STEAM Magazine South Texas Entertainment Art Music volume 2 issue 2 May 2013

TM

SOUTH TEXAS ENTERTAINMENT ART MUSIC MAGAZINE. MAY 2013. FREE MONTHLY PUBLICATION! VOL.2 ISSUE 2.

ANNOUNCING 2013 INDUCTEES! SOUTH TEXAS MUSIC WALK OF FAME

IN THE LOOP

W/ DYLAN ELY

SMASHING PUMPKINS CONCRETE STREET

RYAN BINGHAM

TEJANO ARTIST J TAGLE

SCULPTOR SEBASTIAN J. STODDART

Corpus Christi, TX—Preliminary construction to install a sculpture by internationally known metal artist, Jack Gron, began April 18 at the Downtown Police Station in Corpus Christi.

Recommended by the City’s Arts & Cultural Commission, the sculpture was commissioned in 2010.

The 12-foot high bronze and aluminum sculpture is based upon the peace officer’s badge or shield utilizing the eagle and star forms as the central symbols. The sculpture will be attached to a free-standing wall.

Jack Gron has over 30 years of experience in the design, fabrication and installation of public sculpture in metal. His work appears in a number of public and private collections across the US, Canada, England

and Poland. Mr. Gron is currently Chair of the Arts Department at Texas A&M University-Corpus Christi.

The funding for the sculpture was made available through the City’s ‘percent for art’ ordinance which sets aside 1.25% of qualifying capital construction project costs for public art. The installation of the sculpture should take about two weeks.

For more information, contact the City of Corpus Christi Parks & Recreation Department at 361-826-3460.

For information about the wide-range of programs and services offered by the Corpus Christi Parks & Recreation Department, visit

www.ccparkandrec.com We invite everyone to Live. Learn. Play!

Thank You Sound Magazine...

AN OFFICIAL CONTENT & CREATIVE PARTNER SINCE MARCH 2013!

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CONTENTS SOUTH TEXAS

MAY 2013 VOL. 2 ISS. 2

ENTERTAINMENT

ART

MUSIC

9 EVENT

3 CITY ART

6 & 25

CALENDAR

LOCAL TALENT 9 CALENDAR

13 2013 WALK ORIGINAL COVER ART BY ERIK HINZ CHECK OUT OUR WEBSITE FOR UPDATES & ANNOUNCEMENTS

WWW STEAMMAGAZINE NET

OF FAME INDUCTEES

16 SCULPTOR SJ STODDART

11 LOOP STUDIO

26 REVIEWS:

MARKET

CD/BOOK

22 3RD COAST FOODIE

STAFF WRITERS RACHEL MILLS, ERIK HINZ, MASON SHIRLEY, RICK BOWEN, FORREST LEE JR, DUSTIN SAULLE

CONTRIBUTING WRITERS BUBBA JONES, SUE DONAHOE, BILL JONES, J MICHAEL DOLAN

STAFF PHOTOGRAPHERS MISTY NELSON, ALLENE HICKS, GILBERT FLORES, ERIK HINZ

WEBMASTER AFFORDABLE WEBSITE DESIGN

TO ADVERTISE WITH US 361-904-4339

15 BUBBLE 19 FARMERS

PUBLISHER RUSTY HICKS EDITOR TAMMA HICKS

PUPPY 20 SMASHING PUMPKINS

SALES@STEAMTX.COM

SEE US ONLINE AT STEAMMAGAZINE.NET

WANT YOUR CD, BOOK, SHOW FOR REVIEWED? HAVE QUESTIONS OR COMMENTS? SUBMISSIONS@STEAMTX.COM STEAM Magazine is published monthly by STEAM Magazine South Texas Entertainment Art Music in Corpus Christi, TX. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Views expressed within are solely the authors and not of STEAM Magazine.

Typographical, photographic, and printing errors are unintentional and subject to correction.

Please direct all inquiries to: submissions@steamtx.com

Isolation Booth

By Bubba Jones Bubba's resume is as wide and varied as they come. He has produced local and national artists and contributed his knowledge and expertise to Grammy award-winning artists, producers and engineers. His production career took off under the tutelage of Diamond Dave Darlington in New York City, NY. How to balance the incredible possibilities of studio quality home recordings with the unlimited power and sonic perfection of a large format studio is a question I face everyday. Having designed and built over two dozen studios of varying sizes, it has been noted what limitations exist in each environment without the personal bias towards one or the other.

truck and head on your way. You may return to another large format studio to take use of their all cedar tracking room to capture acoustic guitars through tube pre's and compressors.

The soft synth samples and loops may be embedded into the songs at the private space of one the best cats in the world at native sounds, analog Samples and special effects. You may then spend a couple months editing and pre-mixing your work at your home studio with Genelec near fields to end up at a world class mixing studio in South Beach Florida.

Most would say, "That sounds like the perfect way of going about it." Well, that's the way more and more people ARE going about it. In our case, we work with studios around the nation as a part of our "network" and can scale the level of quality up or down depending on our financial limitations. We experience artists, who come to the three spaces we own, for different needs that their home space can't cover. Then we support them in working the rest out at home with tips for editing, tracking and mixing in the box. Many return to mix a project that was mostly done at home. This is the way of the production in the future. We need only to re-organize our way of thinking!

But the truth is that we do need each other and there is a new generation of artist who get that. So, much of what is needed to bridge that gap is protocol, a way of judging the needs against budget against time. You may wonder how creative people just like yourself have done this. Show me the working model that gets me results. Well, let's look into this!

For most it is the defense of ones way of recording (which is based largely on budget) that draws the line in the sand that many fight over. But is the line a figment of our imagination and ego? If we look at the needs of our project from the standpoint of boundless finance and view each recording space a point or location holding task specific tools and environments, each unique in and of itself, how would we use these resources to complete the perfect piece of work? I know that most of us would create a mixed use game plan. Drums, bass and guitar in a large stone room through a Neve console at one of the worlds foremost tracking studios. Keys may take a couple weeks at a professionally equipped midsized studio with API pre's in the woods with a view of the forest. Vocals at a home studio with grace converters, a C12 (for female vox) or a U47 (for male vox) and the relaxed atmosphere of being at home. Then more guitar overdubs at a friends house using a mobile rig that included a collection of vintage guitars and amps that you could not get at any studio of any size (but never leave his private space, so you had to go to him). It may be the case that the best Steinway is located at a large home on a lake just on the outskirts of town and so you use the mobile SSL

SAT 5/4/2013 5/4/2013 SAT Robert Lang Studios - Seattle WA

Contact Create Studio North Snohomish WA Rick Bowen on drums

$20 ADV/$40 ADV/$40 VIP VIP $20

House of Rock, 511 Starr St, Corpus Christi TX 78401

WWW.STEAMMAGAZINE.NET MAY 2013 STEAM MAGAZINE 5

STEAM INTERVIEW

I sat down with J. Taglé who has been in the South Texas tejano music scene for over 18 years. He is currently working on a solo project. Tell me about your music career and how your solo project came about.

TAGLÉ I'd say VALOR was the first "real" band I played in. A longtime friend asked for my help in starting a band in 1995. I was reluctant at first but decided what the hell. We made a little noise in the area and got a record deal with Hacienda Records. Some of the others and I left the band in 1999 and a few months later we got together again and started up VICITMA with my brother Mike on bass.

We wanted to come out with something new and fresh, so we fused modern rock and Latin rhythms with lyrics in Spanish and a little English mixed in. It took a while for people to catch on, but when they did we took off. We even had a national sponsorship with Budweiser that lasted for 4 years, but after a decade we decided to call it quits.

Shortly after, I started a new project with a new sound. I fused the modern rock sound of VICTIMA with a cumbia beat. That’s when SONIDOS DEL BARRIO started. We released our first single "Mi Cumbia" and it caught the attention of a few big wigs in the tejano music industry. We made TV and radio appearances as well as autograph sessions at tejano festivals and were even a featured band at the opening ceremonies at the Tejano Music Awards Fan Fair. Two years in a row SDB was nominated for awards at the Tejano Music Awards and the Tejano Globe Awards, but just like the other groups we parted ways in 2012.

I figured since I wrote, arranged, and produced for SDB I could try my hand at a solo

6 STEAM MAGAZINE MAY 2013 WWW.FACEBOOK.COM/STEAMTX

project so I started messing around with some stuff in my studio. Again, I wanted to come out with something new and different. I had never heard of any artist try to fuse a tejano ranchera with hip-hop beat and samples. It turned out to be a good decision. This latest single "Ya No" is getting air play all over the country on tejano stations and is blowing up the tejano charts.

STEAM As a solo, are you playing everything in the recording or do you have a project band?

TAGLÉ I play a little bit of keyboards (piano), guitar, bass, drums, percussion, and accordion. I'm jack of all trades, master of none. I played everything on "Cancion de Amor". On this new track "Ya No" my brother, Mike Taglé, played bass and guitar.

STEAM Do you have any upcoming shows?

Where can people see you perform?

TAGLÉ I don’t have any shows scheduled as of now. This was just going to be a studio project, however last month I performed at the Tejano Music Awards in San Antonio. I keep my website updated so check there for upcoming shows or to hear my latest release.

STEAM I heard that VICTIMA did some metal so before we go do you have any good stories you can tell us?

TAGLÉ So many things happen in those ten years with VICTIMA and yes, we did some metal in our music. Once my screaming caused my ear to bleed and I almost passed out. Another time I threw up from too much screaming. Then there was the time my belt popped on stage while I was jumping up and down and I used a mic chord as a belt. Ah, the good times! www.jtagle.com & www.facebook.com/jtaglemusica

Ryan Bingham A Chat w/ Ryan Bingham STEAM: The new release, Tomorrowland, sees you now as an independent artist. Was the driving factor behind that decision a result of the success you reached with Cray Heart, knowing you were on the map of sorts and could garner success now on your own?

RB: I think it was in part the success with the movie soundtrack but I think more so the fact that we had been touring really hard and had built up quite a fan base around the country. As long as we were confident that we were going to be able to inform our fans of upcoming show dates and that we utilized

Photo Credit: Anna Axster

social networking to push our new material we knew the opportunity to branch out was there. The status of the industry also made the decision more comfortable.

STEAM: Born in New Mexico and raised in South Texas what is your feeling on the state of affairs in Austin? Many artists feel that the scene there has changed in recent years to mimic the rest of the country. Do you feel that way as well and are you happy that you emerged onto the scene before such transition?

RB: I think that the scene has changed in Austin but what hasn’t changed is the tremendous amount of support the city gives to

singers and song writers.

There are so many little bars and café’s to play live music and people would come out to support constantly. As for SXSW it was originally about the bands and artists and now that seems to be more of an industry event to me. I have great amount of love for the city, and I’m sure the scene there will persevere.

STEAM: Minus your success with “The Weary Kind” from the movie Cray Heart, movie soundtracks have been waning in recent years with musicians playing a part now in more acting and directing roles than musically. Recently, though, with Adele’s hit song for the new 007 film

Skyfall and Trent Reznor’s score for The Social Network things look to be coming back. Do you think there will be an industry shift back to the silver screen or are we more inclined to see individual singles from soundtracks be the norm?

are and I appreciate getting to know them as well.

RB: I think as a whole my impression is that people I know would like to see things round out for the entire soundtrack but I think that heavily relies on the audience demanding that. I’ve definitely considered scoring an entire soundtrack but I know I would need some help to do so. That’s a whole other ball game there.

RB: I like to feel out what the crowd is aside from a general set list. I would say that for a typical evening I like to live in the moment of what the feeling is. It’s always an experiment so things have a tendency to change from night to night.

STEAM: You are very interactive with your fan, spending time signing albums for them post show as well as constantly updating your youtube page with video performances and messages to them as well. Are you ever concerned that you are taking away from your mystique as a musician being so open with your fans?

RB: I used to think that way and social networking used to be very intimidating to me. Times have changed though and people want to know more about you, where you’re from and why you write these songs. The more I’ve gotten into it the more comfortable I have become. With my involvement now it kind of feels like I’m not playing to complete strangers anymore every night. You can learn a little bit more about your fans and what their expectations are. I’m still kind of experimenting with it, learning my boundaries and figuring out my safe boundaries with it. At the end of the day I think fans appreciate getting to know who you

STEAM: For your upcoming show, how do you put together a set list which I’m sure will incorporate elements of the new album with your award winning material?

By Derek Signore, The Sound Magazine

Ryan Bingham

May 4th, 2013

Brewsters Ice House

Corpus Christi, TX www.binghammusic.com Facebook/Twitter/RyanBingham

Need A Job?

Scan Here!

STEAM MAGAZINE MAY 2013 WWW.FACEBOOK.COM/STEAMTX 7

MAY CONCERT CALENDAR WED MAY 1ST Metric Stubbs, Austin Cost: $25-27 Time: 7pm

THU MAY 2ND Friendly Savages Stubbs, Austin Cost: $7 Time: 7pm Jimmy Buffet & Jackson Brown Austin 360 Amphitheater Austin, TX Cost: $60-965 Time: 8pm Earth, Wind & Fire Inspires!

Paramount Theater Austin, TX Cost: $10 Time 7pm

FRI MAY 3RD The Spazmatics Brewster Street Ice House Corpus Christi Cost: $10 Time: 8pm Ray Price Gruene Hall New Braunfels Cost: $40 Time: 7pm Mercy Me McAllen Convention Center McAllen Cost: $25-85 Time: 8pm Alejandro Escovedo & The Sensitive Boys Sam’s Burger Joint San Antonio, TX Cost: $20-$60 Time: 9pm

SAT MAY 4TH Collie Buddz w/Chris Crab & New Kingston House of Rock Corpus Christi Cost: $22 Time: 8pm Charlie Robinson Gruene Hall New Braunfels Cost: $40 Time: 7pm Ryan Bingham Brewster Street Ice House Corpus Christi Cost: $20/25 Time: 8pm Randy Rogers Band Pharr Event Center

Pharr Cost: $25-45 Time: 7pm Shane Smith & the Saints Stubbs, Austin Cost: $7 Time: 9pm Two Tons of Steel Sam’s Burger Joint San Antonio, TX Cost: $10-45 Time: 9pm Alkaline Trio Emo’s Austin, TX Cost: $21-29 Time 9pm

SUN MAY 5TH The Dwarves Zeros Hard Rock Club Corpus Christi Cots: $10 Time: 8pm Jason Aldean Austin 360 Amphitheater Austin, TX Cost: $15-547 Time: 7:30pm

MON MAY 6TH Jim James Stubbs, Austin Cost: $26-28 Time: 7pm

TUE MAY 7TH Three Days Grace Old Concrete Street Amphitheater Corpus Christi Cost: $27 Time: 6:30pm Diana Krall Austin City Limits Live Austin Cost: $49-135 Time: 6:30pm Method Man & Redman Mohawk Austin, TX Cost: $28-30 Time: 8pm

WED MAY 8TH POD Backstage Live, San Antonio Cost: $17-20 Time: 7pm Blues Jam-SABS Member Band Sam’s Burger Joint San Antonio, TX Cost: $6 Time: 7:30pm

THU MAY 9TH Wade Bowen Brewster Street Ice House

MUST SEE OPENDAILY

STEAMMAGAZINE.NET Corpus Christi Cost: $12/15 Time: 8pm

FRI MAY 17TH

FRI MAY 10TH

Donavon Frankenreiter House of Rock Corpus Christi Cost: $22 Time: 7:30pm

Shooter Jennings Gruene Hall New Braunfels Cost: $40 Time: 7pm

Jerry Jeff Walker Gruene Hall New Braunfels Cost: $40 Time7pm

Eli Young Band Whitewater Amphitheater New Braunfels Cost: $18-37 time 8pm

Yngwie Malmsteen/Kings X Backstage Live, San Antonio Cost: $30-35 Time: 7pm

Ivan Neville’s Dumpstaphunk & Suite 709 The Belmont Austin, TX Cost: $15-18 Time: 8:30pm

SAT MAY 11TH The Marshall Tucker Band Gruene Hall New Braunfels Cost: $40 Time: 7pm

Aaron Carter, Nikki Flores, Erin Ivey, DJ Chrystain The Belmont Austin, TX Cost: $15-20 Time: 7:30pm

II Divo Austin City Limits Live Austin Cost: $59-137 Time: 6:30pm

MON MAY 20TH Swing Nite- Two Tons of Steel Sam’s Burger Joint San Antonio, TX Cost: $10 Time:8:30pm

TUE MAY 21ST Dave Mathews Band Austin 360 Amphitheater Austin, TX Cost: 60-511 Time: 7pm

THU MAY 16TH

Lyle Lovett & Robert Earl Keen Paramount Theater Austin, TX Cost: $43-63 Time: 8pm

Katchafire House of Rock Corpus Christi Cost: $15 Time: 7pm KLRU All Star Celebration Austin City Limits Live Austin Cost: $35-250 Time: 6pm

Ghostface Killah Emo’s Austin, TX Cost: $18 Time: 10pm

Taylor Swift & Ed Sheeran Frank Erwin Center Austin, TX Cost: $144-1820 Time:7pm

WED MAY 22ND Taylor Swift & Ed Sheeran

Bash at the Beach Old Concrete Street Amphitheater Corpus Christi Cost: $20 Time: 6pm Guns N’ Roses & Alice in Chains AT&T Center San Antonio Cost: $60+ Time: 12pm

TUE MAY 28TH

THU MAY 23RD

Paul McCartney Frank Erwin Center Austin, TX Cost: $96+ Time:8pm

Cowboy Mouth/Whiskey Shivers The Belmont Austin, TX Cost: $16-20 Time: 9pm

WED MAY 15TH

Paul McCartney Frank Erwin Center Austin, TX Cost: $141+ Time:8pm

Marc Cohn The Belmont Austin, TX Cost: $35-75 Time: 9pm

The Fab Four Paramont Theater Austin, TX Cost: $35-51 Time: 8pm

The Smashing Pumpkins Old Concrete Street Amphitheater Corpus Christi Cost: $32.50-52.50 Time: 7pm

Lyle Lovett & Robert Earl Keen Paramount Theater Austin, TX Cost: $43-63 Time: 8pm

True Believers w/Buster Jiggs Sam’s Burger Joint San Antonio, TX Cost: $15-50 Time: 8:30pm

Barry Manilow AT&T Center, San Antonio Cost: $60+ Time: TBA

MON MAY 13TH

SUN MAY 26TH

Toad The Wet Sprocket Sam’s Burger Joint San Antonio, TX Cost: $40-160 Time: 8:30pm

SAT MAY 18TH

Tom Keifer (Cinderella) Backstage Live, San Antonio Cost: $17-20 Time: 7pm

AT&T Center, San Antonio Cost: $63+ Time: 7pm

FRI MAY 24TH

Blue Man Group ABC Selena Auditorium Corpus Christi Cost: $34-61 Time: 7:30pm

WED MAY 29TH Blue Man Group ABC Selena Auditorium Corpus Christi Cost: $34-61 Time: 7:30pm

THU MAY 30TH

La Freak Brewster Street Ice House Corpus Christi Cost: $10 Time: 8pm

Lyle Lovett & Robert Earl Keen ABC Selena Auditorium Corpus Christi Cost: $35-75 Time: 8pm

The Band Perry Whitewater Amphitheater New Braunfels Cost: $25-40 time 8pm

FRI MAY 31ST

Bob Schneider Solo Show w/ Kevin Russell Sam’s Burger Joint San Antonio, TX Cost: $20/ $80 RSVD Booth Time:8:30pm Lyle Lovett Majestic Theater, San Antonio, TX Cost: $73-363 Time 8pm

SAT MAY 25TH Josh Abbott Band Whitewater Amphitheater New Braunfels Cost: $18-37 time 8pm

Ray Wylie Hubbard Gruene Hall New Braunfels Cost: $15 Time: 7pm Killswitch Engage Stubbs, Austin Cost: $25-29 Time: 6:30pm Up In Smoke the Tour Cheech & Chong, War, & Tower of Power Austin City Limits Live Austin Cost: $49-89 Time: 6:30pm The Avett Brothers Austin 360 Amphitheater Austin, TX Cost: $53-260 Time: 6:30pm

Love Hate Affair Stubbs, Austin Cost: $10 Time: 9pm Disney’s R5 w/ The Zots Sam’s Burger Joint San Antonio, TX Cost: $22-40 Time2pm

CC Museum of Science & History; Corpus Christi

Mustang Island State Park; Port Aransas

Texas State Aquarium Corpus Christi

Art Museum of South Texas Downtown Corpus Christi

National Seashore North Padre Island

Alamo Mission San Antonio

USS Lexington; North Beach, Corpus Christi

South Texas Botanical Gardens & Nature Center Corpus Christi

MAY EVENT CALENDAR

MAY 2013

CLUBS APRIL Brewster Street Ice House 1724 N. Tancahua, Corpus Christi Throw down Thursday’s with Badlands FM! Executive Surf Club 309 N. Water Street, Corpus Christi Live music and great food, what more could you ask for?!

Frontier Saloon 9709 Leopard Street Corpus Christi Live Texas Country Every Saturday Night!

Come watch your favorite MLB teams and NASCAR on our big screens!

Gully’s Saloon 3029 Laguna Shores, Corpus Christi Karaoke on Wed & Thu! Live Music Sat & Sun! Best little bar on the Madre!

House of Rock 511 Starr Street, Corpus Christi Great shows all month long!

Jamison’s Sports Pub 4528 Weber Rd, Corpus Christi Karaoke!

Los Cabos 9601 South Padre Island Dr. in Flour Bluff,

Corpus Christi Live music every weekend!

great room for your next event? Give us a call!

Outta Bounds Sports Lounge 1402 Rodd Field Rd, Corpus Christi Texas Music Mondays and Fridays Rockin’ Locals!

Vick’s Place 7136 FM 666, Mathis Ice cold beer, live music on Friday and Saturday nights, and Jam sessions on Sundays!

7 Brothers Saloon Highway 181, Normanna TX Live music! Don’t want to drive home? Stay in our RV Park!

South Texas Ice House 6601 Everhart Rd, Corpus Christi We now have live music on Fridays and Saturdays! Best burgers in town – Try one and you’ll see!

Tarpon Ice House 321 N. Alister, Port Aransas Live Music, 2 bars, pool, darts, big screen TVs, WIFI, and a beer garden!

Theo’s Billiards 5815 Weber Rd, Corpus Christi Free pool every day until 7 pm!! Don’t miss all the fun on Wild Wednesdays VFW Post 3837 12030 Leopard St in Northwest Corpus Christi Are you looking for a

MUST DO OPENDAILY

XS Ultra Lounge 4244 SPID, Corpus Christi Come have the ultimate Spring Break Experience!

Zeros Hard Rock Club 6327 McArdle Rd, Corpus Christi Like us on facebook and never miss a show!

Facebook.com/ zerosrockclub

THINGS TO DO FRI MAY 3RD First Friday Artwalk Downtown corpus Christi Cost: Free Time: 5:30pm Ink slingers Ball House of Rock Corpus Christi Time: 9pm Chris Tucker Bass Concert Hall, UT Austin Cost: $10-55 Time: 7pm

SAT MAY 4TH Pink Floyd’s Light & Sound ABC Selena Auditorium Corpus Christi Cost: $41 Time: 8pm

Crawfish Festival & Cook-off Fisher Park & Beach Corpus Christi Cost: Free Time: 10am

SUN MAY 5TH Bridge Walk & Fitness Sunday Heritage Park, Corpus Christi Cost: Free Time: 7:30am

THU MAY 9TH STUF Slam House of Rock Corpus Christi Time 12am

FRI MAY 10TH Latin Comedy Jam ABC Selena Auditorium Corpus Christi Cost: $17-47 Time: 8pm Tribute to Moms Atelier International Art Gallery Corpus Christi Cost: Free Time: 6pm

SAT MAY 11TH Corpus Christi Fury vs Missouri Monsters ABC Arena Corpus Christi Cost: $11.50-46.50 Time: 7:05pm

SUN MAY 12TH Ballabajoomba Poetry Slam House of Rock Corpus Christi Time: 7pm

FRI MAY 17TH Anglers on Wheels Woody’s sports Center

Historic Gruene New Braunfels

Port Aransas Cost: TBA Time: 1pm Relay for Life Whataburger Field Corpus Christi Cost: Fundraiser Time: 6pm

SUN MAY 19TH Midget Wrestling & Music Fest Zeros Hard Rock Club Corpus Christi Cost: $15 time 7pm Corpus Christi Fury vs Florida Tarpons ABC Arena Corpus Christi Cost: $11-47 Time: 7:05pm

TUE MAY 21ST Conquer the Coast Whataburger Field Corpus Christi Cost: $5-70 Time: TBA

WED MAY 22ND Alamo Music Guitar Wars Backstage Live, San Antonio Cost: TBA Time: 6pm

SAT MAY 25TH Festival of Wine & Food Texas Maritime Museum Rockport Cost: $25-90 Time: TBA

SUN MAY 26TH Corpus Christi Fury vs Sarasota Thunder ABC Arena Corpus Christi Cost: $11.50-46.50 Time: 7:05pm

Texas Maritime Museum Rockport Cost: $25-90 Time: TBA Ballabajoomba Poetry Slam House of Rock Corpus Christi Time: 7pm

FRI MAY 31ST Legacy Fighting Championship 20 ABC Selena Auditorium Corpus Christi Cost: $37-72 Time: 7pm Tracy Morgan Empire Theater San Antonio Cost: $35+ time: 9pm

THINGS TO SEE Felder Art Gallery Show Aransas Pass Cost FREE Felder Art Gallery Show Port Aransas Cost FREE Islander Art Gallery Hamlin Shopping Center Corpus Christi Cost Free Aurora Arts Theatre Fri-Sun showings Everhart Rd Corpus Christi

Cost $12-14 Port Aransas Community Theatre Fri-Sun showings State Hwy 361 Port Aransas Cost 10-30

Festival of Wine & Food

The Riverwalk San Antonio

Natural Bridge Caverns San Antonio

Morgan’s Wonderland San Antonio

Schlitterbaughn Water Park New Braunfels

Hurricane Alley Water Park Corpus Christi San Antonio Zoo & Aquarium San Antonio Barton Springs Austin

South Texas Music Walk of Fame Inducted 2008 Biography as compiled by Tamma Hicks Chelo Silva - (1922 - 1988), one of the pioneers of traditional Mexican music, La Reina del Bolero (Queen of the Bolero) as Chelo Silva was known, reigned over the Tejano music scene with her romantic ballads and passionate performances. Silva, the oldest of seven children, was born Consuelo Silva in Brownsville, Texas. She began singing as a teenager at school and in her church. Her talent was evident early on. By her late teens, Silva was singing regularly with a local group, the Tito Crixell Orchestra.

By the late 1930s, Silva was already a local celebrity. In 1939, she was asked to sing on a local radio program hosted by the poet, composer, and author Americo Paredes. The appearance gave Silva wider exposure and opened the door for her to begin making money singing radio jingles. It wasn't long before she was performing regularly at Corpus Christi's Continental Club. Silva later married and divorced Paredes. However, Silva struggled before she was able to secure a recording contract. She toiled in regional venues for years before she was noticed. It wasn't until she was thirty that she landed her first record deal with Discos Falcón of McAllen, Texas; where she recorded more than seventy titles. By 1955 her popularity had surpassed Falcón and she sought the attention of larger record labels; subsequently signing with Columbia Records. The move paid off almost immediately as Silva put together an impressive string of hit songs, including Imploración, Esta Sellado, Sabes de Que Tenga Ganas, Soy Bohemia, Inolvidable, and Amor Aventurero.

Even though she was a contemporary of the legendary singer Lydia Mendoza, Silva was still considered the queen of the bolero, or slow ballad. Her flowing style, which incorporated stylized phrasing and bent notes, made each song her own. She also integrated a rebellious image that was not commonly used by female artists of the time. Singing songs with lyrics discussing such taboo topics as insuppressible desires and failed affairs, Silva was viewed as somewhat controversial.

The success of her Columbia recordings led to several touring opportunities throughout the Southwest and Mexico, including tours with then-notable stars such as José Alfredo Jiménez, Javier Solis, Vicente Fernández, and Lola Beltrán. By the 1960s, Silva was the most wellknown of the female Spanish-language singers, her popularity reaching outside the United States and into Latin America.

In 1988, Silva died of cancer at the age of sixty -five. Fortunately for fans and historians, much of her music has resurfaced in the form of reissues and compilations following the death of the Tejana superstar Selena, there was resurgence in the root music that had paved the way for younger generations. In 1995, Arhoolie Records released “Chelo Silva,” a best-of collection that includes some of Silva's most-loved songs, including “Imploración,” “Esta Sellado,” and “Amor Aventurero.”

Years after her death, Chelo Silva remains one of the most influential figures in the history of Mexican music. Her passionate delivery and fiery singing style will continue to move fans for generations to come.

10 STEAM MAGAZINE MAY 2013 WWW.FACEBOOK.COM/STEAMTX

mixing.

STEAM- You are living every musicians dream, winning a Grammy and making a living in the music business.

ELY – Yeah, it’s cool but I just want to work on good music and good projects.

STEAM – So how did you get started as a recording engineer?

ELY- I have really never done anything else.

When I was fifteen I was really in to music. I bought my first two turntables, which I still have, and my friend and I were into DJing and into the technical stuff. Also, through my high school in Colorado, they offered audio engineering classes and that’s how I got started and just fell I love with it. The studio we had was pretty well equipped and every day after school they would have paying sessions, so I had a bunch of credits for working on recordings even before I graduated high school.

Besides working at that studio, during the summer I got an internship at another studio in town.

Then I just started meeting people and then eventually I went to Full Sail University in Orlando where I majored in Recording Arts. I have an intern working for me now who is a Full Sail Graduate. Full Sail was great because I made a lot of contacts there and that is how I got the job with R. Kelly. One of my roommates was working for him and he was looking for someone who knew what they were doing and asked me to come to Chicago.

In the Loop with Dylan ely What do: J Lo, Ludacris, R. Kelly, Coco Taylor, Steve Miller, Cheap Trick, Linkin Park, The Back Street Boys, and Ginger Baker all have in common – Grammy Award winning engineer and producer Dylan Ely of Corpus Christi. I had the wonderful opportunity to meet and interview this Corpus Christi recording studio owner today……………..

By Billy Jones STEAM – I was reading your resume, so you have a Grammy and was nominated for a second?

ELY – Yes, It was for Ludacris who is a hip hop act, at the time I was working with R. Kelly who is an R&B artist, I was doing a lot of his engineering and programming and it was just one of the artists R. Kelly was working and doing some collaboration with. It was something like we met and we started transferring music files back and forth and that is the beauty of technology, I was mixing and recording.

STEAM – And I understand you had another Grammy nomination?

ELY – Yes, I Was working with Linkin Park and it was for “Best Live Rock Performance” That was for the Live at Milton Kings DVD release. I did the stereo and Dolby surround

I have been real lucky but I have had lots ups and downs and it’s a hard business that has changed so much …there has been many times when I wanted to get out of the business but I am so ingrained in, I don’t know how to do anything else which I guess is both good and bad.

The business can definitely be discouraging but if you don’t have the drive and love for it, I don’t think you would ever survive.

I also have a live sound rental business in Nashville with a partner who lives there and runs the day to day operation. We have built a pretty decent clientele like Billy Currington, Back Street Boys, Linkin Park etc… we do recording packages, console packages; a lot more people are recording on the road and that is such a big part of the industry as a revenue stream, that’s how bands make their money now . In the last five years, that’s how I have made a living, going on tour recording, mixing, mastering.

STEAM – What other bands have you worked with?

ELY – One of my first big projects that I worked on that really stands out is the Steve Miller Band, I was an assistant on that, I engineered a project with Cheap Trick, when they were doing a theme song for that show “Joey”, I did work with Ministry, kind of a harder industrial rock act from Chicago. I did a lot of recording for the All American Rejects; I also consulted and was the chief engineer at a studio in New York called The Source Sound labs.

I have built my career on not just doing one thing; I have done Hip Hop to Blue Grass to Jazz.

For example, I have worked with Ginger Baker and his jazz quartet & String Cheese Incident which is a jam band, etc…

STEAM- Who would you say was one of your favorite artists you have worked with?

ELY - I would say, it probably be the Back Street Boys, those guys are really talented and just overall nice guys. It’s not necessarily my favorite style of music but they are genuinely nice people, not a lot of drugs or egos. The All American Rejects are super great guys and I enjoyed working with them and their music as well.

CONTINUED 21 WWW.STEAMMAGAZINE.NET MAY 2013 STEAM MAGAZINE 11

Band Member Matt Skiba,

By Derek Signore The Sound Magazine Show Info

Emo s Austin

Website:

www AlkalineTrio com Social: Alkaline Trio 12 STEAM MAGAZINE MAY 2013 WWW.FACEBOOK.COM/STEAMTX

STEAM: The new album, My Shame is True, a blatantly honest piece for the band, though honesty when written may change and be resolved when it finally comes time to record in the studio. With that in mind, how much material makes the cutting room floor as certain lyrics are found to be no longer relevant or fail to hold up such passion over time?

AT: Not at all really. I think you are assuming that those conflicts resolve themselves when or by the time we are recording the record and sometimes they do not. In the end, for the art it’s a good thing. The things that I had been writing about and what becomes of them in the studio are far from resolved. The resolution comes from the live shows, it’s therapeutic. I’m doing so much better than I was and I was happy to be in a different state when making the record. The resounding energy of fans telling me it’s applicable to their lives is also important and a reward as well.

STEAM: Knowing what kind of honesty you were to reveal with the new album, was that the main point behind the decision to work with the Descendant’s Bill Stevenson as album producer for he is known not to hold his verbal punches?

AT: Both. We’re not people to hang out with bullshit artists. If you are making art of any kind you need to be honest with yourself first and foremost and over the last sixteen and seventeen we’ve strengthened our barometer and can tell what is good or not. If a song has heart and passion then we’ll take the risk with it, seeking only our friends for our approval. There were definitely times in the studio where I wonder if some other bands could’ve really handled what we were going through, something I think comes into play when you are as old as we are. You want to do everything for the greater good and make the best record that you can and the only way you’re going to do that is by not having a bunch of yes people around you. That only serves to make you lazy.

STEAM: You decided to stream the new album on Spin.com one week prior to the album release. Do you feel it takes away from the mystique or anticipation of the album when you do that?

AT: I think you have to move with the times. We’re still figuring it out. I think we did a really good job in which the album never leaked which a rarity in music nowadays. We systematically leaked the record thinking that people are going to get it anyways, why not stream it beforehand so fans can take a listen and give us their feedback. We’re from a different generation where it is important to hold something physical in your hand.

Today, kids have the mentality of ‘why pay for it if I can get it for free’. I think it was smart marketing move to combat that and for the fans as well.

STEAM: Let’s talk about Damnesia, in a world where anyone can make a greatest hits on their ipod, you decided to rework your classic tracks around the theme of MTV’s unplugged with less of an unplugged element. Was that, again, a way to combat that itunes mentality?

AT: It was the fifteen year anniversary of the band and around that time most bands put together a greatest hits of some sort for the fans. For the Alkaline Trio we never really had really big radio hits, which is a good thing because sometimes it can take away your longevity. Mostly we are a cult band so we did something for the fans and ourselves letting fans vote on the songs they wanted to hear on the record. It’s a different take on some of our material that was not previously available online.

STEAM: You all have solo projects, what, if anything, are the lessons you bring back to the band after taking some time off for those works?

AT: I think the theory of practice and honing your medium is more relevant when solo so that when we get back together we influence each other, not musically, but in the approach to recording and touring.

By Sue Donahoe Steam Magazine is a proud supporter of the South Texas Music Walk of Fame. Sue Donahoe has contributed a series of articles for us and it’s now time to introduce the...

2013 INDUCTEES On June 8th six new stars will be added to the lovely courtyards of the WaterStreet Market and the event promises to have a style unlike all others. This year the Ribbon Cutting Ceremony takes place at 12 noon, instead of the 10 a.m. tradition (that is a little too hard for us old rock and roller’s to handle.) The entire afternoon is filled George Strait with performances and events and the headline concert that night is gonna be a winner!

The newest names to grace this concrete will be: George Strait, Esteban (Steve) Jordan, Oscar Martinez, Bill Barr & the Sons of Texas, Jeremy Jordan and Alejandro Escovedo.

The nominating committee is very excited about this combination of names. When we do it right – the average person only recognizes some of the new stars. But different groups of people identify with every name on this list.

George Strait is obviously the biggest Esteban name. He made a name for himself begin- “Steve” ning a few decades back in the central Tex- Jordan as area. For more than ten years, however, he’s kept a home on the sparkling Gulf coast and has been a generous and thoughtful member of our community.

Although he is retiring from touring this year, his schedule will probably keep him from attending the ceremony, (but we can hope!).

Steve Jordan – “The Jimi Hendrix of the button accordion” – was born into a migrant farm worker family in 1939 and was blinded at birth by an accident from a midwife. The patch he wore over his left eye was his trademark and the disability kept him out of the fields. Instead he became a music legend. He was recording and touring, both as Esteban and as Steve, for almost all of his life. He made an appearance in David Byrne’s film “True Stories” and his obituaries in the New York Times, the London Monitor and others praise him as a star of Tejano, Jazz, Blues and Rock. He redesigned an accordion and the Honor Company in Germany created one in his style with flat buttons for more rapid play.

They called it the Rockordion. Steve (Esteban) died in 2010. We are optimistic that some of his family will join us for the ceremony.

Oscar Martinez has been a mainstay on the regional Tejano scene for decades. He toured with and recorded with such legends as Isidro Lopez and also wrote a few early

rock hits including “The Corpus Christi Bop.” In recent years his homespun art has found a wave of celebrity. His portraits of other Texas musicians and his portrayals of the Tejano scene in South Texas have gotten him a show in the Mexican American Cultural Center in Austin.

Nominations for Oscar have come in from his local fans, but also from much more widely known musicians who credit him for being an important influence on their own sound. Oscar Martinez will perform at 1p.m. in the Executive Surf Club.

Bill Barr & the Sons of Texas was such a popular Western band from the 1950s and ‘60s that just hearing Bill’s name brings a smile to faces all over this town. They toured as far away as New York City, but never recorded. His son William explained, “Dad refused to take the one-penny-on-a-dollar offer from Capitol Records.” Bill hosted a long runOscar ning radio show featuring his band along with others and always with more than a hint of humor. He lived Martinez a long life, performing until very near the end, and two of his musicians in later years were more than Sons of Texas - they were his own sons as well. Expect to meet those “boys” on June 8th.

Jeremy Jordan will be the first Broadway Star to get a star on the South Texas Music Walk of Fame. This young man Bill Barr & the Sons of Texas graduated from Carroll High School just over a decade back and has gone on to find his fame (and gather Tony and Grammy nominations) through the Jimmy play Newsies, and on Television and in film Jordan through Smash, and Make a Joyful Noise. (and more!!!). He’s working on a new film, and we didn’t expect to see him. But a recent call from his manager says that he might be able to make some kind of appearance during the weekend after all!! Keep an eye on updates at the Surf Club Records web site for news on our “newsie”.

Alejandro Escovedo needs no introduction to Alejandro the Texas music savvy readers of STEAM Escovedo MAGAZINE. This South Texas native has been winning awards for his performances, for his rock albums and his songwriting, for twenty plus years. He’s shared a stage with the rock gods, the folk gods, and the Ballet Folklorico!

And he is one of the nicest guys you will ever meet! Alejandro tours so often and releases so many CDs that we’ve lost him to one of those two projects for two years straight. This year he’s OURS!!! And he’s headlining the award show at the Executive Surf Club on Saturday night! That’s June 8th – you might recall – and the opening act is 2011 inductees Vallejo (!!!).

Tickets are $12 in advance at Surf Club Records and $15 at the door (if there are any left). My guess is that you should call SCR quickly at (361) 882-2364 and reserve a ticket while you still can.

Updates on various activities of this annual celebration will be posted often on Surf Club Records web site through May, and (of course) will be advertised here in June.

SOUTH TEXAS MUSIC RULES! WWW.STEAMMAGAZINE.NET MAY 2013 STEAM MAGAZINE 13

By Sue Donahoe

Bye Bye Roy Founding Member of Bubble Puppy Died April 2nd at 64

The phrase “music family” isn’t spoken as often as the phrase “I love you” – but when it describes the kind of gathering that took place on Sunday, April 14th at Shorty’s Place in Port Aransas – it means everything.

Roy Cox (Jr.) and Rod Prince were the founding members of the legendary Texas Psychedelic Rock band Bubble Puppy and based their exceptional sound on dual guitars, Roy’s powerful bass, and a mountain of charisma and sex appeal. I was fifteen when these hot guys rose to stardom. They were the stuff of a teenager’s dreams. Along with Todd Potter and David Fore they played powerful shows and, according to Roy, were considered “the most feared opening act in Rock history.” The source of that quote was an opening gig they played for The Who in San Antonio in 1967. They were NOT invited to tour with the Who, which surprised not one Bubble Puppy fan, I’m sure.

Their international hit “Hot Smoke and Sassafras” includes one of the most recognizable opening riffs of any song in history and it put their photo on the wall of the Rock and Roll Hall of Fame. Service men hitting the jungles of Vietnam and hippies in San Francisco soon celebrated the sounds of this Austin based rock band and when they played at the Hill On The Moon Concert outside of Austin in 1970 – there was no parking for miles around (I was there).

Roy was from South Texas and, before forming Bubble Puppy with Rod, he was in two other of our region’s popular bands: the Bad Seeds and the Laughing Kind. Bobby Donaho (we’re not related) played with Roy in the early years and in recent times as well. After Bubble Puppy’s short but amazing run, Roy and Rod joined former Steppenwolf members, Jerry Edmondton and Goldy McJohn to form the band Manbeast. Still later Roy connected with Tommy Shannon and a very young Stevie Ray Vaughan to form an obscure band called Blackbird.

In the 1990’s I had the pleasure of meeting this legend face to face. He appeared in Local Flavor, the tiny Austin record store that my husband Mike and I owned. He was less of a man beast than he was at 19, but he was a joy to be around and Mike and I loved him. He was healthy and happily working on a project with Tommy Shannon, Chris Layton, Lightening Red and a slew of other talent and they were calling this super group The Bluesknights. A prolific writer, Roy had penned the songs for an album and each of the others had been a major part of the creation of a strong, modern blues rock sound that bowed to all the best classic blues and rock sounds – but was second to none. They toured a little, had some regional success, and eventually broke up.

Roy was seldom his own best friend. But he was always easy to love. And he always wrote. A second Bluesknights album was followed by one of the sweetest, and most honest solo discs ever made and titled “Poor Boy’s Fantasy.”

In 2004 Bubble Puppy was given a star in the South Texas Music Walk of Fame. Roy was the only member present and it is one of my greatest joys to recall the look of peace on his face that day.

During South by Southwest of 2011, Roy was given a Texas Legacy Music Award for his work with the Laughing Kind and the band was induct-

(Photos from Bubblepuppy.com)

Additional donations are needed and a bank account has been up to receive these gifts at:

American Bank 216 S Allister Rd Port Aransas TX 78737.

Make Check Payable to: Roy Cox Sr.

ed into the Texas Music Hall of Fame.

Roy had a recent “mail box money” success. One of his songs is being done by a very popular Christian Rock singer and after his death six more of his recent tunes emerged. These he recorded with Tony Saracene and together those of us who will always love Roy Cox are determined to get that EP produced and sold – at least to those of us on the inside who know what a really good song is!

Sunday, April 14th had two gatherings to celebrate Roy’s life and music. The first (the public party) was held at Shorty’s Place. Jeff Devillez performed as well as Shane Lane, Tony Saracene, Bobby Donaho, Jason Maddox and others. A Silent auction, the sale of BBQ places and various love offerings raised over $1,600 to help Roy Cox Sr. with his son’s final expenses. “Big Roy” as he is known, was there and took great comfort and joy from all that love.

A second party followed at Tarpon Ice House where local musicians continued to celebrate Roy’s life and the music family.

Above: Bubble Puppy’s star on the South Texas Music Walk of Fame; Below Left: Big Roy and others watching the show. Below Center: Tony Saracene, Bobby Donaho, Jason Maddox & unnamed horn player; Below Right: Jeff DeVillez -recording artist known better in France and Italy than in his hometown of Corpus. Jeff and Roy had record reviews in the same Italian magazines. (photos by Sue Donahoe)

WWW.STEAMMAGAZINE.NET MAY 2013 STEAM MAGAZINE 15

After Thoughts I asked Sebastian a couple questions about studying art on both sides of the country and what his plans were after graduation.

Sebastian J. Stoddart ~ There is a trend that most schools on the East coast tend to be more conceptually based. I was fortunate to study at a school that placed a high value on content, but allowed for the development of core fundamentals relating to fine art. Our courses were structured in a fashion that each student learned representational rendering first, then abstraction. SUNY Potsdam is very traditional in that sense. The bare essence of this philosophy is that you must fully understand the elements and principles of design and not only how to accurately portray a figure, scene, or object, but also be able to manipulate them through placement in a composition, exaggerating certain features... (so on and so forth) in an effort to develop a subject you wish to communicate with your audience. In the realm of sculpture, we learned how to operate machinery and utilize various media before deciding which to focus on. The advancement of concept in an over-arching body of work was established in our upper level studio and philosophy courses.

In the search for a graduate program I focused on two sets of criteria: a drastic change in location and a program that is well balanced in the sense that content doesn’t outweigh the actual object. TAMUCC takes pride in craftsmanship and process including all disciplines. Our university has an excellent faculty who are all highly motivated and involved with every student’s growth. The surrounding community also played an important role in my decision. Our local galleries, museums, and schools are actively involved with our university. Just a few examples: 1st Friday Art Walk, Community Outreach including elementary and high school students, various workshops, and my personal favorite- Recreating a 16th Century naval incendiary device cast out of iron. The aforementioned project involved the Hold Steady Crew and the Museum of Science & History, namely Eric Ray. My studies here have been very fruitful. I have grown in both skills set and constructing a higher level of content relating to my current body of work. The faculty have been extremely encouraging and critical, both of which I appreciate and grown from, both as an individual and an artist.

As for my plans after graduation, I would love to teach at the collegiate level. I’m open to working in a museum or gallery, as an apprentice or studio assistant, or obtaining a residency in a fresh location. Basically, receiving your MFA is not terminal by any terms. It marks a new beginning for the advance of knowledge, technical skills, and experiences. I have been teaching at TAMUCC for the past two years, including two different studio courses and currently a non-major lecture course.

I am both excited and motivated by the learning process and involvement with the collaboration of creative minds, regardless of major. ~ Arranged By Erik Hinz

18 STEAM MAGAZINE MAY 2013 WWW.FACEBOOK.COM/STEAMTX

You Are what you Eat If you are what you eat, than many people in Corpus Christi are facing a huge identity crisis. Today, busy work schedules foster diets filled with fast food and chain restaurant fare, leaving consumers baffled when they are asked to identify a leafy green vegetable such as kale or swiss chard – let alone how to cook it.

As people are becoming more aware of their impact on the environment there has been a demand for locally grown fruits and vegetables. It is the goal of groups, such as the National Farmers Market Association the Center for Urban Education, to connect people with fresh food and become active supporters of their local economies.

According to the U.S. Department of Agriculture, the number of farmers markets registered with the USDA has been increasing for over 18 years, with 7,864 as of 2012 compared to 1,744 in 1994. In some areas, market popularity is so high that vendors have been put on waitlists.

The Corpus Christi Downtown Farmer’s Market (DFM) was created in March 2012 as another access point for consumers to meet producers in the Coastal Bend area. The weekly market, located next to the Yin Yang Fandango and the Tango Tea Room at 505 S Water Street, runs from 57pm, every Wednesday night, providing an opportunity for consumers to pick up fresh produce on their way home from work.

“We are focused on local producers and artisans, first and foremost creating their own product within… a 200 mile radius,” explained Aislynn Cambell, founding member of the DFM and GROW Local South Texas. The DFM also features a local musician to entertain participants while they shop.

Campbell estimates that 75 people visit the DFM each week, depending on weather and time of year.

The variety of goods sold at the DFM varies by week, with roughly 12 vendors on site each Wednesday. As the

growing season ramps up consumers can buy red wiggler worms from Carrie Meyer, to create compost bins at home ($5 for a container of worms). Ken Bourassa, a.k.a The Germinator, sells seedlings such as peppers and tomatoes at $2 apiece to start home gardens.

There are usually 3-5 produce vendors each week, including Campbell. Michelle Weaver, with From the Garden farm, also sells seedlings, in addition to seasonal produce, such as seven varieties of squash and summer spinach, and eggs.

Consumers can also choose from a large variety of locally made beauty products each week. Ecosage Natural Soap and Candle Company sell over 10 varieties of soap, in addition to chapsticks, candles, and soap nuts – a natural alternative to laundry detergent. Elegant Minerals sells mineral-based skin care and naturally pigmented make-up and has been featured in Martha Stewart’s Whole Living Magazine. Mike Newberry, with the Shear Bliss Alpaca Ranch, sells a felted ball of alpaca fiber that can be used as an alternative to dryer sheets for $7 with an essential oil.

Weldon Lucas, owner and creator of the Bien Hecho Company, sells t-shirts and cloth bags that he has hand silkscreened. “[Bien Hecho means] born well made, live well done… we have a responsibility to be our best self,” said Lucas.

Consumers will also find local honey, bee pollen, and meat each week. Homemade jewelry, woodwork, and cards are also sold at the DFM. Vendors like Cassie Garbe, of Sassy Cassie’s, sell homemade salsa and hummus each week, but watch out she runs out quick.

Since the market started a year ago, the founding members of the DFM came to the conclusion that there was more work to be done in the community than simply showing up on Wednesdays to sell produce, and they founded GROW Local South Texas. “[The mission of this group] is to cultivate a healthy community by growing the local food system and improving access to nutritious, affordable foods,” said Campbell.

GROW Local STX has been developing public outreach programs such as a classroom garden called, The Learning Gardens,

By Rachel Mills

at Tom Graham park. They hope to educate the public about food preparation through cooking demonstrations and by facilitating tours of local farms.

On April 21st, DFM vendor Robertson’s Produce and Back 40 Nursery, in Riviera, hosted a volunteer day for 9 volunteers. The day included a tour of the farm, seed planting, seedling transplanting, and weeding. Casey Williams, farmer, provided volunteers with a catered lunch featuring vegetables, eggs, and meat grown on the farm.

Whether you want some fresh onions for your salsa or a jar of local honey to help with your allergies, the DFM is a small gem in your work week that provides a great opportunity for individuals to access fresh food and locally made products that are one-of-a-kind. Bon appétit!

WWW.STEAMMAGAZINE.NET MAY 2013 STEAM MAGAZINE 19

Photo Credit: Paul Elledge

STEAM: With such a vast catalog of songs, how do you compile a set list from night to night?

BILLY: It used to be pretty varied, but to be honest nowadays it’s pretty much the same. We design the set for the tour prior to the first show. The A.D.D. of our audience has kind of changed the patience of our audience so we try and keep things the same night to night.

STEAM: For the past few years it has become the norm for bands to tour a single album a night, with Mellon Collie and the Infinite Sadness being one of the best double albums of all time, has there ever been any thought to tour just the album in its entirety?

BILLY: I’ve been very vocal in that I think that method is killing the touring business. I think that in the short term it might help but eventually it will hurt business overall. I’m against it to just to get people in the seats.

STEAM: Over the past few years you have been at the helm of a slew of side projects, now that you have revived the pumpkins, what separates the band from your more recent work?

BILLY: For me it’s a philosophical approach. The Pumpkins were modeled after bands like The Beatles and Led Zeppelin, where you could blend a lot of musical influences into one unit. The Pumpkins are supposed to be a potpourri of musical influences and with such variety the band becomes its own identity.

STEAM: Do you find yourself struggling to write for one project in comparison to another?

BILLY: That’s never been a problem. The problem has always been limiting my focus to one thing (laughing). When alternative rock was really huge I remember saying that I have to write more alternative rock because that’s what gets on the radio but that wasn’t always my singular interest. When we brought the band back in 2007 that was a bigger problem because the public had made up their mind that we were an alternative rock band

20 STEAM MAGAZINE MAY 2013 WWW.FACEBOOK.COM/STEAMTX

and that was it. Mixing in acoustic and electronic was a bit weird for a while after that.

STEAM: Any thoughts on putting out another double album in the future?

BILLY: Actually we’ve talked about making a triple album, not with this current album, but the next one. We started talking about what that would mean. I would like to do another big work but that just takes so much energy and commitment. It just takes over your life.

STEAM: What is it like to be known of one of the most quintessential rock voices of the 90’s?

BILLY: I don’t really know what to think of that (laughing). I don’t know what to think of the 90’s anymore, it started off really good but kind of got weird as it went on. I don’t think anyone could have anticipated the way music has turned out today. I think most 90’s bands would laugh at themselves back then if they knew what they would be doing today…assuming they’re still making music. I once talked to Neil Young’s manager Elliot Roberts, who managed me for a time, about how Neil Young struggled to keep himself from being labeled a 60’s artist. I tend to approach the 90’s as sort of the beginning and not the end. To me it’s a legacy but not an albatross.

STEAM: With 90’s bands like Jane’s Addiction and Sound Garden making waves again in the scene do you feel a resurgence of 90’s style music coming?

BILLY: I think it’s really good that artists from my generation are still making music. My reasons might be different from theirs, I want to take the pumpkins around the earth, there’s a destination I want to get to, to reinvent the musical language without reinventing the band.

STEAM: Are you happy that the band emerged before the advent of iTunes and Youtube and if so how do you think the band would fare if releasing today?

BILLY: I feel lucky that we existed in the last great era of record sales. As far as how we would do today I think that a great band is a great band and when we had our moment we were on a roll. I think we would have probably have gone less commercial and more avant -garde if we released today. Commercial success wise In don’t think we would have had as much success, I think there are too many actors in this environment and it’s shocks me how tolerant the media is to them. It’s weird to know that music been hijacked by other forces. There’s a lot of other agendas going on in music right now that have nothing to do with how good a song is…and that’s a little weird.

ELY – I think you definitely need to be open minded to all types of music, to all types of personalities. I think that is the number one.

STEAM- So you are saying, not your skill or you ability as a recording engineer or producer, but it’s your ability to get along with people?

ELY – Yes, I think that is the number one asset, the number one thing that will set you apart and keep you working. You also have to have a strong love for this business as well. I think the technical side of things anyone can learn; anyone can be a great recording engineer or a great mixer over time. But from the beginning, you have to be easy to work with and you have to be someone who is very comfortable to be around. You also have to make sure you are keeping the client on task so they don’t feel you are taking advantage of their time.

STEAM- For all the guitar players out there: what is the best approach to getting a great recorded guitar tone?

ELY – You have to have a good source, meaning amp, guitar etc. Make sure you find the amp that has the sound that you hear in your head. My job is to capture a performance, so having the right source is critical, it’s the vibe.

On electric guitar, I like to use two to three mics. I like using a 57 or some sort of dynamic mic and a ribbon mic. The key is getting those two mics in phase. Sometimes it’s a lot of trial and error, a millimeter or two to put the mics in or out of phase. Sometimes I use a room mic for solos.

Dylan Ely, Loop Studio

STEAM- What do you want people to take away from this interview?

ELY- I want people to be able to come to my studio and feel at ease, to be creative and let the juices flow.

STEAM- What are your goals for your studio and you as a producer?

STEAM – Good luck, I am certain that you and your studio will have a great influence on music here in South Texas.

ELY – Well, I have two goals: I would like to help the local and the regional music scene and be somewhat of an outlet for musicians that would otherwise have to go to Austin or Houston.

Website: www.theloopmusic.com Social:

I would like to put this area on the map by attracting bigger clients & providing them with a great place to work, its affordable, it’s got good vibes, you don’t have to be in LA and spend hundreds of thousands of dollars to get the same results.

STEAM- Where do you see yourself five, ten years from now?

ELY – I don’t know, with the music industry in general and the economy, it’s kind of coming around. You can actually make a decent living dong this kind of work in a smaller market. I would to say that I will be here, growing and expanding the business, my wife and I really enjoy it down here and in five years we would really love to be part of this scene . I would love to see it grow and have this area be known in the music business.

STEAM- What advice would you give some kid like you, who is in high school who wants to become a recording engineer, producer or just be in the industry?

ELY- Number one, I would recommend having a good balance of both a technical background and music theory. You want to be able to communicate with musicians and number two if you really want to do this, you have to be prepared to give your life away; it can be hard. Find your self a studio in town and get your foot in the door. I started in a small studio and feel I learned a lot, not just from a technical point of view but also working with clients. If people like you and enjoy working around you, they are going to be repeat customers.

STEAM- What advice would you give someone who wanted to record their own music, how do they prepare themselves to show up at the Loop Studio and record their band?

ELY – I would say number one would be have a good sense of timing, practice with a metronome and a click track. You need to practice to where timing is an automatic thing.

And number two is to experiment before you commit to anything.

STEAM- Do you recommend people using a click track?

ELY - Not always for a demo, but if you are going to spend the money, the time and effort to do it right…absolutely.

STEAM - What about mike placement and mic choices, that’s always a big mystery?

ELY – That’s taken me and many other engineers many years to figure out that sweet spot. The real secret is just to listen, don’t be afraid to move the mic around it can affect the eq and the sound of the instrument you are recording. If you take the time and mic something the right way, you should not have to adjust the eq!

STEAM – For someone starting out, how realistic is it for a young person to expect to be successful and to get to the level you are today?

ELY – I don’t know that I can find a percentage.

STEAM- Then what traits do you need to be successful at your level?

WWW.STEAMMAGAZINE.NET MAY 2013 STEAM MAGAZINE 21

t s a o C 3rd e i d o o F

The Rockport-Fulton area is full of art galleries and restaurants so standing out from the crowd is one way to be successful. Cheryl’s Restaurant in Fulton definitely stands out from the crowd and is one of the coastal bends most eclectic and creative restaurants.

With a storied career in fashion and the culinary arts, Cheryl Cuzco has been in the coastal bend since 2004. Cheryl’s is nestled right off the bay on South Fulton Beach Road with a beautiful deck overlooking the docks. She has thought about every detail in the restaurant, from the extensive wine list to the art covered walls and décor.

With a full bar and the best selection of Absinthe in town, Cheryl ‘s does a good job of putting modern twists on throwback cocktails from the prohibition era. With classics like The Pendeniss ~ pre-prohibition Gin, Peach Brandy and Peychand Bitters and the Salted Scottie (kosher salt rimmed glass, Hendrick’s Gin and Ruby Red Grapefruit juice) Cheryl’s cocktail menu is a good way to start out any meal. With drinks like the Absinthe Frappe (Absinthe, soda, mint, sugar and crushed ice) and the Stinger (white crème de menthe and brandy) Cheryl’s after dinner drink menu is an excellent way to end a meal.

I ordered a Cuzco’s Pisco Sour (Peruvian Brandy, egg whites and lemon & lime) as we looked over the menu. The cock112 South Fulton Road, Fulton TX tail was refreshing and taken down quickly. The menu was clean, easy to read and covered all the basic food groups.

(361) 790-9626 The server was really friendly and knowledgeable. Our startDining Room: ers were delicious and right on time. The first dish was the Tuesday—optional Dates Wrapped in Bacon in a Sherry Cream Sauce. The sweet fruits were soft and chewy, wrapped in crispy bacon 5 pm to 9pm (please call) and covered in a savory and silky sherry cream sauce all over Wednesday-Saturday a bed of fluffy Jasmine rice. The second dish was the Pork 5 pm to 9 pm and Mango Quesadillas. Flour tortillas were stuffed full of marinated pork and juicy mangos topped with a creamy toWww.cherylsbythebay.com matillo sauce and garnished with sour cream and red onions.

By STEAM

Cheryl’s

Below (clockwise) Cuzco’s Pisco Sour; Pork & Mango Quesadillas; Garden Salad; Shrimp in Coconut Curry with East Indian Condiments; Ribeye and Fried Oysters; Pistachio Strawberry Shortcake

The quesadillas proved to be a fan favorite and along with the dates, were devoured quickly and just in time as the salads were starting to show up. The entrees came with salads consisting of gorgeous mixed greens, shaved asiago, parsley vinaigrette and garnished with red onions and crackers. The salads were large and colorful and the dressing was the perfect blend of herbs and vinegar.

The entrees showed up soon after the salads and the plates were full and plenty. The dishes were delicately garnished with Texas sized portions of local and exotic cuisines. The St. Peter’s Fish w/Lime was a large filet of grilled tilapia covered in crispy garlic and capers. The fish was flaky and juicy and had just the right amount of seasoning. The Spinach Ravioli with Crawfish Cream Sauce was a hit. A bowl of homemade raviolis stuffed with fresh spinach and covered with a savory crawfish cream sauce was a great southern American twist on an Italian favorite. The raviolis were accompanied by warm toasted flatbread and covered in a shaved Parmesan cheese. The plate was garnished with pesto oil and a balsamic reduction. Shrimp in Coconut Curry with East Indian Condiments consisted of large local butterflied shrimp over a bed of fluffy rice and covered in a delectable slow-cooked curry and served with a side of black beans. East Indian condiments covered the plate and were very colorful and tasty. Crunchy shrimp chips, rice crackers, exotic fruits, and marmalade accompanied the dish well and made it look spectacular. The Sautéed Lime Marinated Chicken Cutlets were large cuts of juicy chicken with a coconut and panko crust cooked to perfection over a bed of rice and a side of black beans. The Ribeye and fried Oysters is a must. The ribeye (my favorite cut) was grilled and seasoned to perfection and was as juicy as it gets. The fried oysters were plentiful and accompanied the steak well. The oysters were served with homemade tarter and cocktail sauce and mixed with waffle cut sweet potato fries. I chose mashed potatoes with my entrée and they were delicious.

Fluffy potatoes with garlic and seasonings and topped with a shaved asiago.

With our bellies full desert didn’t seem possible until we read the menu. With items like Bananas Foster over a Moonpie, we knew we’d be missing out if we didn’t all at least share something. We chose the Pistachio Strawberry Short Cake, and loved every bite. The short cake was made with pistachios and had a gorgeous green hue and was covered with fresh strawberries and homemade whipped cream. A gorgeous dish that put an end to a wonderful meal.

We were so intrigued by Cheryl’s that we had to start asking her about her story. We wanted to add a little bio to give some background into the lady with such an eclectic restaurant, so we asked her some questions. Her story was so interesting that we’ve included a small section here. Please go to our website to read Chery’s full story @ www.steammagazine.net

~ Cheryl Cuzco ~

From my earliest recollections of childhood play, while other girls collected Barbie dolls, I collected recipes and torn out photos of gourmet foods from the magazines my mother subscribed to and dreamed one day of having a restaurant.

I never knew where the desire had come from. No one in the family was in the restaurant business (as promised) but every Sunday, our family would travel to my great grandmother, Cora's house from Tulsa, OK and set down to a spread, like I have never seen since. Three types of meat, a couple of starches, yeast rolls, bowls and bowls of pickles and preserves she had put up the summer before from her gardens and a couple of pies or cake for dessert.

Cora was now past 80, riddled with Rheumatoid Arthritis, and yet every Sunday she stood in the kitchen of her home with her two canes for support and put out the feast for her grandsons and their children.

In retrospect, I now know that she considered cooking and dazzling the beholder with her expertise as a labor of love. Her "customers" now... only her family left to please. Of all her progeny... I had "inherited" the restaurant gene.

On a side note regarding music of the times: In my early 20's I lived in Tulsa, OK. I worked in a couple of very popular restaurants that were started by two guys, Dick Slater and Tom Garrison from Dallas, that owned the Stoneleigh P. Selfdescribed as a "hangout for nonconformists". I was made kitchen manager within days when it became apparent to them that I could cook and cook good and also I seemed to find myself right at home with the other nonconformists.

Tulsa in the late 70's was the place to be if you were into the music scene. There was a dance hall called Cain's Ballroom, that was built in the 30's and where Bob Wills and the Texas Playboys would come to play as well as other country and western acts of the day.

Cain's got on the circuit for beginning bands of the New Wave kind. For 3 dollars and all the beer you could drink weeknight bands, like the Sex Pistols, Elvis Costello, The Talking Heads and the Police would make their way to Cain's to perform their style of music.

By 1979 a group of us decided to leave Tulsa and head towards the streets of Manhattan, where we found ourselves working again in the more popular and hip restaurants, living in a loft space on 27th Street and using our evenings to catch the bands at the Mud Club, Irving Place, Max's Kansas City...etc. Klaus Nomi, The Stray Cats, Pere Ubu, The Fabulous Poodles.

CONTINUED 24

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TIME BANDITS / J. Michael Dolan (0:21) It's not that checking emails, posting on Facebook, sending tweets, watching the news, and scheduling yet another meeting don't have their place, they do. However they’re all "Time Bandits." It’s so easy to swap what really matters for the petty things that just keep us entertained and distracted. I think that managing your precious time, making intelligent choices, and relentlessly chipping away at the things that matter most is the only way to inch closer and closer to attaining your greatest desires.

“They always say time changes things, but YOU actually have to change them yourself.” ― Andy Warhol STEAM Magazine is proud to have J Michael Dolan as a columnist. He will inspire as well as give you something to think about. His stories maybe short, but we have always found them to be deep.

SPACED, FROZEN, DOGGED / J. Michael Dolan (0:31) You KNOW before you KNOW. Malcolm Gladwell calls it a "Blink:" The fact that you KNOW the truth the instant it arrives on the scene. Doesn't matter if it's which agent to sign with, what web person to hire, how much $$ to invest, what songs to keep on the record, how to market your book, when to launch your video, or when to start chipping away at your dream project. You already know the answer. However, if you’re attached to the outcome, or you “over think” the problem you can easily get “spaced” in the shadow of doubt, frozen in the fear of making the wrong choice or dogged by a lack of confidence. I’ve seen it so many times in the smartest CEO’s and the most talented artists. To the degree that you can let go of the way “it has to be,” and remain open to the quantum field of ALL possibilities, to that degree the truth will bubble up and reveal itself. Make sense? When in doubt, even in the face of popular opinion, follow what you KNOW to be the truth, which is usually the first option that bubbled up in the first place.

~ Cheryl Cuzco ~

I began taking classes in photographic food styling at the New School and Parsons School of Design. I worked on a few commercials for Pop Secret Popcorn and General Foods learning soon that just making food look appetizing for film and print wasn't as fun as I thought it would be. I became general manager of a very popular Italian Restaurant in the Turtle Bay district of NYC, called, Paparazzi, where the owner was a music manager of several well-known singers and artists such as Eddie Arnold, Al Hirt and the Tijuana Brass and Maya Angelou. The owner, Gerard Purcell, knew I was interested in learning everything I could about the restaurant business and began to share his knowledge of such, teaching me all the ins and outs, pitfalls and lessons needed to be known when dealing with licensing/regulatory entities, vendors, employees. I learned some valuable information that I still use today.

But a funny thing happened on my way to being a restaurateur. Something else that I had always wanted to be came into play… Read Chery’s full story @ www.steammagazine.net

WWW.STEAMMAGAZINE.NET MAY 2013 STEAM MAGAZINE 24

Pete Pete Devlin: Devlin: Proving Proving His His Mom Mom Wrong Wrong

The first time I met Pete was at the

25 STEAM MAGAZINE MAY 2013 WWW.FACEBOOK.COM/STEAMTX

STEAM INTERVIEW

Tarpon Ice House in Port A for a benefit.

Shortly after that I saw him at the Frontier Saloon in Calallen and picked up his new CD, “Nashville Ain’t No Fun”. So here I am catching up with Pete in the House of Rock.

STEAM Growing up in the UK; how did you get started with Rockabilly and Bluegrass?

PETE I started out in school in what they termed as “simple bands”. We mixed in a little everything in with bluegrass. We had no idea what we were singing about; it didn’t mean anything to us, it was just fun to do. Where we lived there were many US bases and as kids we’d sneak on base to buy Levi 501 jeans. They always had live music, so we’d watch the bands. I got to see a lot of great bands, like Bill Monroe, and I got to watch how rock ‘n roll grew during that era. I’d have Lucky Strikes rolled up in my sleeves and a zippo lighter in the back pocket of my Levi 501s. We just soaked up the music and the style. I had a lot of country-rock bands before moving to the states.

STEAM So you knew from a young age that you wanted to be in music. Did you also plan to live in the states?

PETE Well I told my mom that when I was going to grow up I was going to play music and she said, “you need to make up your mind you can’t do both.” The way I came to the states was by working on Harley-Davidson motorcycles. I came here and bought and repaired Harley’s then shipped them to people in the UK. I had a shop here in CC for a while where I worked on Harley’s.

STEAM That’s right I’ve seen pictures of you on some pretty amazing bikes.

PETE I’ve had everything; I rode a panhandler for many years. I started in California and lived there until the early 80s. When I got here, I found I couldn’t escape it.

STEAM Pretty cool story. Let’s talk about your music. Your last album is “Nashville Ain’t No fun”. Where did you record?

PETE We recorded at Cowpatty Studios in Lytton Springs, which is just outside of Austin. My friend Donny Brewer was our engineer and did the mixing and mastering as well. I wrote all the songs and when we finished “Nashville Ain’t No Fun” there were 11 tracks left, so we should have enough for another album.

STEAM Who do you have in the band?

PETE We’re normally a three piece and occasionally four. Mike Robinson fiddle and mandolin and his wife, Jill, plays upright bass. Occasionally we use a drummer.

You can catch Pete Devlin at the Artwalk on 5/3 and for his full schedule go to www.petedelvinmusic.com as well as facebook and reverbnation.

The Pipe & the Pen: Remembering our Original Instructions

by Larry Running Turtle Salazar & Pamela Two Spirits Reader “We are spirits having a human experience. Reawaken to the knowledge that everything around us is sacred.” Larry Running Turtle and Pamela Two Spirits will take you on the Native American spiritual path known as the Red Road in their new book “The Pipe & the Pen”. Their visions in the dream, spiritual, and waking world led them to weave original instructions from Native Americans, Buddhist, Christian philosophy, and other teachings -along with personal anecdotes- to help the reader realize that they are not alone on this journey.

– Hacksaw Records Ron Hacker has been a fixture of the bay area blues scene for nearly forty years for his tenth album simply titled “Live in San Francisco he and his trio The Hacksaws and caught doing what they do best, laying down some serious deep delta blues grooves, and slide guitar perfection.

The ten song set was recorded at the fame Biscuits and Blues club on one magic night in November of 2011. Hacker begins solo on the Sleepy John Estes classic “Ax Sweet Mama,” and proudly declares “I never saw no whiskey, but the blues made me sloppy drunk,” and then offers a master class on slide guitar playing, setting the tone for the joyous night ahead.

Hacker is joined by the astute rhythm section of Steve Ehrmann on bass and drummer Ronnie Smith who play just what is need to push the songs along never stepping on the thematic lines Hacker weaves into each song. The trio covers the gamut of styles from two beat stomps, shuffles and upbeat boogie, on classic cover such as “Baby Please Don’t Go, Statesboro Blues and Death Letter from Son House. Hacker throws in a couple of his own compositions including a charming tale about his son “My Bad Boy,” and the wild ways of his first wife on the jumpin’ “Two Timin’ Woman.” All the tracks feature not only Hacker’s mastery of the slide guitar but his easy narrative vocal style that draws the listener into the authenticity of his blues and soul story telling. After explaining how he got permission from the man himself Hacker closes the show with a frenzied nine minute version of John Lee Hooker’s “House Rent Blues,” leaving nothing but sawdust and echoes in his wake. Serious blues fans need to add this one to their collection. www.ronhacker.com

I found “The Pipe and The Pen” to be a calming and mind-opening read that has a permanent place in my bookshelf.

100% of the proceeds of the sale of this book go to the Ishka Monument to be built on Ennis Joslin.

216 pages; $16.99 (paperback). Available online at www.tatepublishing.com and www.staip.webs.com as well as all STAIP sponsored events.

Tamma Hicks

Birth of Bertha, Bertha (4/5 stars) Bertha, a South Texas standout, has released their debut album Birth of Bertha. With only 8 songs, the album doesn’t disappoint. Creating an album with a corresponding sound throughout, Bertha does a skillful job of transitioning from one song to the next, as opposed to a collection of songs thrown on a CD. Birth of Bertha carries a strong blues/rock guitar sound throughout the album, and has the vocals to match the intensity of the instrumental. The tenacious guitar, brawny drums, and high-energy vocals add up to outstanding live show as well. The artwork for the CD cover is a nice change and reminds me of Janis Joplin’s Cheap Thrills album and the band Cream. Great art work choice; it fits Bertha.

Track 1: “That Woman” The Cd kicks you in the face with the first notes of “That Woman” a cool funky riff opens a 7:38 song with 3 transitions. The first in at 1:50 very cool with nice duo leads reminiscent of a kiss grove, very good vocal. Funkifide Jam Rock!

Track 2: 3:17 “And Then She Spoke” I loved it, reminds me of Savoy Brown, funky blues groove, again nicely laid down groove with interlaced layers of lead and very cool drums!

Track 3: 4:42 “Celestial Child” Blues, great rhythm section with frosting covered leads!

Track 6: 3:49 “All In The Hips” The crowd will be singing along with this.

Track 8: 6:50 “Noody Blues” Roadhouse Rock!

~Rick J Bowen www.nodepression.com/profile/RickJBowen; twitter.com/RickJBowen; www.facebook.com/ stacyjonesband; www.stacyjonesband.com

www.facebook.com/bertha.bandtx; bertha.bandcamp.com/ Dustin Saulle STEAM Reviews

WWW.STEAMMAGAZINE.NET MAY 2013 STEAM MAGAZINE 26

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