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"Blending literary and photo-journalism, history, and storytelling, essays examine eighteen Texas dance halls in terms of their music, culture, and community. Also considers the predominantly Czech and German heritage from which these halls evolved, as well as the cultural dynamics that enable them to continue as centers of community"--Provided by publisher.
A collection of Courtney's columns from the Texas Monthly, curing the curious, exorcizing bedevilment, and orienting the disoriented, advising "on such things as: Is it wrong to wear your football team's jersey to church? When out at a dancehall, do you need to stick with the one that brung ya? Is it real Tex-Mex if it's served with a side of black beans? Can one have too many Texas-themed tattoos?"--Amazon.com.
Photographs and text reveal the histories of ten dance halls across the state of Texas, which includes The Bandera Caberet, The Coupland Inn & Dancehall, Schroeder Hall, Gruene Hall, and others.
Texas dance halls are iconic structures that have played a prominent role in the state's culture from its earliest stages. They became central institutions in the earliest European settlements and provided these immigrant communities with a common, central space in which to build new ways of life in a new land. The settlement patterns of the mostly German, Czech, Polish, and other central European migrants of this period gave East Central Texas the state's greatest concentration of dance halls. Thousands of these halls were built throughout the 19th and early 20th centuries, but at present, their numbers have dwindled considerably, and many are at risk.
Satan in the Dance Hall explores the overwhelming popularity of social dancing and its close relationship to America's rapidly changing society in the 1920s. The book focuses on the fiercely contested debate over the morality of social dancing in New York City, led by moral reformers and religious leaders like Rev. John Roach Straton. Fed by the firm belief that dancing was the leading cause of immorality in New York, Straton and his followers succeeded in enacting municipal regulations on social dancing and moral conduct within the more than 750 public dance halls in New York City. Ralph G. Giordano conveys an easy to read and full picture of life in the Jazz Age, incorporating important events and personalities such as the Flu Epidemic, the Scopes Monkey Trial, Prohibition, Flappers, Gangsters, Texas Guinan, and Charles Lindbergh, while simultaneously describing how social dancing was a hugely prominent cultural phenomenon, one closely intertwined with nearly every aspect of American society fromthe Great War to the Great Depression. With a bibliography, an index, and over 35 photos, Satan in the Dance Hall presents an interdisciplinary study of social dancing in New York City throughout the decade.
Six essays discuss definitions and explanations of folklore, and methods of teaching it. Then 15 additional essays explore Texas folklore related to such topics as police burials, gang graffiti, fiddling, ghosts, dance halls, oil fields, spring rituals, and the dialect spoken along the border between Texas and Mexico. Numerous illustrations and black-and-white photographs. Annotation copyrighted by Book News, Inc., Portland, OR
Small-town dance halls once overflowed with people flocking to see their favorite country bands and to dance. Dance Halls and Last Calls explores over one hundred of these vintage dance halls and their communities through the eyes of artists who played there.
James and Annetta White opened the Broken Spoke in 1964, then a mile south of the Austin city limits, under a massive live oak, and beside what would eventually become South Lamar Boulevard. White built the place himself, beginning construction on the day he received his honorable discharge from the US Army. And for more than fifty years, the Broken Spoke has served up, in the words of White’s well-worn opening speech, “. . . cold beer, good whiskey, the best chicken fried steak in town . . . and good country music.” White paid thirty-two dollars to his first opening act, D. G. Burrow and the Western Melodies, back in 1964. Since then, the stage at the Spoke has hosted the likes of Bob Wills, Dolly Parton, Ernest Tubb, Ray Price, Marcia Ball, Pauline Reese, Roy Acuff, Kris Kristofferson, George Strait, Willie Nelson, Jerry Jeff Walker, Asleep at the Wheel, and the late, great Kitty Wells. But it hasn’t always been easy; through the years, the Whites and the Spoke have withstood their share of hardship—a breast cancer diagnosis, heart trouble, the building’s leaky roof, and a tour bus driven through its back wall. Today the original rustic, barn-style building, surrounded by sleek, high-rise apartment buildings, still sits on South Lamar, a tribute and remembrance to an Austin that has almost vanished. Housing fifty years of country music memorabilia and about a thousand lifetimes of memories at the Broken Spoke, the Whites still honor a promise made to Ernest Tubb years ago: they’re “keepin’ it country.”
At immigrant picnics, social clubs, and urban dance halls, Randy McBee discovers distinct and highly contested gender lines, proving that the battle between the ages was also one between the sexes."--BOOK JACKET.
A fine, engaging, and valuable biography of a man who merged the spontaneity of country fiddling with the Big Band Sound, giving birth to Western Swing. A landmark in country music!