Saturday, May 20, 2023

We're No. 10??


After years of commenting that the Austin skyline seemed to be changing daily, you’d think I’d have been prepared for this. Nope. Not at all. The news that Austin is now the 10th largest city in the country really blew my mind.

A stats junkie, I just wasn’t paying attention to the stats. I knew Austin was somewhere in the mid-teens. But I somehow missed that we’d been parked at No. 11 for at least the past three years. So when the Census Bureau reported last week that we’d blown past San Jose into 10th place, it caught me so off guard I had to dig into the numbers, some. 

Here we go. Let’s take it census by census, starting in 1970. 

Fifty years ago, Austin was a city of a quarter-million people; it ranked 56th in the country. It was about the size of modern-day Irving or Laredo. But it was on a growth spurt, having swollen by about a third since the 1960 count. 

By 1980, the year before Linda and I moved here, the decennial growth rate had surged to 37%. Austin was now home to 345,000 or so and was 42nd in the country. The city was about as big as Anaheim is today. 

Growth “slowed” to less than 3% per year in the 80s thanks to our oil-price roller coaster ride. All over Texas it slowed but certainly didn’t stop – and certainly not in Austin. We reached the end of the decade living in a city a little smaller than Omaha is now. At 465,000, Austin had become the country’s 27th largest city. We’d leapfrogged places like Miami, Atlanta, Portland, and St. Louis. And Austin had passed Fort Worth and was now the fifth largest city in the state. 

In the roaring 90s, we roared past Denver, Boston, Seattle, and New Orleans into 16th place – and passed El Paso into the No. 4 slot among Texas cities. With 650,000 people, Austin at the turn of the millennium was about the size of modern-day Las Vegas. 

And for the next decade, the pace really did decline to about 2% a year. But Austin had already become so big, even at that pace we added about 130,000 residents, passed Detroit and Columbus, and become the 14th biggest city in the U.S. With almost 800,000 living here in 2010, we were as big as San Francisco is today. 

Despite all the cranes that loomed over downtown over the ensuing 12 years, despite all the jokes about newly arrived Californians, despite all the tied-up traffic, the 2010-size Austin stuck in my mind. I somehow missed that we were passing Jacksonville, Frisco, and Indianapolis on our way to 11th place in the 2020 census. That decade-plus-long brain fart is to blame, then, for my surprise at the bureau’s 2022 numbers estimating the Austin population at 974,447 – big enough to jump over the declining San Jose and into the Top 10. 

So now, four of the country’s 10 biggest cities are Texas cities. No other state but California has more than one. It looks like we’re here to stay. Houston (4th), San Antonio (7th), and Dallas (9th) are more likely to climb over the crumbling old cities ahead of them than to lose rank any time soon. 

That all adds a little bit of polish on the ever-humble Texas ego until you realize that every new Texans gives incrementally more national influence to the right-wing crackpots that run our state – and to draw ridiculous political maps that sap the power of our growing – and much more progressive – big cities. 

So that explains it. I wasn’t blind to my city’s standing. It was just a case of hopeful ignorance.

Photo by Carlos Alfonso on Unsplash










Sunday, February 19, 2023

Exit Stage Left

The recent deaths of rock stars Jeff Beck and David Crosby left music fans mourning not only those two legends, but also the acceleration of an inevitable, tragic trend. Beck, who died at 78, and Crosby, 81, constitute the trailing edge of the cohort that preceded the Baby Boomers. Those Silent Generation rockers still with us are reaching the age – especially having lived the hard lifestyle – where they can’t look forward to many more birthday cakes. Jagger is 79, McCartney 80, and Dylan 81. None of them seem to be in imminent danger of leaving us, but odds are they won’t be entertaining us long into the next decade. Next, we’ll start to lose the oldest of the Baby Boom rockers – Neil Young and Clapton are both 77; Elton John, Santana, and Bobby Weir are all 75; hell, Springsteen is 73.

Image courtesy rawpixel

But they’re all still with us and still playing. We still have a chance to see them – maybe for the first time, maybe one more time, maybe for the last time. I’m sure some of those appearances will be painful to watch and listen to. But some will be inspiring, like 78-year-old Joni Mitchell’s triumphant return to the stage at Newport last summer. (Thanks, Brandi Carlile.)

And that’s what led me to write tonight. Many, many highly talented performers died way too young and before I had grown into an avid concert-goer. From September 1970 to just October 1971, 13 months, we lost Hendrix, Janis Joplin, Jim Morrison, and Duane Allman. Average age, 27. And I never saw many others who left us a bit later, but also too soon, like John Lennon, Keith Moon, and Bob Marley.

I’ve been to hundreds of concerts over the past 50 years, seen many artists in their prime and some well past that zenith. I’ve also been lucky enough to catch some musicians at or near the very end of their careers, knowing I’d probably never be able to see them again. Some of those have been disappointing (Jack Bruce standing like a shriveled statue at a steamy late-night show at Bonnaroo 2012; Leon Russell with almost no energy). 

Some, like Art Neville struggling to keep up with his old bandmates at a Funky Meters show in Austin, were sad and touching. I think, though, I prefer the memory of Art, full-strength, at a snowy New Year’s Eve Neville Brothers show in Park City.

I saw BB King the same night I saw Leon in 2011, at Austin’s ACL Moody Theater. BB’s guitar playing was limited to delightful licks here and there, decorating the songs and the stories. But those stories were fantastic and he laughed so hard at his own jokes. (I just looked it up, and BB maintained his intense concert schedule – 3-5 shows a week for months on end – for the next four years, almost until the day he died in November 2015.)

Dr. John was a hoot replaying his appearance at The Last Waltz as part of a 40th anniversary celebration of that event organized by Warren Haynes in 2017. The Night Tripper had a bit of trouble navigating the stage, but once he reached the piano bench his voice and playing were strong. He sang “Such a Night,” and it really was. Garth Hudson, then-80 and one of the two surviving members of The Band, was even more impressive that night. He needed a whole lot of help making it to the organ as he joined Haynes and friends for the encore. Then the diminutive Hudson presented us with an extended, maniacal solo on “Genetic Method” before leading the ensemble on a rollicking “Chest Fever.” Garth is still with us, but from what I can tell, he hasn’t made many more public appearances since that 2017 show and is in pretty poor health these days somewhere in upstate New York.

My favorite almost-at-the-end show also involved someone from The Band. It was a hot – make that very hot – and muggy July day in Bridgeport, CT, for the 2011 Gathering of the Vibes festival. Levon Helm was frail but mighty. His once muscular arms were so thin I was afraid he’d drop his drumsticks. (He didn’t.) Levon’s voice didn’t have the power it once did, but his singing was somehow powerful. He didn’t hit the drums as forcefully as he once did, but his drumming still had the force of his exquisite touch. He never stopped smiling. Nor did his (extremely pregnant but not wilting in the heat) daughter and musical partner Amy Helm. Nor did any of Levon’s big band. Nor did any of us in the audience. It was obviously going to be one of his last performances. We appreciated the gift he was giving us. 

Levon closed his set at the Gathering with a rousing “The Weight.” The “feeling ‘bout half past dead” line was kind of a kick in the gut, but that’s in the song’s first verse and was long forgotten by the time Levon and Amy and the rest of the band and the whole audience shared the last wonderful refrain, “And, and, and ... you put the load right on me.”

Thanks for taking the load off Miss Fanny for all these years, Levon. Your singing and playing and joyous approach to life took a load off a lot of your fans, too. I’d seen you with The Band (sharing the bill with Crosby, Stills, and Nash) on a hot August evening in Austin (out in a big old field that’s now a sprawling shopping center) some 30 years earlier. That show was fun. This one, because we knew we’d never see you again but also because you were loving your craft up until the very end, was special.

(Levon’s last album, a live show from his Woodstock, NY, studio with the great Mavis Staples, was recorded about a month before his appearance at the Gathering. Check out Carry Me Home if you want to hear the final vintage from a rock legend.)


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Monday, November 7, 2022

Somewhere



“Everyone knows this is nowhere.” Is it? 

Can’t be. 

Who drew the map of the road to nowhere? The road goes on forever. 
Up ahead. 
Around the bend. 
Just over there. 
There! 
But there isn’t nowhere. 

Here isn’t nowhere. It’s here. It’s a half-rebuilt cottage where Johnny Gimble once fiddled. It’s a green and yellow Olympic medal stand shrine to John Deere johns. That’s somewhere. Likely nowhere else.

“Everybody seems to wonder what it's like down here,” but “everybody knows this is nowhere.” 

Where ya’ going? Nowhere. 
Whatcha gonna do? Nothing. 
Who with? No one.  

No one is no one. I mean a real nowhere man sits in his nowhere land “making all his nowhere plans for nobody” is “a bit like you and me.” 
Someone. Somewhere. 

Are we there yet? 
Are we there yet? 
Are we there yet? 
When will we get there? Tomorrow. 

Are we there yet? 
Are we there yet? 
Are we there yet? 
When will we get there? Where? 

“Somewhere else. Not here.” 

Nowhere to run? Too close and too far. 
Nowhere to hide? Hmmm. 
Nowhere is a bad place to hide. 
No one is nowhere. 
No one will find you. 
Gig’s up.

Monday, August 22, 2022

The Mandolin in Modern Music. Who Needs Rock?



Back in 1969, the mandolin seemed poised to become a sustaining part of rock 'n roll and popular music. Over the next three years, no lesser lights than the Rolling Stones, Led Zeppelin, The Band, the Grateful Dead, and Rod Stewart would produce one or more songs that featured the instrument. Each of the albums went platinum. And Stewart's classic "Maggie May" simultaneously topped the pop charts in the U.S., U.K, Canada, and Australia.

The instrument's future in popular music seemed bright. Until suddenly it wasn't.

Over the ensuing seven decades, the mandolin has retained its beloved place in folk, country, and bluegrass, even classical, and occasionally in jazz. Generally, though, the instrument the Grateful Dead's Phil Lesh compared to "the ringing of a bell" has been absent from rock and pop, with bands like R.E.M, Wilco, the White Stripes, and others releasing a few one-off mandolin songs.

To find out why, the Mandolin Cafe talked to successful and highly respected mandolin players from three very different schools of music: Ronnie McCoury, John Skehan, and Sierra Hull at the 2022 Old Settler's Music Festival.

About the author: Steve Levine is a photojournalist and communication consultant based in Austin, Texas. Find his best words and pictures at linktr.ee/stlevine.

Their collective response: So what? The mandolin is making some amazing music these days everywhere it's played. It always has – even if some people have heard it only on those rock songs.

"When I was a young boy in the 80s, my buddies from Pennsylvania said, 'Oh, you play the mandolin? Oh, what like Led Zeppelin or Grateful Dead?'" McCoury said. "And I was like, 'Well, I don't know what you're talking about.'"

Ronnie McCoury
Photo credit: Steve Levine

It wasn't long before he figured it out. "I was in love with David Grisman's music," he said. "So I discovered the guy playing the mandolin on the Grateful Dead stuff was David Grisman." As he grew older, he met John Paul Jones, the Zeppelin bass player, who performed the mandolin parts along with guitarist Jimmy Page in that 1970 album and on tour.

Skehan was enthralled by Grisman as well. "Somewhere, somebody gave me a cassette tape of that first Grisman Quintet album," he said.

"That just blew my mind as far as what you could do with the mandolin, the fact that Dawg had created this signature form of music all his own that was such a melting pot of other styles."

His mandolin ear continued to grow.

John Skehan
Photo credit: Steve Levine

"To me the big epiphany discovery was how much mandolin music there is out there without even getting into popular music," Skehan said. "It has such a wide ranging reach and influence on American music."

McCoury recounts a story his dad, Blue Grass Boys alum Del McCoury tells. It credits a mandolin-heavy Bill Monroe song with inspiring the creators of rock.

"There's a tune that Monroe sang called 'Rocky Road Blues,' it was like 1943 or 4, before Earl Scruggs came and bluegrass jelled," the younger McCoury said. "And it had this beat, and Carl Perkins and Jerry Lee [Lewis] and Elvis and all these guys were hearing this. And Carl Perkins said, 'All we were doing was putting rhythm and blues and bluegrass together.'"

Chuck Berry, McCoury adds, "loved to listen to Bill Monroe" because his mandolin chop matched Berry's distinctive guitar sound.

Fast-forward 70 years or so, and Hull finds the instrument still at home in any genre.

Sierra Hull
Photo credit: Steve Levine

"It's such a diverse instrument," said Hull, whose multitudinous musical experiences belie her young age. "One of the things that I love about it is that it can find its way into whatever is missing in the context, whatever configuration or instrumentation."

Skehan says he hears the influence of the mandolin in popular music that is definitely not bluegrass, particularly in the sounds of one of his favorite bands – the Grateful Dead.

"There's that thing about the Grateful Dead that's not really country music, but it's not quite rock and roll and it has this free-wheeling jazz element counterpoint, everybody's improvising kind of thing to it," he said. "But that odd, odd tone, what Bill Monroe called the ancient tones, the modal quality and fiddle-tune music, it's so present in the Grateful Dead's songwriting and their approach, that out-of-left field thing."

All three learned to play mandolin in the Monroe tradition, where it acts as a percussion instrument in bands that have no drums.

Sierra Hull
Photo credit: Steve Levine

"I'd just as soon play rhythm all night than to play a lead, because it's just so fun when you groove and you get to be part of that pocket," said Hull, who – of course – earns rave reviews for her blistering solos. "At the same time, it's fun to kind of get removed from that context a little bit and then explore what else the instrument can do."

After starting out "a proper bluegrass player," Skehan has been playing alongside a drummer for decades in the jamgrass group Railroad Earth.

"I can function as the snare drum but in tandem with the snare drum, where the way I would voice chords in a lower register when doing a bluegrass chop is a way of kind of giving the snare drum pitch and relevance to the chord changes," he said. "But the snare drum is also giving my backbeat an extra pop and shot to it."

"I kind of got into this thing of doing backwards rakes against chords, then with a little bit of delay, it's an arpeggiated piano chord or something," Skehan added. "To just hit a long chord and let it ring out in that raked arpeggiated way and then start to join the chop but be able to step away again became a thing I do."

John Skehan
Photo credit: Steve Levine

All three have played mandolin with rock groups, and they love the sound it brings to those performances. "It will continue to pop up unexpectedly in some recordings," says McCoury.

"It just takes the right producer that hears it in their head, and wants to produce it," he said. "I guess they don't find it being useful on every song, and me as a mandolin player, I do."

Just a few weeks after this interview, McCoury found himself playing mandolin at Nashville's iconic Ryman Auditorium with an incredibly diverse group of performers, including Dead & Co's Bob Weir, guitarist extraordinaire Billy Strings, avant-garde bassist Les Claypool, and Marty Stuart.

Just a few months earlier and less than a mile from the venerable Ryman, at the brand new Brooklyn Bowl Nashville, Hull took the stage with a very different kind of ensemble. That night was part of a 21-date tour with Cory Wong and the Wongnotes. How does a mandolin find a voice with a funk band that includes a six-piece horn section?

Sierra Hull

"In the right context with the right musicians playing, respectfully and kindly and dynamically, it can really be amazing in a lot of different musical situations," Hull answered.

To translate those words into a musical experience, take a listen to "Over the Mountain" on Wong's recently released Power Station album. It opens with Hull playing a simple acoustic melody. She's quickly joined by Wong's guitar, and just as quickly the song transforms into a soaring tour de force with Hull and Wong trading solos over and around the funky, driving bass lines of Sonny T (who performed and recorded with Prince's band The New Power Generation in the 1990s).


After discussing her tour with Wong during a backstage interview at Old Settler's, Hull paused and listened as the sounds of Peter Rowan and His Free Mexican Airforce filtered in from the stage.

"The thing I'll say about the mandolin," she said with a smile, "it shines its brightest when you really can hear the instrument and the wood on a microphone."

Skehan recalls hearing acoustic music being played on acoustic instruments at his first Winter Hawk or Grey Fox festival.

"The Del McCoury Band stepped up to two microphones and made this incredible sound," he said, almost wistfully. "The mandolin is just cool. They are icons of cool because they wield such an unlikely instrument in such a powerful way."

Drew Emmitt and Ronnie McCoury
Photo credit: Steve Levine. Drew Emmitt with Ronnie McCoury

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Photo credit: Steve Levine

Sunday, August 21, 2022

The Dead Cemetery

Cemeteries are generally sad places. Dead cemeteries even more so. The sorrow that pervades them seems a commentary on the living, not the dead.

I visited a dead cemetery recently. Even in its glory years, if it had them, it wasn’t much. A half-acre or so. All the gravestones flat on the ground – no monuments, no ivy, no shrubs, no flowers. Small American flags marking the plots of veterans who lay there its only adornment. Only a few small stones left by recent visitors.

The cemetery in question had been established by the congregation of the small Jewish temple where I grew up. The congregation is no more. Their cemetery is dead.


Some people are cemetery people. Some aren’t. I’m not a cemetery person. I can count on the fingers of one hand the number of times I’ve been to this one: my dad’s funeral in 2004, the unveiling of his gravestone a few months later, my mom’s funeral in 2015, and her unveiling. My dad wasn’t a cemetery person either. Although both of his parents were buried in a slightly less dead graveyard a few miles from this one, I don’t recall ever going there with him.

My mom, though – mom was definitely a cemetery person. Several times each year – usually on a Sunday when dad was playing golf – mom and I would cross the state line to the big (or, at least, bigger) city cemetery where her father lay. I never knew my grandpa. He died about five years before I was born. My dad used to say that mom had worshipped him. I got that.

During our visits, we would plant fresh flowers and trim the bushes by his headstone and the ivy that covered the ground above grandpa and his casket. Judging from the number of spigots that sprouted around this cemetery, plenty of mourners did the same. The pipes grew out of the ground just high enough to allow a watering can to sit beneath them.

Then mom would talk to grandpa for a while, say a little prayer, and adjust the greenery a bit more, and we’d head home.


There was another, more pragmatic reason I didn’t visit my parents’ graves more frequently. My family and I live about 1,400 miles away these days. Trips “up home” have typically been short and hectic. I simply didn’t have time for a low priority activity.

This visit, amid the COVID-19 pandemic and mass remote working, was different. We went for three weeks, mostly to spend time with my mother-in-law and others in my wife’s family who still live nearby. (I have one cousin who spends his summers there and moves to his Florida home when the temperature and leaves drop. This was November, so he wasn’t around.) Early one Wednesday (or Thursday?) afternoon, I took advantage of our relaxed schedule, climbed into the van, and drove to the cemetery. I didn’t expect to find anyone else there and wasn’t disappointed.

I pulled around the curved driveway, built for the hearses and parade of cars filled with mourners that no longer come to a dead cemetery. It was neat and tidy. The flat gravestones and absence of any plantings other than grass make mowing simple. Perpetual care for the residents isn’t costing the congregation’s cemetery trust fund much.

I spent some time wandering around the plots. I saw a few of my parents’ friends and a few of my friends’ parents. I recognized the names of many in the congregation I knew as a kid -- older men whose bald heads I would stare at and older women whose perfume I could smell from several pews away. Other names were familiar in a different way. They were the temple’s founding members who passed away before I was alive but whose support for the congregation was commemorated on the beautiful stained-glass windows in the sanctuary. I used to study those windows in boredom. Each depicted the 12 tribes of Israel – the Lion of Judah, the Grapes of Dan. (Or was that Asher? Or Gad?)

I found my parents’ site along the eastern edge of the graveyard. Unremarkable other than the flag denoting dad’s Army service during World War II. The plaque on mom’s gravestone, unveiled in September 2015 about nine months after her death, did seem shinier than the others. As I drifted back toward the van, my eye shifted from the names on the stones to the dates. Very few marked the graves of anyone who had passed away after dad did in December 2004. Only two – one of my parents’ dearest friends and a lady I recognized as a distant relative – had moved in since mom’s funeral five years ago.


That’s when I realized this is a dead cemetery. To paraphrase the awful old pun, no one is dying to get in here anymore.

The contrast between my hometown and my current address is striking. I live now in one of the fastest growing cities in the country. Nearly 900 people move here every week – really more, because that number is net of people who leave. It’s a million-plus metropolis whose crane-studded skyline is under constant transformation.

Where I grew up was never a boomtown, but it once had a solid manufacturing base; it housed its share of the string of smokestacks that followed the Ohio, Beaver, and Shenango rivers north out of Pittsburgh. Today, it’s a Rust Belt poster child. Most of the downtown buildings that haven’t been torn down are condemned or boarded up or replaced by Dollar Trees. Near the city center, a corner that used to house a busy drug store now has an odd micro-park featuring graffitied signs claiming, “Progress is Visible.” (Really? I didn’t see any.)

The population peaked at almost 49,000 in 1950 – six years before I was born. It’s less than half that today – almost all of them gentile.

The town never had a large Jewish community, but enough for our temple and another – larger and more conservative – congregation. They included many shopkeepers and professionals. It was my generation that left; we went off to college and never came home. Many of us moved far away. Few new families moved there. The exodus forced the two congregations first to merge then to close altogether. The only ones left from our temple family are a few of the younger members of my parents’ cohort. I know of only one person my age who came back home.

Even my parents left – for a while. They bought a home in South Florida and spent all of dad’s final years and most of mom’s there. They had purchased their plots long ago, though, so both made one last trip home, resting comfortably in their caskets, en route to the nearly dead cemetery.


The demise of the Jewish community back home isn’t a unique occurrence – or a new one. Small towns in rural America have been shrinking and dying off since the turn of the last century. Mass migrations south and west have meant the same fate for the old industrial centers of the north and east. And as the cities emptied out, so did communities within them – the neighborhoods, congregations, and social clubs. Just as the smallest towns were most at risk, so were the smallest communities. They leave behind only husks, or memories, or cemeteries. The Rust Belt is home to plenty of dead cemeteries.

On one of my last days up home, I drove down a street where many of the city’s once-grand old houses still stand under larger oak canopies. They once were home to the area captains of industry. Some are now occupied by non-profit groups that keep them looking at least presentable. A few, though, are sad relics. Walls and roofs are caving in. The once majestic yards overgrown with weeds. Windows gone or broken.

Those houses are not just dead; they’re abandoned. No one wants them anymore. I suspect they’ll eventually be razed and turned into parking lots that are never used – just like what happened to many of the buildings a few blocks away in the faded downtown.

These barely standing old mansions sit as reminders of what happened to the little city – the plants and mills left, jobs left, shops left, those of us lucky enough to move away left. What’s left is a hollow remnant of what once was, a town no one wants anymore.

Now that, is sad. So much sadder than my dead cemetery.