of Central Florida assistant band director Ron Ellis to head the project.

Ellis was hired and moved to San Antonio in July 2010, which meant the longtime assistant had just over a year to prepare and create the entire band before the Roadrunners inaugural 2011 season. This included creating the uniform designs, the UTSA alma mater and the UTSA fight song. Though Ellis had his work cut out for him, when that first football game finally came around, his efforts were rewarded. “It was probably one of the biggest and most incredible things I’ve ever been a part of, that first football game,” Ellis said. “The band comes out of the tunnel and the crowd is cheering, you can’t even hear yourself scream, it was just really special.” In the 13 years following its creation, the

friendships that I have made during my time in SOSA have made a big impact in my life. Being a part of SOSA is like being a part of a big family,” she said.

With the way that the band currently operates, you would be hard-pressed to find members who feel like they are alone or have no one to lean on when the season gets tough. Each section is its own community and experience or skill is irrelevant. The drum majors have been carefully selected by both Ellis and the entire band to make sure that the program has the right people in place to

lead hundreds of players as they strive to achieve marching excellence. When excellence is the standard, high levels of dedication are required. While SOSA is one of the few marching bands

students who also have to work for a living are unable to work on those days. Attendance at the football games is also required, so that makes four days out of the week when most students are unavailable to work.

“For an organization like SOSA, being present and committed is a must. Without it, the organization itself wouldn’t be able to succeed,” current member Alexis Kirby stated.

There are points in the season where members are not able to return home until 3 a.m. Road trips home after a loss can weigh heavy, both physically and mentally, on members. Frustration is present at almost any level of marching, especially during nights where the entire band is struggling to nail down a routine, or days where the effort across the entire field is lacking. Even in times like these, resilience and the drive to be great as a group shines above all.

SOSA is a machine. Every single individual in each section is a cog that has to turn in the exact same direction at the same time for everything to work how it is supposed to. No one person is more or less than anyone else, and all are united by their love for music and the art

Local metal band Florish performs at Vibes Underground

Written and graphic designed by Kara Lee and page designed by Jenna Taylor

The San Antonio-based band, Florish, brings a metal-based sound that is bound to hype any crowd. Comprised of four members — Cody Hansen on guitar and vocals, Tover Martinez on drums, Andrew Foster on bass and Liana Vasquez on guitar — Florish performed at Vibes Underground on Feb. 9, 2024, and did not disappoint.

Their recent performance was nothing short of entertaining, as the crowd was moshing for most of it. The setlist featured songs like “Box Cutter,” “Wage Slave,” “Thinner,” “Malcontent,” “Death Merchant,” “Aneurysm” by Nirvana and “Garden of the Eyes.”

During their performance of “Aneurysm,” a fan joined them onstage, bringing even more excitement to the show. Frontman Hansen’s interaction with the crowd, including diving into the mosh pit, added an extra layer to the performance.

For those seeking local talent and metal music, Florish is a band that should be checked out. They will be going on tour soon and will have all links posted on their Instagram account @florishtx.

Student Survey:

What music streaming platforms do UTSA students use the most?

Paisano reporters sought out UTSA students on Main Campus to see what music streaming platforms students are using most. To watch some of the students that were apart of this survey, visit @ThePaisano on YouTube.

63% of UTSA students prefer Spotify.

27% of UTSA students prefer Apple Music.

10% of UTSA students prefer YouTube Music.

Graphics by Mohitha Ravikumar

ACL Austin City Limits

The history behind

Written by Amber Serio, photographed by Riley Carroll and graphic and page designed by Jenna Taylor

What started as a television show aimed to display the emerging musical talent in Austin, Texas during the ‘70s is now a two-weekend extravaganza, showcasing established icons alongside rising stars and solidifying its place as one of America’s premier music festivals.

Austin City Limits (ACL) was created in 1974, making it the longest-running music program airing on American television. The purpose of the television show was to capture the musical diversity in Austin while offering a platform for artists of all genres to display their talent.

The program has featured artists such as Willie Nelson, Ray Charles, B.B. King and Johnny Cash. Today, new seasons and episodes of ACL are being produced regularly from The Moody Theater in downtown Austin.

In 2002, ACL expanded its horizon with the launching of Austin City Limits Music Festival (ACL Fest). Held

every October in Austin’s Zilker Park, ACL Fest features artists of diverse genres and brings in music lovers from all corners of the world.

The first ACL Fest featured 67 bands, with a one-day pass priced at only $25. These numbers have amplified in all aspects, as the festival is now held over two weekends and features hundreds of artists. The festival’s most recent headliners included Kendrick Lamar, Foo Fighters, Mumford and Sons, Odesza, The Lumineers, Shania Twain, Alanis Morissette, The 1975 and Hozier.

The lineup for the next ACL Fest has not been announced yet, but music lovers can anticipate the reveal for sometime in May. The festival will return Oct. 4 to 6 and Oct. 11 to 13 and tickets can currently be purchased now at aclfestival. com.

Austin’s SXSW: where creativity thrives

Written by Amber Serio, photographed by Malaki Lingg and graphic and page designed by Jenna Taylor

Looking to immerse yourself in the electrifying energy and creativity of Austin, Texas? Look no further, as South by Southwest (SXSW) offers an abundance of talent, from seasoned musicians to underground artists looking to catapult their careers. SXSW’s music scene boasts a lineup as diverse as its audience, catering to practically every musical taste and preference.

Held every March, SXSW is more than just a music festival; it is a cultural phenomenon. Since 1987, this event has served as a launchpad for countless aspiring artists of all forms. It is devoted to ensuring that all creative minds are given a platform to exemplify their talents and achieve their creative goals.

As a result, the festival features much more than music. Creatives across the globe are encouraged to showcase their creativity

in sessions, showcases, screenings, exhibitions and a variety of networking opportunities.

So, whether you are a music fanatic, film buff or tech enthusiast, SXSW offers an unparalleled opportunity to immerse yourself in the vibrant energy of Austin’s creative spirit.

This year’s SXSW began on March 8, with the music festival portion kicking off on March 11. This featured more than 340 artists across all genres. Among this abundance of talent included Dan Auerbach and Patrick Carney of The Black Keys, Flyana Boss, Bootsy Collins and J Noa.

The festival in its entirety lasted for a total of nine days, wrapping up on March 16. The venues and events of SXSW were scattered across downtown Austin, and most venues were walkable and located within minutes of each other.

SXSW

South by Southwest

UTSA Music Organizations

that bring Runners together

Written and graphic designed by Riley Carroll, page designed by Jenna Taylor

In a city as music-rich as San Antonio, it would only make sense that San Antonio’s largest university mirrors that sentiment. Aside from the prolific UTSA Music department, UTSA is home to various student music organizations.

Musicians of Business (MOB)

Among the best-known of the bunch is Musicians of Business (MOB), whose RowdyLink bio describes them as “a network of peers who share each other’s passion for the music industry.” Flip to page 19 for more information on MOB.

Sigma Alpha Iota (SAI)

Sigma Alpha Iota (SAI) is an organization that “promotes interaction among those who share a commitment to music,” their RowdyLink bio says. Members of SAI work “closely with faculty, administration, campus and community groups, music professionals and patrons.”

Music Theory Club

Music Theory Club is for “any major that’s interested in developing their understanding of music,” but they request members to have an understanding of music notation. Their goal is “to create an open, welcoming space for students to ask all the musicrelated questions they may have.”

Phi Mu Alpha Sinfonia Nu Eta

In Phi Mu Alpha Sinfonia Nu Eta Chapter’s in-depth RowdyLink bio, readers can find that “Sinfonia’s chief purpose is to develop Fraternity in music” and that they uphold “the highest standards in music.”

Kappa Kappa Psi

Kappa Kappa Psi National Honorary Fraternity Inc. “was created to serve the band program and build camaraderie between bandsmen.” Aside from being heavily involved with the Spirit of San Antonio marching band, Kappa Kappa Psi also encourages “music within our community by performing at area schools and teaching master classes.”

The Melodic Mosaic

The Melodic Mosaic “is dedicated to exploring and celebrating the diverse tapestry of Asian music, which encompasses a variety of musical genres, each with its unique instruments, rhythms and cultural significance.” their musical interests, fostering a sense of global citizenship and cultural empathy among the student body.”

Written and photographed by Jake Mireles, graphic and page designed by Jenna Taylor

A genre with such a storied and sacred history as jazz demands preservation and continuation. Largely considered to be one of the cornerstones of modern music, jazz has cemented itself in the history of music, developing a cult following in an era well past its prime. Although jazz may be seen as a dying art, there are still those who aim to preserve its legacy and continue its tradition.

The UTSA Jazz Ensemble is a group that shares this ideal, striving to keep this art form alive and well. Performing standards from a variety of Jazz greats such as Count Basey’s “Corner Pocket,” Dinah Washington’s “What a Difference a Day Makes” or Henry Mancini’s “Days of Wine and Roses,” the UTSA Jazz ensemble upholds the importance of traditional jazz literature.

Christopher Villanueva, the director of the UTSA Jazz Ensemble, strives to continue the legacy of jazz not only through performance but through teaching the art form to the next generation of musicians.

“Jazz [is] one of the greatest art forms in American History,” Villanueva stated. “It’s a great opportunity to become more open-minded to things [in life] in general.”

It’s not just the faculty striving to preserve this sacred art form, but the students as well. These musicians’ passion for performing jazz is seldom seen anywhere else in San Antonio, and their love and dedication to the craft is truly commendable.

When asked why he chose to play jazz, Lead Tenor Saxophone Gabriel Perez stated “I really just enjoy playing jazz, improvising and playing with other people. I’ve also come from a classical background, and I feel like after being in both worlds, jazz just fits my personality more. I’m a ‘likes to have fun’ kind of guy, and I feel like jazz suits that for me.”

UTSA JAZZ ENSEMBLE

P RECORD STORES

IN SAN ANTONI

Written by Naydine De La Fuente, photography by Lauren Hernandez, graphic by Kelsey Zientek and page designed by Jenna Taylor

Crazy Rhythms is the brainchild of twin brothers Zack and Zeke Baker. With their deep-rooted involvement in the punk rock music scene and an extensive record collection that they have been growing since 1994, they have gathered immense credibility and passion, spurring them to establish and manage their own shop.

“We have been buying records since 1994, so 30 years now,” said the Baker brothers. “When we were teenagers in high school we were going to see local bands perform,

#2- Brainwave

Brainwave Records has made its mark as a popular record shop in San Antonio. The owner and operator, Ryan Mcknight, has a high standing within the music world, accumulating records for several years.

“I’ve had an obsession with collecting records for a little over 20 years,” Mcknight said. “Half of that time, I realized that I couldn’t afford to buy the records I wanted, so I started digging and searching for records with the intent of re-selling and making a business out of it.”

After selling records online for 10 years, the business finally began to form when Mcknight opened a brick-

#3- Flagship

mostly punk underground bands, and support the band by buying a seven-inch single.” Their wide variety of records, cassettes, CDs and other oddities, such as antique record players and various art pieces, has attracted a large crowd of enthusiasts. Aside from the various merchandise that could be purchased, one thing that sets Crazy Rhythms apart from the other stores is the community that they have built for themselves.

“I feel like on a smaller level as our branch, some of our customers have become

and-mortar store in the summer of 2022. Their vast variety of records, specifically in the hard rock and metal genres, is certain to catch the attention of any music enthusiast. In addition to the various records, cassettes and personalized merchandise that they sell, Brainwave is known to sell other equipment, such as receivers, amps and speakers.

“I still love records, but I no longer collect them. It’s more of a business, a sort of ‘catch and release’ sport to me,” Mcknight said. Make sure to pay Brainwave a visit and check out their website and social media to keep up to date

Flagship Records is one of the most engaging and entertaining locations to visit. With its intriguing and unique layout, the merchandise sold is rare and exciting for patrons to buy. The shop is run by none other than Dano Thompson and Jeff Smith, business partners of the establishment. Their equal love and passion for music led them to work together in creating Flagship Records. From records to cassettes, DVDs, VHS tapes and even memorable photographs and ticket stubs signed by legendary musicians.

friends with each other by meeting here and I think that’s cool,” the Baker brothers said. ”Welcoming people is always something we try to do here, we always try to say hello and greet people, at whatever cost.”

If you want to have an enjoyable experience at one of your local record shops, make sure to visit Crazy Rhythms where the community is very welcoming, the record prices are reasonable and the owners are more than happy to strike up any conversation with their customers.

with their store. San Antonio’s vibrant record shop scene, epitomized by stores such as Crazy Rhythms, Flag Ship Records and Brainwave, has displayed the appeal and cultural significance of physical music formats. From aged vinyl to the wide variety of genres offered, these establishments are more than just retail spaces, they are landmarks preserving the rich history of music. So if you want to indulge yourself in the world of records and meet cool and engaging individuals, make sure to visit these local stores to support your local music lovers.

“Our merchandise really is rare and hard to find indie punk vinyls, and it’s mainly because it’s pretty much out of my collection,” Thompson said. “I’m what I call a scrapbooker. So I scrapbook records. So they’ll be setlists, ticket stuff, guitar picks, guitar strings, autographs, whatever and I just put it all together in like a package and I’ve been doing it my whole life.”

In addition to the amazing and rare collection that can be found at the shop, there are a lot of amazing and unique assets in the establishment, such as a

live cutting room and an outdoor area where various music events and concerts are hosted. There is even a recording studio, named after Smith’s brother.

“It’s $100 to rent this studio and then $25 an hour for the taping and sound engineer,” said Thompson. “So for $350, you can have [a] 10hour session with a sound engineer that is extremely cheap.”

Flagship is a remarkable store that prides itself on its unique and rare items while being a strong supporter of upcoming new artists.

#1- Crazy Rhythms

Atlas Maior at a Cave Without A Name

designed by Jenna Taylor

Written by Haley Aguayo, photographed by Kelsey Zientek and page

The Cave Without A Name is just that, though it has earned quite a reputation for itself. Buried 80 feet under ground level in Boerne, Texas, the cave, deemed “too beautiful to have a name,” was only discovered 97 years ago, yet is estimated to be between 100-400 million years old.

Thomas Summers II, the third and current owner of the cave, has proudly had the cave in his possession since 1998. He and his team rent the cave out to be used as a music venue that provides excellent acoustics. With that, the natural cavern has now hosted many musical guests over the years. In February, the cave hosted musical guest Atlas Maior.

Atlas Maior is a band from Austin, Texas that combines jazz with Middle Eastern melodies. With the use of an alto saxophone, an upright bass, drums and an oud, which is a wooden 11-string instrument from the Middle East, the band succeeded in creating the exact music they were going for.

“Atlas Maior” is Latin for “Greater Atlas.” The term, atlas, typically refers to a collection of maps or a figure from Greek mythology who is said to have carried a globe upon his back.

“We named the band after one of the first western

atlases created in the 16th century,” saxophonist and flutist Joshua Thomson said. “We wanted to pick something that allowed us to explore and learn about different music traditions while still composing original music.”

After trekking down 126 steps, followed by eroded pathways lit with string lights, listeners can find themselves surrounded by stalagmites and stalactites as they locate their seats in front of the stage. The stage is promptly set below a long arc that amplifies the sound.

Drawing on inspirations from countries such as Palestine, Turkey, Iraq, Lebanon, Syria and Greece, the band tries to incorporate as many different cultures as they can when creating music. Much like the myth, some of the band’s instruments hail from Greece too, like the oud, which furthers the Middle Eastern tone the band is so drawn to. However, their music transcends any one instrument as they draw from these cultures to create their unique rhythm.

“We take a lot of inspiration from all kinds of things,” Thomson said. “Some of us are Western classically trained and some of us have been studying the maqam system, the Arab melody system, which is the equivalent of a scale or what we would call scale in a Western context. So this is the kind of fun;

differences you find within cultures and across cultures, the blending of different cultures over many periods.”

As the band began to play, audience members went from being able to hear a pin drop on the other side of the quarter-mile venue space to not being able to hear their thoughts. The acoustics captured every beat and the melody resonated throughout the cave as the sound climbed up the wall before rolling back.

The band’s tone was nostalgic and melancholic yet took on modern melodies by incorporating modern instruments. The essence of the music seemed to be longing for a better time and Thomson stated that the band was going through a dark time when they wrote their latest album.

Improvisation is also crucial in Atlas Maior’s sound. “Tonight, we played all original music. Yes, we created several things on the spot, but improvisation is an element of all of our music. So even when we have a written composition, there’s a lot of improvisation,” Thomson said. “That makes it interesting for us to explore new territory, to challenge one another, to have a dialogue, to listen even deeper. Sometimes, we never know exactly what’s going to happen, but we know that we will go somewhere.”

A Cave Without A Name hosts a new band in their caverns every month, allowing audience members to experience this incredible, natural venue.

Going into its eighth opening year, Jazz, TX continuously provides exceptional jazz and delicious eats to San Antonio. Located in the Historic Pearl Brewery, Jazz, TX offers a unique experience to first-time jazz enjoyers and enthusiasts alike.

The venue itself comes with an interesting backstory. The basement where Jazz, TX now stands was the basement of the Bottling Department when the historic Pearl Brewery was in operation. The space served as a storage facility for the packaged beer. The brewery closed in 2001, and in 2004, a three-alarm fire destroyed the 107-year-old bottling building and the space had to be completely remodeled.

Jazz, drinks and delicious food

After remodeling, Jazz, TX acquired the space and turned it into the jazz destination we know and love today.

Jazz, TX is owned and operated by Doc Watkins. According to Jazz, TX Assistant General Manager Selena Lopez, “[Watkins] started off at Bohannans, [and] a lot of different great venues in town and there’s just a lot of support behind wanting that jazz community in San Antonio and we just got really lucky founding the beautiful Pearl to be a part of that.”

Watkins, accompanied by his 10-piece orchestra, headlines shows most Saturdays at 7 and 9:30 p.m. Other notable nights of the week are “New Orleans Night!” on Fridays at 7 and 9:30 p.m. and monthly Salsa nights on Wednesdays at 7:30 p.m. Jazz, TX also hosts other artists on different nights and

times. A new addition to the Jazz, TX music scene is their Disney nights, which are available some Thursday nights throughout the month.

Jazz, TX is not just a destination for exceptional entertainment but operates with a full kitchen and bar. They have seasonal menus and offer comfort food. All pastas are made in-house, but they are most known for their Jazz Burger, which was featured in a San Antonio cookbook. Their cocktail menu changes with the season as well, featuring items created by Jazz, TX bartenders. More information

on their current menu can be found on their website.

If you are looking to get into jazz, have a fun date night or are a genre veteran, Jazz, TX is the place for you. To visit Jazz, TX head to their website, purchase tickets and pick your seats for whichever show you would like to attend. Ticket prices can range from $25 to $75 depending on the seats and day of the week. Check them out and come hungry.

Written by Chloe Williams, photos courtesy of Jazz, TX and page designed by Jenna Taylor

Heading into space with

Vortxz Vortxz Vortxz

Written and photographed by Lauro Martinez, page designed by Jenna Taylor

Inspired by ‘90s rock, alt-indie, new wave and country comes a fresh new indie rock band by the name of Vortxz. With inspirations like rock and indie displayed in songs like “My Love” and “Reality,” and new wave to classical Spanish rock shown in songs like “Amor de Mentiras,” they have a song for everyone in their current discography. They have seen significant growth since their debut song “Galveston Beach,” released on July 7, 2022.

What are your inspirations for getting into the music industry in the first place?

“Ever since I was a little kid I was always

when it dawned upon us that this is starting to become something real. I did want to shout out Pink Mangos though because they invited us to Austin and it was our first sold-out show and that's when it dawned on us that there were people in other cities who wanted to see us as well” Noe continues.

“I think it was definitely Warehouse Live. During that time I felt like we were at a still point in our careers and that show really felt like a kickstart for us,” Luar says.

How do you guys feel about the incredibly rapid growth you have had as a band?

“Obviously there's some pressure because it's a little crazy to wrap your head around it just because it's all happening so fast so for me it’s really just about getting your head wrapped around it,” states

Noe continues by saying “it just feels like a huge relief and we are really grateful to everybody. We have a heart filled with gratitude, a heart filled with appreciation and we just love what we do. I think that's the big reason things are looking the way they do because of all the passion and effort we put

Is there anything you guys can tell me about a future album or maybe a

“We’re planning on releasing our debut album in the summer, hopefully. We have studio sessions scheduled a few days from now for the unreleased songs we’re playing tonight. We also have our first tour out of state on the west coast this spring and then hopefully in the future we’ll hit the East soon,” Rambo

Do you guys have any message to give to your fans and to the readers?

“For the people listening, to the fans, we just want to say Vortxz is a place, it’s a community, it’s an environment and everyone can have access to it if they just listen and put on our music or just

Continue reading at paisano-online.com

It ain’t easy being

DJ EZE

Written by Amber Serio, photo courtesy of Alex Dibia, graphic and page designed by Jenna Taylor

Among the many aspiring studentmusicians at UTSA is senior real estate and finance and development major Derrick King II. Better known by his stage name “DJ Eze,” King has been actively pursuing a career in music for the last four years.

His aspirations to be a musician stem from being surrounded by music during his adolescence.

“I started making beats when I was 12 years old with my dad. He was a producer in Houston.” He added that since his dad grew up going to church and participating in music there, King in return grew up similarly, which resulted in music being a large influence in his life.

For King, music has always been more of

an extracurricular or a hobby. He explained that throughout his life, he participated in other activities such as football, but he always knew that music was something he was interested in pursuing later in life.

With combined inspiration from his dad and artists such as Drake and Lil Wayne, King began his musical pursuits as a college student. He produces music from his studio set up in his apartment, crafting his beats with his laptop and mini keyboard.

King describes his music as “smooth, laid-back and relatable,” falling into the genres of R&B and hip-hop.

“I talk about my experiences with relationships, friendships and family. So, a lot of people can relate to [my music],” King said.

When asked what the most challenging part of being a student-musician is, King opened up about his struggles as a fulltime student wanting to take further steps into the music industry.

“I feel like there’s pros and cons to it.

With me being a full-time student, taking five classes and trying to pursue a full-on music career, me doing music sometimes takes away from school.”

He expressed that it can be challenging to balance the two because, to him, they are both priorities.

“Me doing music takes away from school or me having to study for an exam is taking away from performances I could be doing, or recordings or content,” King shared.

In the future, King hopes to one day collaborate with artists such as Summer Walker and SZA. “Those [artists] are my top two, they’re super creative and their visuals are amazing.”

King’s most recent release is a four-track EP titled “2 Birds, 1 Stone” that is available on all streaming platforms. He encourages other young aspiring musicians to “go through every emotion to pursue music. It’s not going to happen overnight. You have to go through every emotion and you just can’t stop even if you feel like you want to, that’s the biggest thing.”

These musicians mean business

An inside look into UTSA Musicians of Business

Written by Riley Carroll, photographed by Lauren Hernandez and page designed by Jenna Taylor

Introducing the masterminds behind the UTSA Underground music and arts festival: UTSA Musicians of Business (MOB), a group of over 50 passionate student musicians dedicated to networking and platforming local artists.

Junior communication major and UTSA MOB President Liseth Rodriguez emphasized that the organization aims to “develop connections and give a platform for our student performers, graphic designers, artists and photographers.”

“Furthermore, UTSA MOB also provides a platform for our local performers and artists to be introduced to our UTSA community,” Rodriguez said. “Overall, we contribute to fostering a musical culture on campus by providing a platform for both UTSA students and San Antonio locals.”

Since the early 2000s, MOB has been striving to uphold this mission by hosting events like their largest event, UTSA Underground. Have you ever passed one of the many underground tunnels beneath UTSA’s buildings? Have you ever wondered what goes on there? Once a year, the usually desolate utility tunnels bloom to life thanks to UTSA Underground.

“We received messages from people all over stating that it was amazing to see the mix of punks, emos, skaters, normal folks and college kids coming together for a one-night event of enjoying music,” Rodriguez said. “One special message stood out from UTSA alumni stating that it was an amazing thing to see the facility tunnels have so much energy and life to them where it once was a place of emptiness and solitude.”

In addition to organizing UTSA Underground,

MOB hosts a variety of local shows and open mics throughout the semester.

“We work together to push ourselves to provide the best shows for UTSA and San Antonio [and] to push our UTSA musicians to put themselves out there and showcase their amazing talents,” Rodriguez said. “Overall, our biggest message to our members is to let go of their egos to create something beautiful.”

Upcoming projects are scheduled year-round, their biggest being the UTSA Underground music and arts festival.

“The biggest project and event that we’re most excited about is this year’s UTSA Underground,

aspirations, MOB plans to continue growing and making an impact on campus with the hope that UTSA will provide more courses so student musicians can learn “how to market, promote, book and organize their shows.” Rodriguez also noted their hope for UTSA to eventually recognize UTSA Underground as an official university event like BestFest.

Rodriguez shared that MOB further engages with the broader San Antonio music scene through their partnership with a “local and wellknown independent promoter under the name of Parade of Flesh.”

“Parade of Flesh organizes some of the most iconic hardcore punk/garage/alternative rock shows throughout Texas,” Rodriguez said. “Some of the notable names that they have worked with that people might know of are bands like Scowl, ZULU, Show Me The Body, Jesus Piece, Sunami, GULCH, Drain, Trapped Under Ice and last but not least, Power Trip. Parade of Flesh helps us with promoting and sponsoring our events and we help them with volunteering at their shows or promoting them in our UTSA community.”

Whether you are a musician, a photographer, a graphic designer or if you are in marketing, anybody can join the organization. To get involved with MOB, reach out to their Instagram, @ utsamob.

“One of the things UTSA MOB emphasizes to people who are interested in joining is that you do not have to be a musician or have your [own] music to join,” Rodriguez said. “We offer different kinds of opportunities for people to get involved in our events and the local music scene.”

The Fantasmalbums:

Recovered albums made in San Antonio

Written by Faith Kouadio, graphics by Kara Lee and page designed by Jenna Taylor

San Antonio is a historical city. Though it is hard to forget the sheer number of people who have come before, their memory can slip through time’s cracks. The best releases of talented and retired musicians collect dust in decades-old record collections across the county. Their names and creators pass by in the minds of many of today’s residents like tumbleweeds. Thankfully, through the power of streaming services, the love of dedicated fans and the commitment of music and city historians, songs that have passed on from the Alamo City have been revived to capture the ears of a new generation of listeners. No seance needed: the following albums have been summoned right here to bring a vintage presence to your playlist.

Numero - Eccentric Soul: The Dynamic Label

Song recommendations: “She’s Gotta Have Soul,” “I’ve Got Love for My Baby” and “Can’t Get You Offa My Mind”

First, there’s the Numero Group, a record label whose purpose is to find and remaster old albums and forgotten tracks. Numero’s “Eccentric Soul” collections compile the best oldie soul songs from cities nationwide. San Antonio’s edition features doowop and late ‘60s and early ‘70s soul from extinct local label Dynamic.

The collection is 28 songs long, each worthy of being the soundtrack to driving around with the windows down on a hot day in July with friends, an iced drink in hand and cheeks aching from smiling so much.

“She’s Gotta Have Soul’’ opens with a bluesy rockn-roll intro as our singer searches for a girl with a personality as rich as the song’s guitar solo and energetic drumming. Swoon lovingly to the track “I’ve Got Love for My Baby” as the lead of The Commands sings his adoration for his girl. “Can’t Get You Offa My

The Children - Rebirth

Song recommendations: “Don’t Ever Lose It,” “Beautiful” and “Sitting on a Flower”

“Rebirth” is an album guaranteed to win any competition of obscurity: it is only available on YouTube from user “Thebestdream I had” or by purchasing the vinyl record on Discogs. This 1968 psychedelic rock release is worth the inconvenience and is the only album from the band. “Rebirth” boasts some underrated classic tracks and is reminiscent of Jefferson Airplane or The 13th Floor Elevators.

The best three-track run of all albums on this list begins with “Don’t Ever Lose It.” It starts with a classic psychedelic chant but changes gear every verse, keeping you on your toes. “Who said it, who said it’s true, things are different when I am with you, and it’s hard to imagine anything as beautiful,” repeats the intro transitioning into the next song “Beautiful,” a track living up to its title. Singer Cassell Webb channels Grace Slick on “White Rabbit” in “Sitting on a Flower” with similarly powerful vocal control.

Pariah - To Mock a Killingbird

Song recommendations: “Anesthesia,” “Make Believe (Jesus Freak)” and “Letter To Myself”

The last album by hard rock band Pariah may be their most approachable. The unique sound throughout the record is the musical manifestation of a handshake between ‘70s heavy metal and early ‘90s grunge rock. Formed in high school, the group released two other albums before “To Mock a Killingbird,” in 1993. They disbanded following the suicide of member Sims Ellison in 1995, which led to the creation of The Sims Foundation, an Austin-based mental health organization providing support to musicians and the community.

The intro track “Anesthesia” is a good sonic example of the band’s evident inspiration from Guns N’ Roses. “Make Believe (Jesus Freak)” has an irresistibly catchy guitar chorus line and has aged wonderfully. “Letter to Myself” allows singer David Derrick to truly show off his impressive vocals and both guitarists to shred a solo between the reflective lyrics.

Look hard for Pariah on streaming services, as an English heavy metal band and an indie ambient solo artist of the same name often share their profile.

‘I want you’ to listen to Jon Kobe’s new EP

Vice Versa Coffee & Records hosted Jon Kobe’s EP release show on Feb. 16, 2024. Preceding Kobe, the bands INOHA and Beware of Dog opened the show. Alongside the show was a market that sprawled all three floors of St. Paul Square. With the entire complex packed with people, it was time for the show to start.

Commencing the night was INOHA, a local indie rock band. While typically the opener would be the lesser-known artist, in this instance it was the opposite. INOHA was the most wellknown band on the show’s bill and helped pull in a crowd. By the time the show started at 8 p.m., the downstairs room at Vice Versa was packed with fans. INOHA came out with a great set and eased the crowd into the vibe Kobe would bring later. However, the next act completely changed the mood.

Beware of Dog

The second band to come out was Beware of Dog, who are new to the San Antonio scene. They came out thanking Kobe for inviting them out, and quickly proceeded into their opening track “Raulla Song.” Beware of Dog brought an insane amount of energy to the show, quickly flipping the mood with their aggressive yet melancholic sound. While they did not fit the light, Valentine’s theme the show seemed to have, Beware of Dog bowed and wowed the crowd.

The last to come out was Kobe himself. The moment he appeared all eyes were glued on stage. Luckily, Kobe’s lyricism perfectly matched the love-themed night, as much of his new EP is composed of love ballads. Tracks such as the single “I DONT WANNA BE IN LOVE” caught the audience’s attention, while tracks like “I Want U,”

swooned the crowd.

Kobe performed “I Want U” as an encore, and it did not disappoint. Kobe entranced the crowd with his lyrics “I want you so bad, I want you to be my lady.” While singing he would point at members of the crowd, giving them their main character moment of the night. Kobe put on an amazing performance and left concertgoers in awe.

Kobe, Vice Versa and company hosted a phenomenal show. The love for local music and the acts playing was apparent throughout the entire show. The dynamic of each band flowed perfectly with the audience, leaving the concert with almost no dull moments.

Jon Kobe’s EP was released on Feb. 24, 2024, on streaming services such as Spotify and Apple Music.

Written and photographed by Malaki Lingg and page designed by Jenna Taylor

Jon Kobe, pictured above.

Nick G., pictured left, Raul Martinez, pictured top right and Jakob Lui, pictured bottom left.

2024 Texas Concert Guide

Written by Laynie Clark, graphic by Sofia Mejia and page designed by Jenna Taylor

Prepare your pockets for the 2024 concert season because it is going to be a good one. While the music industry reached a slump post-pandemic, things have started looking up since the release of new albums in 2023. With new music comes new concerts, so purchase your tickets before they are gone.

Nicki Minaj

The lack of female rappers touring has been depressing, but Nicki Minaj is here to change that. Since the release of “Pink Friday 2,” Nicki Minaj’s resurgence has been all over social media. On May 12, fans will get to hear this album come to life at the Moody Center.

Stevie Nicks

The beloved rockstar, Stevie Nicks, has been missing in action for way too long now. Thankfully, on May 18, she will be

giving fans the show of a lifetime at the Frost Bank Center.

Bad Bunny

After the splash he made in San Antonio following his last concert, it is a shame that Bad Bunny will not be back this year. On the bright side, fans who are willing to make a little road trip to Austin’s Moody Center on April 26 will be able to dance the night away to his upbeat music.

Hozier

After the release of his new album, “Unreal Unearth,” Hozier has been a hot commodity. Rounding up a whole new set of fans while still nurturing his day ones, Hozier will be gracing the stage in Austin’s Moody Center on April 30.

Blink-182 and Pierce the Veil

Bringing back the old by mixing it in with the new is the way to do a concert. Blink-182 and Pierce the Veil is a collaboration almost as good as Drake and J. Cole. The two bands will be taking over the Frost Bank Center on July 31.

Usher

Despite his disappointing Super Bowl halftime performance, Usher is stepping back on the stage to hopefully redeem himself. With his newest album dropping since 2016, Usher will make a grand appearance in Austin at the Moody Center on Oct. 7.

As artists make their way to San Antonio and the surrounding areas, it is important to keep a close eye on popular websites like Ticketmaster and SeatGeek for more information.

A punk rock artifact discusses punk rock artifacts

think of. Here is what I learned. Smith was raised with two other brothers.

“I had one Beatles brother and one Rolling Stones brother,” he explained. His Rolling Stones’ brother was a musician, and when he was home from touring he would tell Smith what records to spend his allowance on. They followed the Sex Pistols in the U.K. magazines they found at record stores, which encouraged Smith to start his first punk band, the Dwarves, when he was 14.

“Hey is Jeff Smith here?”

“Yeah he just finished mowing the lawn, he’s out front smoking a cigarette, you go ahead and talk to him.”

Jeff Smith, the front man for the cowpunk band the Hickoids, was sitting on the front steps of The Corn Pound, his white Converse stained green. The Corn Pound is his newest endeavor, a retail space featuring Flagship Records, offices for the High Voltage music program, a venue space, Smith’s very own record label Saustex Records and much more.

He grew up in San Antonio, split to Austin the second he graduated high school and then came back to San Antonio 20 years later to get his life back on track. We talked for almost two hours about the Butthole Surfers, David Bowie, lawnmowers, records, drugs, the hardcore scene and anything else we could

When the Butthole Surfers formed in San Antonio in the ‘80s, the founders of the band, Gibby Haynes and Paul Leary, were going to Trinity. Smith was 16 at a bar, and Haynes grabbed him and took him to their apartment, making him listen to their demo tape.

“It was pretty God-awful sounding,” Smith explained, imitating the noise he remembered hearing from their desktop cassette player.

But he knew they had fans, so Smith decided to book them a show at the BBQ restaurant where he worked at the time, a place owned by two “yuppies” named Randall.

Smith’s suburban-punk band — “It wasn’t very edgy, not very political” he said. “We came from an upper-middle-class background, and we didn’t have anything to protest against except affluence. Time would fix that for me.” — played with the Butthole Surfers that night.

But the yuppies who owned the bar would not allow the Butthole Surfers to advertise as such, so they were the “Dick Clark Five” instead. Dick Clark was this American television personality who hosted “American Bandstand,” featuring popular music and top hits.

“It was pretty chaotic,” Smith said. “I think that was the night that all the cars got towed out of the parking lot. This fleet of tow trucks came and towed off about 30 or 40 cars in like, 10 minutes.”

But after this Smith did not stick around town for too long. In Austin, “there was just always something happening,” so even

A conversation with Hickoids’ front man Jeff Smith

Written and photgraphed by Lauren Hernandez and page designed by Jenna Taylor

though the hardcore scene was growing in San Antonio, “it didn’t really appeal to me.” It just was not “goofy” enough for Smith, so he became the frontman for the Hickoids in Austin, and they still tour occasionally today. Originally, the Hickoids were a mash-up of country and hardcore punk with a psychedelic edge and glam rock influences to top it off.

“I’m not sure what we were doing was great, but it didn’t sound like anybody else,” Smith explained.

But life was more than just the music, and since “school was my fifth or sixth priority, if that,” Smith found many jobs over the years to fund his music and habits.

We were chatting about musicians we like when he told a story about the time he met David Bowie.

Right before the Hickoids’ three-month tour with Loco Gringos, a punk band from Dallas, Smith’s friends picked him up from a party with L7. He did not have any clothes at all, not even a shirt or shoes. On the road, a friend loaned him her pair of purple spandex flare pants, and that is all he was wearing when he walked into “Rock and Roll Ralph’s” at 7 a.m., a grocery store in Hollywood with a reputation for attracting rockers. His friend was like “Look it’s David Bowie,” and it was.

“He was a really nice guy,” Smith said, explaining how after they had a brief conversation with him, they saw him ahead of them in the checkout line buying wine and cheese with a model while Smith and his rundown friend were buying a six-pack of generic beer.

Bowie even drove past them in his European convertible and said “Cheerio boys.”

But twenty years passed and “my life up there [in Austin] had kind of run its course.” He explained that “I wasn’t being my best self,” so he decided to switch gears and come back down to San Antonio. He started up Saustex Records, one of many record labels he has headed over the years.

Originally, he started it so he could stay sober. He had “too much money,” and decided to spend it on a record label instead of his vices. Now, he has about 120 releases under his label and is looking forward to expanding The Corn Pound.

Smith saw music evolve from the ‘70s to now. Punk and new

wave split, grunge and post-punk emerged, he opened up for Black Flag and the Meat Puppets, shared the stage with Scratch Acid and has friends from The Flaming Lips and Spoon.

He gave a tour of The Corn Pound, showing some insanely rare artifacts he has collected over the years, such as the huge LED sign from Raw Power and Light Company, “a little punk rock club / drug den slash outsider community center” that was located on San Pedro from 1983 to 1984, an original subway poster advertising a Richard Hell and The Voidoids show, an 85-year-old mono lathe from Sun Studio, where Elvis Pressley famously recorded and the door from Taco Land, an old San Antonio music venue.

I departed with a stack of records, CDs and prints gifted to me by Smith, and some advice to share with anyone interested in a career in music.

“If they’re interested in a career in music, I would tell them that they should find a way,” even if that means playing churches, restaurants or giving lessons, you are going to “need a big side hustle.”

And if you are interested in writing about music, Smith reminded me of that quote that Elvis Costello probably said, the one about how “writing about music is like dancing about architecture,” so make of that what you will.

Q&A with Chloe Cherrie

Written by Lesley Fuentes, photo courtesy of Chloe Cherrie and graphic and page designed by Jenna Taylor

“My name is Chloe Cherrie and there’s someone else with that name already — with a different spelling but once you have a name on Spotify you can’t change it. I also make music under bunnygirl2000. I am currently based in Arkansas, but I did make most of my stuff when I was out and about in San Francisco.”

What made you want to start music?

“Well, my dad was always playing music and mixing. He made me mixed CDs when I was little. He was a local DJ in Arkansas and he would play drag shows and stuff like that. Music was the norm for me and when I was 15 I saw you could do it at home and I begged my dad, ‘I want a computer to produce and stuff to start my own journey of making music,’ etc. So my dad got this MacBook for me for my 16th birthday party. It was like a 2012 MacBook that I still have to this day. It doesn’t really run perfectly and it crashes a lot, but sometimes I still work on it because I actually like the old software better than the new stuff. My first songs, if anyone ever hears them I will die because I used to not know how to mix. I used to use those wired headphones and white Apple headphones for the mic. But yeah, I was 16 working on Logic Pro, I used a lot of loops back then.”

What aspects of running a large account have helped you with this process?

“Honestly, I feel like it has helped with a lot because I have always kind of used stuff like that to help network a little bit. Someone on TikTok used my song and that got a little traction and then I posted it on my meme page way back and it gained traction from there and it got on Discover Weekly and people started listening to my music. It’s a super cool thing to have.”

What genre would you consider yourself? Would it be something like

bedroom pop or indie, or would you consider yourself something else like how The Garden came up with their own genre?

“Yeah, I identify with that in a way. If I had to label it I would call it homemade dream pop. I have it on my page as ‘laura-palmer-core,’ like the pads and synths they use in Twin Peaks. I try [to] emulate that a little bit. I am inspired by The Garden’s solo projects, too. I like the way he [Puzzle] mixes his music and vocals.”

Who are your biggest inspirations?

“There’s such a big variation. From 13-

16, I listened to a lot of unreleased Lana del Rey and that was a big inspiration. It’s also kinda goofy, but Bladee. The reason I say that is because when I was first making stuff full-time and putting it out, I was always so worried about what people were gonna say, but people sh*t on Bladee big time, but it’s not like he cares. I would also say Hope Sandoval, lead of Mazzy Star. I’ve always loved her, the solemnness of it all and a lot of Mojave 3. Also, old Grimes, that early, DIY [era]. I really loved her old stuff. [People like her] just seem so real, it makes me more comfortable with myself a little

bit. She was always doing it by herself, she was her own producer and had a legendary run there.”

If you could pick one song to listen to for the rest of your life, what would it be?

“I would say Halah by Mazzy Star. The delivery always gets stuck in my head, anything off of ‘She Hangs Brightly’ to be honest.”

How did your environment affect you musically?

“The time I was the most inspired was going from Arkansas to San Francisco. That had such an effect on my psyche. The fact that you could walk around and see so many things. San Francisco, environment-wise, inspired me the most because there was always so much crazy things going on and when my dad and I first moved there, I had this little room where I could open the window and look out into the city. I have this song ‘Jesus Freak,’ I wrote it in 10 minutes when I was looking out at the moon and the city. It was like, ‘Oh my God, life is so beautiful.’ The unsureness of SF has helped with my writing and my sound if that makes sense.”

If you could talk to your past self, what advice would you give her and to anyone creating anything?

“I used to get stuck on the fact that I didn’t have a bunch of resources, but it’s kind of just use what you have and just do it. I don’t mean it in a tone-deaf way. When I was younger I would dwell on not having anything. Put yourself out there. So many people are so talented and get stuck on the fact that they don’t have resources. No matter where you are in life, there is always a way. Regardless, I’m in a situation now where I’m working all the time and it’s hard to find time to produce. It’s impossible. If you’re not in a situation like that though, take advantage. It’s just one of those things.”

Highly anticipated albums in 2024

Written by Luke Lawhorn and graphic and page designed by Jenna Taylor

Like movie trailers, it is never too early to mark your calendars for when your favorite artist releases a new project. As good as our favorite musicians are, it is always refreshing to hear new songs and update our playlists, especially when summer is just around the corner. Here are the albums to look forward to in 2024.

The end of March will include two albums from two legendary artists, with Beyoncé releasing “Act II” and rock band Sum 41 dropping their final album “Heaven :x: Hell” later in the month.

“Act 11” by Beyoncé

Arguably the most notable artist on this list, the “Queen Bey” dropped her ninth studio album, which was announced in a commercial featuring actor Tony Hale during Super Bowl LVII. “Act II” is the second installment of a three-part album trilogy, following “Act I: Renaissance” released in 2022.

“Heaven :x: Hell” by Sum 41

Sum 41, a rock band from Ajax, Ontario, dropped their eighth and final project “Heaven :x: Hell.” The group, which was formed in 1996, is splitting the double album with half punk and half heavy metal, something fans of Sum 41 will appreciate in its final go around.

After having arguably the greatest world tour ever and highlighting the NFL season with her presence while dating Kansas City Chiefs star Travis Kelce, singer Taylor Swift’s year is just getting started. “The Tortured Poets Department” is Swift’s upcoming 11th studio album, set to release on April 19. The project’s tracklist has already been seen in the public eye, showing 16 songs plus two more for other editions of the album. Swift dropping her album just a month before summer will give Swifties the perfect amount of time to build their playlist before their long-awaited summer.

Lana Del Rey will continue the year of highly anticipated music with her 10th studio album, “Lasso.” Set to release in September, fans can expect to hear a new side of Del Rey as the project will be her first official country album. Other notable artists with album release dates to be determined are Playboi Carti with “I Am,” Rihanna with “R9” and Ice Spice’s debut album “Y2K.”

“The Tortured Poets Department” by Taylor Swift

“Lasso” by Lana Del Rey

The heart of Texas music education

Written and photographed by Jada Thomas and page designed by Jenna Taylor

The Texas Music Educators Association (TMEA) is composed of music educators from across the state who work to nurture the talent of music students and ensure that they can thrive. According to their website, “Since 1920, TMEA has worked to ensure excellence in music education for all Texas students. Over 13,000 school music educators are TMEA members belonging to one of five TMEA Divisions: Band, Orchestra, Vocal, Elementary and College.” For over 100 years, TMEA has served the interests of both its members and Texas students by monitoring the actions of all decision-making bodies regarding fine arts instruction in Texas.

Several events that Texas music students participate in throughout their secondary education have some involvement with TMEA. For instance, whether they were a part of choir, band or orchestra, if a student had to compete in region, area or all-state band, then TMEA has played a part in their musical education. However, TMEA is arguably most recognized for its annual convention and clinic.

The TMEA Clinic/Convention

has taken place annually in downtown San Antonio since 1936, barring 2021 due to the COVID-19 pandemic. Every February, the Henry B. González Convention Center becomes home to over 29,000 attendees and about 1,000 exhibit booths along with hosting multiple events. One of the most notable events at TMEA includes various live performances — such as the All-State concerts, where the best secondary school musicians in the state get to display their talent and skill — as well as concerts featuring various collegiate and professional musicians. Other prominent events that take place at the TMEA convention are clinics that music educators can attend, learn from, and then take that knowledge back to their classrooms and the Convention Center’s Exhibition Hall.

The TMEA Exhibition Hall is undoubtedly the biggest event at the convention, with approximately 1,500 exhibitors from the music industry and beyond. For many music students, it can be slightly overwhelming. Regardless, discovering what there is to explore within the hundreds of booths

can be one of the most exciting experiences.

Upon entering the Exhibition Hall, booths are visible as far as the eye can see, and with so many of them to choose from, it is difficult to know which one to go to first. While all of the booths are related to music, they each offer something different. For instance, there are booths displaying and selling various instruments, some vendors even give shoppers a test run, but you have to bring your own mouthpiece. Instruments like pianos are also on display and anyone can simply sit and play their heart out. Other booths include ones that sell instrument parts, such as reeds and mouthpieces, or instrument accessories like mallets, drumsticks, and bows.

Across the hundreds of booths at TMEA, attendees can buy various music-related merchandise, music theory and self-teaching books, plastic instruments, elementary music tools and so much more.

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Porcelain Heights

The six-piece band in the underground

Written by Nicholas Kingman, photographed by Armin Suljovic and page designed by Jenna Taylor

While many have dreamed of leading their cult-like band of followers, something along the lines of the Juggalos or Deadheads, it is likely they never got this idea out of the group chat stage.

Some say it is hard to make it in the music industry due to all of the industry plants, or their genre of music having so many similar sounds. However, these reasons have not been a deterrent for the local San Antonio band, Porcelain Heights.

The band started in 2019 as a simple dream between two high school friends. Bassist Diego Ramos and lead guitarist Elijah Bleser have seen their two-man bedroom rocker expand into a five-piece force making moves in the underground scene.

“We started playing about five years ago in [Elijah’s] room,” said Ramos. The band’s humble beginnings quickly accelerated from a simple bedroom group to a three-piece set with the addition of drummer Chris Garza.

After playing two small shows without a lead singer, they finally found their

voice. “Our first shows we didn’t even have a singer until we found [Mori] after a show at Culebra Ditch,” Bleser said. The group received 15 auditions but none compared to Mori’s video submission of Soundgarden’s “Black Hole Sun.” Ramos reminisces, “we were messing up a lot [during the audition], we were just in shock of his vocals.”

The most recent addition to the group is keyboardist Oliver Krauss. Krauss was noticed after a January show, where his band was playing. In a similar fashion to Mori’s introduction to the group, Krauss approached the band after the show. “This guy killed it, he didn’t even have to audition,” Ramos said.

Porcelain Heights’ dedication to their craft is not a coincidence. The group follows a strict practice schedule every Friday, rain or shine. “We kinda slave away on Fridays,” Garza said. “All of us love it and coming every Friday doesn’t feel like hard work,” Bleser said.

Porcelain Heights may have one of the greatest locations for an underground band to sharpen their craft. The serene hilltops outside Bandera, Texas can never compare to the grungy downtown locations like Vice Versa or Oscar de la Tienda. But in the beginning, the group had a

difficult time securing gigs. “Before our single, I was setting up a lot of [shows],” Ramos said. “I was DMing a lot of spots, with no response.”

The group had a brief hiatus from live shows for a couple of months while working at the studio recording their single “Vertigo.” Since the release of their debut single in December 2023, the band’s notoriety has quickly risen. “We set up a date for a comeback,” Garza said. “It was a great show and after, a bunch of people hit us up.”

Porcelain Heights has an ambitious 2024 ahead of them. The group is committed to playing more live shows and plans on releasing their debut LP with an accompanying Texas-wide tour spanning from Corpus Christi to Denton. “Whenever we drop an EP or [an] album, we are going on tour, ” said Ramos. “We see a statewide tour this year,” Garza added.

But in the meantime, this hot sixman band is comfortable in their current dwelling in the underground scene of San Antonio. “We admire the scene, it is very upfront and personal with the artist,” Mori said.