Conclusion - OKOM
Some may not realize,
but in the mid '80s, The Texas Legislature approved the opening
of a Texas Music Office. Its purpose is to promote the
Texas music industry. It publishes The Texas Music Directory,
which comprehensively lists all businesses related to music in
Texas: retailers to recording studios; managers to music schools.
There is also a website: www.governor.state.tx.us/music/. Its
director is Casey Monahan.
I called Casey to get
his take on all this. I felt he could give me an inclusive overview,
understanding that the office promotes all music coming out of
Texas- rap to symphonic. He commented on the presence of a Texas
Music Chart: "The Texas Music Chart has helped the Country
Music industry in Texas by proving that independent music will
attract listeners on commercial radio." He acknowledged the
importance of Katie Key's work, going on to say,"...there
was an enormous vacuum and the chart filled it."
I asked him about the
European market and how he viewed the influence of Texas Music
there. "Nashville has been trying to increase its influence
in Europe...with little money Texas Music has done well."
He also agreed that it has significant influence in Australia,
although pointing out the strong domestic scene competing there
as well.
If you were to check
the playlists of Country stations abroad, you would generally
notice a much more open format, implying a wider definition of
the genre. Independent stations are at times major players in
major markets, while its DJs recognize Texas as a major source
for music. These factors may also contribute to the increasing
presence of Texas Music in Europe, and other international markets.
It would be a daunting
task to determine just how many internet radio stations are online
internationally. Because of the nature of the web, it's also difficult
to determine what their market share is. However, it's not difficult
to foresee the potential for specialized stations attracting listeners
with specific tastes. This could mean that a station in The Netherlands
featuring Texas Music could become the favorite station of someone
living in Houston, and conversely, millions overseas may become
attracted to stations originating from here. Whether one agrees
that internet radio is, or is not, the future of radio broadcasting,
it's out there and growing.
If you begin to follow
what is being widely considered as Texas Music from an international
point-of-view, you may find it differs from the perceptions of
the mainstream popular media in our region. Casey stated that
he is"leery of separatism."He also spoke of"a shared
spirit" in defining the music. Could it be our spirit is
being shared by millions who listen abroad. They are, as all listeners
become, a part of the music, as it is a part of them.
"Real people who
live the life of the music- not the dream" is how Dennis
Marshman describes the difference between the Texas and Nashville
experiences, "You can tell it in their voice." Dennis
is a Houston singer/songwriter who is also proprietor of the past
and present incarnations of The Boatyard, a Houston live
music venue and bar. Although it's not unusual for a musician
to become a bar owner (most learn the program early on, and it's
a guaranteed place for them to play), Dennis seems to foster a
vision of a "musician's bar", a place where they can
interact, jam, record and create.
The Boatyard began
as a space housing Dennis' cabinet shop. Friends would stop by
to jam, and have a few beers. Eventually regular jam sessions
funded by a dollar-a -beer kitty cup gave Dennis the idea to open
officially as a music club in '93. Many well-known musicians and
bands frequented and performed there. A diverse array of musical
styles came together to produce such acts as the politically "correct"
PC Cowboys, the cool bluesy rock of The Drop Kick Chihuahuas,
and the energetic Bluegrass of The Hardwood Brothers. The
jams attracted some of Houston's finest instrumentalists: Kelly
Lancaster, the late Dave Peters, Diehl Moran,
and many others who also may not be household names, but have
lived the life of the music.
In January of
'98, the property, conveniently located just off the 59 feeder
road, was sold and The Boatyard was forced to close. In the fall
of '01, Dennis eventually found a new location taking over management
of Live Bait in Shephard Square. He has recently
assumed full ownership, renaming it The Boatyard, and has begun
to rekindle the grassroot spirit of his former establishment.
"A proving ground" is how he describes it. Oh yeah,
the late night jams are back too.
If one begins
to network into the Houston music scene, one will continually
run into passionate people who believe in the power of our local
and regional music. Some speak of its connection to the land;
or of an everyday common experience. All seem to recognize the
shared spirit that Casey mentioned. Nowhere in the world have
geographic or political boundaries united a sense of identity
as they have here. The music reflects that identity. Musicians
and fans alike live it. Our freedom allows it to grow and evolve.
As the music moves beyond
the borders of Texas, Casey's concerns of "separatism"
come to mind. From an industry standpoint, it is obviously not
in our interest to hinder its proliferation. Katie has noticed
a few artists from well beyond the borders whom stations have
reported to the chart as "Texas". There are clubs throughout
the country, and especially in the Midwest, who feel a kinship
to this region. Some actively search for Texas acts to promote
and perform at their clubs. Locals there surely are influenced
by the influx. Conversely, it would be difficult to assume that
Texas is immune from outside influences. Delta Blues, Jazz and
Swing are a big part of Texas Music and most would agree not indigenous.
I'll argue that The Texas Music Revolution is a worldwide movement
centered here. Perhaps the residual effect of this current recognition
will be a greater sense of cooperation and exchange.
If you're looking
to experience Texas Music, you probably don't have to go far.
New live music venues are cropping up throughout our area. This
resurgence, or "revolution", is not defined by media
attention- they merely report and promote it. It begins with the
music and those who love it. Although through recordings and radio
the listener can enjoy benefits of the movement, it is through
the live experience that one becomes part of it.
The fans in the
trenches aren't too worried about missing out. They're out there
at the shows and know that the music will keep on coming. Many
would like to have their radios filled with their favorites, but
also recognize the reality. A number of DJs like Leslie T. continue
to play as much of it as they can as they push the envelope; Katie
Key continues to report the results, define the music and connect
the dots; and Joe Parsons is still at Blanco's on Wednesday nights
checking out and talking up new talent while living the tradition
and extolling the virtues of OKOM.