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A twisting path through Austin’s underground music scene in the twentieth century’s last decade, narrated by the people who were there.

It’s 1990 in Austin, Texas. The next decade will be a tipping point in the city's metamorphosis from sleepy college town to major city. Beneath the increasingly slick exterior, though, a group of like-minded contrarians were reimagining an underground music scene. Embracing a do-it-yourself ethos, record labels emerged to release local music, zines cheered and jeered acts beneath the radar of mainstream media outlets, and upstart clubs provided a home venue for new bands to build their sound.

This vibrant scene valued expression over erudition, from the razor-sharp songcraft of Spoon to the fuzzed-out poptones of Sixteen Deluxe, and blurred the boundaries between observer and participant. Evolving in tandem with the city’s emergence on the national stage via the film Slacker and the SXSW conference and festivals, Austin’s musical underground became a spiritual crucible for the uneasy balance between commercial success and cultural authenticity, a tension that still resonates today.

The first book about Austin underground music in the ’90s, A Curious Mix of People is an oral history that tells the story of this transformative decade through the eyes of the musicians, writers, DJs, club owners, record-store employees, and other key figures who were there.

Austin, Texas, entered the aviation age on October 29, 1911, when Calbraith Perry Rodgers landed his Wright EX Flyer in a vacant field near the present-day intersection of Duval and 45th Streets. Some 3,000 excited people rushed out to see the pilot and his plane, much like the hundreds of thousands who mobbed Charles A. Lindbergh and The Spirit of St. Louis in Paris sixteen years later. Though no one that day in Austin could foresee all the changes that would result from manned flight, people here—as in cities and towns across the United States—realized that a new era was opening, and they greeted it with all-out enthusiasm.

This popularly written history tells the story of aviation in Austin from 1911 to the opening of Austin-Bergstrom International Airport in 1999. Kenneth Ragsdale covers all the significant developments, beginning with military aviation activities during World War I and continuing through the barnstorming era of the 1920s, the inauguration of airmail service in 1928 and airline service in 1929, and the dedication of the first municipal airport in 1930. He also looks at the University of Texas's role in training pilots during World War II, the growth of commercial and military aviation in the postwar period, and the struggle over airport expansion that occupied the last decades of the twentieth century. Throughout, he shows how aviation and the city grew together and supported each other, which makes the Austin aviation experience a case study of the impact of aviation on urban communities nationwide.

Winner, Peter C. Rollins Book Award, Southwest Texas Popular Culture Association/American Culture Association, 2011

During the 1990s, Austin achieved "overnight" success and celebrity as a vital place for independent filmmaking. Directors Richard Linklater and Robert Rodriguez proved that locally made films with regional themes such as Slacker and El Mariachi could capture a national audience. Their success helped transform Austin's homegrown film community into a professional film industry staffed with talented, experienced filmmakers and equipped with state-of-the art-production facilities. Today, Austin struggles to balance the growth and expansion of its film community with an ongoing commitment to nurture the next generation of independent filmmakers.

Chainsaws, Slackers, and Spy Kids chronicles the evolution of this struggle by re-creating Austin's colorful movie history. Based on revealing interviews with Richard Linklater, Robert Rodriguez, Mike Judge, Quentin Tarantino, Matthew McConaughey, George Lucas, and more than one hundred other players in the local and national film industries, Alison Macor explores how Austin has become a proving ground for contemporary independent cinema. She begins in the early 1970s with Tobe Hooper's horror classic, The Texas Chainsaw Massacre, and follows the development of the Austin film scene through 2001 with the production and release of Rodriguez's $100-million blockbuster, Spy Kids. Each chapter explores the behind-the-scenes story of a specific movie, such as Linklater's Dazed and Confused and Judge's Office Space, against the backdrop of Austin's ever-expanding film community.

A collection of essays using Gloria Anzaldúa’s archival works to further explore and reassess the meaning of her legacy.

In the 1980s, Gloria Anzaldúa’s pioneering Borderlands/La Frontera and This Bridge Called My Back created new and durable trajectories for feminist, queer, Latinx, and postcolonial thought. Still, much of her writing was never published. Drawing on Anzaldúa’s impressive archive—manuscript drafts, personal memorabilia, correspondence, and drawings held at the Benson Collection at the University of Texas, Austin—this volume explores what we are still learning from a pathbreaking scholar more than twenty years after her death.

Changing Our Minds with Gloria Anzaldúa gathers essays from eleven writers working in diverse fields, including philosophy, literature, geography, performance studies, and visual arts. All have been powerfully influenced by Anzaldúa, and after examining her archives, all came to know her work anew. Each chapter relates discoveries among the unpublished materials, illuminating Anzaldúa’s celebrated texts and raising novel questions. A meditation, as well, on archivalism itself, Changing Our Minds reckons with the power of dusty papers to motivate new generations of readers outside the geographies and academic departments in which Anzaldúa has long been a fixture.

Austin’s thriving film culture, renowned for international events such as SXSW and the Austin Film Festival, extends back to the early 1970s when students in the Department of Radio-Television-Film at the University of Texas at Austin ran a film programming unit that screened movies for students and the public. Dubbed CinemaTexas, the program offered viewers a wide variety of films—old and new, mainstream, classic, and cult—at a time when finding and watching films after their first run was very difficult and prohibitively expensive. For each film, RTF graduate students wrote program notes that included production details, a sampling of critical reactions, and an original essay that placed the film and its director within context and explained the movie’s historical significance. Over time, CinemaTexas Program Notes became more ambitious and were distributed around the world, including to luminaries such as film critic Pauline Kael.

This anthology gathers a sampling of CinemaTexas Program Notes, organized into four sections: “USA Film History,” “Hollywood Auteurs,” “Cinema-Fist: Renegade Talents,” and “America’s Shadow Cinema.” Many of the note writers have become prominent film studies scholars, as well as leading figures in the film, TV, music, and video game industries. As a collection, CinemaTexas Notes strongly contradicts the notion of an effortlessly formed American film canon, showing instead how local film cultures—whether in Austin, New York, or Europe—have forwarded the development of film studies as a discipline.

A collection of essays and stories written in Spanish by students for students.

Contar Historias: Escritura creativa en el aula es una colección de ensayos e historias de no ficción escritas por estudiantes de grado y pregrado que tomaron cursos y/o asistieron a talleres de escritura impartidos el Departamento de Español y Portugués en la Universidad de Texas en Austin. El libro es una muestra del trabajo creativo de estudiantes que hablan español en casa pero que nunca escribieron un texto creativo en esta lengua; estudiantes para quienes el español es su segunda, tercera e incluso cuarta lengua, y estudiantes para quienes es su lengua materna. La diversidad de voces y la amplia raigambre cultural, lingüística y geográfica de la que emergen se juntan en este volumen que refleja la multiplicidad de maneras en que el español apela a las nuevas generaciones de estudiantes, no solo en UT sino en todo el país.

Contar historias: Escritura creativa en el aula (Telling Stories: Creative Writing in the Classroom) is a remarkable collection of topical essays and poignant stories written by undergraduate and graduate students who took courses and/or writing workshops offered by the Spanish Creative Writing Initiative in the Department of Spanish and Portuguese at the University of Texas at Austin. The book showcases an abundance of amazingly creative work and includes heritage speakers who have never before written a creative work in Spanish; students for whom Spanish is a second, third, and even fourth language; and native speakers. The diversity of voices from an array of cultural, linguistic, and geographical backgrounds collected in this volume reflects the multiplicity of ways in which Spanish appeals to students, not just at UT, but everywhere.

The stories include—but are not limited to—intimate tales of attending college; personal testimonials on the effects of climate change, experiences navigating the US health system, and accounts of many beautiful memories from childhood. They reveal the moving and diverse ways of communicating in Spanish and are themselves potent arguments for the importance of using creativity, working collaboratively, and telling stories in the classroom.

As Austin grew from a college and government town of the 1950s into the sprawling city of 2010, two ideas of Austin as a place came into conflict. Many who promoted the ideology of growth believed Austin would be defined by economic output, money, and wealth. But many others thought Austin was instead defined by its quality of life. Because the natural environment contributed so much to Austin's quality of life, a social movement that wanted to preserve the city's environment became the leading edge of a larger movement that wanted to retain a unique sense of place. The "environmental movement" in Austin became the political and symbolic arm of the more general movement for place.

This is a history of the environmental movement in Austin—how it began; what it did; and how it promoted ideas about the relationships between people, cities, and the environment. It is also about a deeper movement to retain a sense of place that is Austin, and how that deeper movement continues to shape the way Austin is built today. The city it helped to create is now on the forefront of national efforts to rethink how we build our cities, reduce global warming, and find ways that humans and the environment can coexist in a big city.

Before Austin became the “live music capital of the world” and attracted tens of thousands of music fans, it had a vibrant local music scene that spanned late sixties psychedelic and avant-garde rock to early eighties punk. Venues such as the Vulcan Gas Company and the Armadillo World Headquarters hosted both innovative local musicians and big-name touring acts. Poster artists not only advertised the performances—they visually defined the music and culture of Austin during this pivotal period. Their posters promoted an alternative lifestyle that permeated the city and reflected Austin’s transformation from a sleepy university town into a veritable oasis of underground artistic and cultural activity in the state of Texas.

This book presents a definitive survey of music poster art produced in Austin between 1967 and 1982. It vividly illustrates four distinct generations of posters—psychedelic art of the Vulcan Gas Company, early works from the Armadillo World Headquarters, an emerging variety of styles from the mid-1970s, and the radical visual aesthetic of punk—produced by such renowned artists as Gilbert Shelton, Jim Franklin, Kerry Awn, Micael Priest, Guy Juke, Ken Featherston, NOXX, and Danny Garrett. Setting the posters in context, Texas music and pop-culture authority Joe Nick Patoski details the history of music posters in Austin, and artist and poster art scholar Nels Jacobson explores the lives and techniques of the artists.

Over the past few decades, Austin, Texas, has made a concerted effort to develop into a “technopolis,” becoming home to companies such as Dell and numerous start-ups in the 1990s. It has been a model for other cities across the nation that wish to become high-tech centers while still retaining the livability to attract residents. Nevertheless, this expansion and boom left poorer residents behind, many of them African American or Latino, despite local and federal efforts to increase lower-income and minority access to technology.

This book was born of a ten-year longitudinal study of the digital divide in Austin—a study that gradually evolved into a broader inquiry into Austin’s history as a segregated city, its turn toward becoming a technopolis, what the city and various groups did to address the digital divide, and how the most disadvantaged groups and individuals were affected by those programs.

The editors examine the impact of national and statewide digital inclusion programs created in the 1990s, as well as what happened when those programs were gradually cut back by conservative administrations after 2000. They also examine how the city of Austin persisted in its own efforts for digital inclusion by working with its public libraries and a number of local nonprofits, and the positive impact those programs had.

Austin, Texas, is renowned as a high-tech, fast-growing city for the young and creative, a cool place to live, and the scene of internationally famous events such as SXSW and Formula 1. But as in many American cities, poverty and penury are booming along with wealth and material abundance in contemporary Austin. Rich and poor residents lead increasingly separate lives as growing socioeconomic inequality underscores residential, class, racial, and ethnic segregation.

In Invisible in Austin, the award-winning sociologist Javier Auyero and a team of graduate students explore the lives of those working at the bottom of the social order: house cleaners, office-machine repairers, cab drivers, restaurant cooks and dishwashers, exotic dancers, musicians, and roofers, among others. Recounting their subjects’ life stories with empathy and sociological insight, the authors show us how these lives are driven by a complex mix of individual and social forces. These poignant stories compel us to see how poor people who provide indispensable services for all city residents struggle daily with substandard housing, inadequate public services and schools, and environmental risks. Timely and essential reading, Invisible in Austin makes visible the growing gap between rich and poor that is reconfiguring the cityscape of one of America’s most dynamic places, as low-wage workers are forced to the social and symbolic margins.

Ronnie Earle was a Texas legend. During his three decades as the district attorney responsible for Austin and surrounding Travis County, he prosecuted corrupt corporate executives and state officials, including the notorious US congressman Tom DeLay. But Earle maintained that the biggest case of his career was the one involving Frank Hughey Smith, the ex-convict millionaire, alleged criminal mastermind, and Dixie Mafia figure.

With the help of corrupt local authorities, Smith spent the 1970s building a criminal empire in auto salvage and bail bonds. But there was one problem: a rival in the salvage business threatened his dominance. Smith hired arsonists to destroy the rival; when they botched the job, he sent three gunmen, but the robbery they planned was a bloody fiasco. Investigators were convinced that Smith was guilty, but many were skeptical that the newly elected and inexperienced Earle could get a conviction. Amid the courtroom drama and underworld plots the book describes, Willie Nelson makes a cameo. So do the private eyes, hired guns, and madams who kept Austin not only weird but also riddled with vice. An extraordinary true story, Last Gangster in Austin paints an unusual picture of the Texas capital as a place that was wild, wonderful, and as crooked as the dirt road to paradise.

Journalist and activist Thorne Dreyer has interviewed hundreds of people for Rag Radio since it went on the air in 2009. Making Waves features transcripts from twenty-one of those interviews, with everyone from TV anchor Dan Rather to Senator Bernie Sanders to monumental sculptor Bob “Daddy-O” Wade. The Rag Radio archive is now part of the collections at the Briscoe Center for American History at the University of Texas.

As a student at the University of Texas in the 1960s, Dreyer joined the Students for a Democratic Society (SDS) and became heavily involved in civil rights and the movement to end the war in Vietnam. He also helped create and edit two underground newspapers—The Rag in Austin and Space City! in Houston—and later ran a public relations business with a diverse list of clients, including progressive political campaigns. Dreyer credits the influence of his artist mother and writer father and their lively salons plus his journalism career, his political and social activism, and his stage acting experience for his interviewing success—“Put it all in a blender and Rag Radio was bound to whip up.”

Making Waves holds a wealth of information, but Dreyer makes it read like conversations among friends. “I always tell my guests that I want the discussion to be informal,” Dreyer says. “We’re going to record some important history here, but we also want to have fun.”

Winner, Coral Horton Tullis Memorial Prize, Texas State Historical Association, 2014

During the early 1970s, the nation’s turbulence was keenly reflected in Austin’s kaleidoscopic cultural movements, particularly in the city’s progressive country music scene. Capturing a pivotal chapter in American social history, Progressive Country maps the conflicted iconography of “the Texan” during the ’70s and its impact on the cultural politics of subsequent decades.

This richly textured tour spans the notion of the “cosmic cowboy,” the intellectual history of University of Texas folklore and historiography programs, and the complicated political history of late-twentieth-century Texas. Jason Mellard analyzes the complex relationship between Anglo-Texan masculinity and regional and national identities, drawing on cultural studies, American studies, and political science to trace the implications and representations of the multi-faceted personas that shaped the face of powerful social justice movements. From the death of Lyndon Johnson to Willie Nelson’s picnics, from the United Farm Workers’ marches on Austin to the spectacle of Texas Chic on the streets of New York City, Texas mattered in these years not simply as a place, but as a repository of longstanding American myths and symbols at a historic moment in which that mythology was being deeply contested.

Delivering a fresh take on the meaning and power of “the Texan” and its repercussions for American history, this detail-rich exploration reframes the implications of a populist moment that continues to inspire progressive change.

A deep dive into the early days of punk in Austin, Texas, this oral history immerses readers in a diverse and influential music scene.

Texas has always teemed with music and counterculture. When punk came to the state in 1978, it flourished in San Antonio, Dallas, Houston, and, especially, Austin. Punk and post-punk musicians, including nationally acclaimed bands like the Butthole Surfers, the Big Boys, the Dicks, and Daniel Johnston influenced local culture before slashing into the American musical psyche. (See Kurt Cobain sporting Johnston’s “Hi, How are you?” T-shirt.) Someday All the Adults Will Die! is an oral history of punk in Texas, from its rise in the late 1970s, through its strong anti-racist, feminist, and queer peak, to its dissolution in the late 1980s.

Now a seasoned music journalist, Blashill experienced the zenith of Texas punk as a teenager, and he captures its intensity in words and pictures. Someday All the Adults Will Die! is rife with electrifying images and firsthand tales of what made this scene such a storm of pleasures and terrors, uncompromising artists, and wild performances. This dynamic portrait of an untamed, all-out musical era is a must-read for fans of punk music, counterculture, and live music.

This informative and provocative study focuses on the centrality of departure in the texts of five major American women novelists.

An important moment in many novels and poems by American women writers occurs when a central character looks out a window or walks out the door of a house. These acts of departure serve to convey such values as the rejection of constraining social patterns, the search for individual fulfillment, and the entry into the political.

Janis Stout examines such moments and related patterns of venture and travel in the fiction of five major American novelists of the 20th century: Mary Austin, Willa Cather, Anne Tyler, Toni Morrison, and Joan Didion. Stout views these five writers within a spectrum of narrative engagements with issues of home and departure—a spectrum anchored at one end by Sarah Orne Jewett and at the other by Marilynne Robinson, whose Housekeeping posits a vision of female transience.

Through the Window, Out the Door ranges over an expansive territory. Moving between texts as well as between texts and contexts, Stout shows how women writers have envisioned the walls of physical and social structures (including genres) as permeable boundaries, drawing on both a rhetoric of liberation and a rhetoric of domesticity to construct narrative arguments for women's right to move freely between the two. Stout concludes with a personal essay on the dilemmas of domesticity and the ambivalence of departure.

2025 San Antonio Conservation Society Publication Award

Unheard Witness foregrounds a young woman’s experience of domestic abuse, resistance, and survival before the mass shooting at the University of Texas at Austin in 1966.

In 1966, Kathy Leissner Whitman was a twenty-three-year-old teacher dreaming of a better future. She was an avid writer of letters, composing hundreds in the years before she was stabbed to death by her husband, Charles Whitman, who went on to commit a mass shooting from the tower at the University of Texas at Austin. Kathy’s writing provides a rare glimpse of how one woman described, and sought to change, her short life with a coercive, controlling, and violent partner.

Unheard Witness provides a portrait of Kathy’s life, doing so at a time when Americans are slowly grasping the link between domestic abuse and mass shootings. Public violence often follows violence in the home, yet such private crimes continue to be treated separately and even erased in the public imagination. Jo Scott-Coe shows how Kathy's letters go against the grain of the official history, which ignored Kathy’s perspective. With its nuanced understanding of abuse and survival, Unheard Witness is an intimate, real-time account of trust and vulnerability—in its own way, a prologue to our age of atrocities.

Voice Lessons explores the rich personal and political terrain of Alice Embree, a 1960s activist and convert to the women’s liberation movement of the 1970s, bringing a woman’s perspective to a transformational time in US history. This riveting memoir traces the author’s roots in segregated Austin and her participation in efforts to integrate the University of Texas. It follows her antiwar activism from a vigil in front of President Lyndon Johnson’s ranch in 1965 to a massive protest after the shootings at Kent State in 1970. Embree’s activism brought her and the Students for a Democratic Society into conflict with Frank Erwin, the powerful chairman of the UT Board of Regents, and inspired a campus free speech movement. She recounts her experiences living in New York during the tumultuous years of 1968 and 1969, including the Columbia University strike and the Woodstock music festival. She also tells about protesting at the Chicago Democratic Convention, her interactions with Yippies and poets, and her travels to Chile, Cuba, and Mexico. Embree highlights the radical roots of the women’s liberation movement in Austin and the audacious women’s community that challenged gender roles, fought for reproductive justice, and inspired a lifetime of activism.

Austin, Texas, at the beginning of the twenty-first century, is experiencing one of the most dynamic periods in its history. Wedged between homogenizing growth and a long tradition of rebellious nonconformity, many Austinites feel that they are in the midst of a battle for the city's soul.

From this struggle, a movement has emerged as a form of resistance to the rapid urban transformation brought about in recent years: "Keep Austin Weird" originated in 2000 as a grassroots expression of place attachment and anti-commercialization. Its popularity has led to its use as a rallying cry for local business, as a rhetorical tool by city governance, and now as the unofficial civic motto for a city experiencing rapid growth and transformation.

By using "Keep Austin Weird" as a central focus, Joshua Long explores the links between sense of place, consumption patterns, sustainable development, and urban politics in Austin. Research on this phenomenon considers the strong influence of the "Creative Class" thesis on Smart Growth strategies, gentrification, income inequality, and social polarization made popular by the works of Richard Florida. This study is highly applicable to several emerging "Creative Cities," but holds special significance for the city considered the greatest creative success story, Austin.