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CROP Hunger Walk, now in its 32nd year in Austin, is an annual nationwide event taking place on Saturday, Mar. 6, and Sunday, Mar. 7 at Walter E. Long Metropolitan Park (6614 Blue Bluff Rd.). Sponsored by Austin Area Interreligious Ministries, the walk was created to raise awareness and funds for international relief and development, as well as local hunger-fighting. Twenty-five percent of the funds raised stay in Austin to support food needs in local agencies. Austin has consistently ranked among the top six cities across the U.S. in CROP Walk fundraising. Saturday registration begins 9:30 a.m.; Sunday 1:45 p.m. Visit to sign up or just drop by to help raise dollars to help end hunger. Contact 512.415.6024 or

Ballet Austin II presents “Quiet Imprint”: a visiting New York choreographer’s interpretation of personal narratives from the central Texas Vietnamese community. The world premiere work will depict the “Diaspora,” the arduous journey experienced by the countless displaced Vietnamese men and women who lived through the Vietnam War, particularly those who ended up in Austin. The project culminates in a dance by Thang Dao, an emerging Vietnamese choreographer and the Audience Choice winner of Ballet Austin’s first biennial New American Talent/Dance in 2006. “We are honored to engage in this cultural experience that is directly reflective of such a rich part of the community we serve,” says Michelle Martin of BA. Saturday, Mar. 6 at 7 p.m./Sunday, Mar. 7 at 2 p.m. at Austin Ventures Studio Theater at the Butler Dance Education Center, 501 W. Third St. $15 at, 512.476.2163.

The YWCA’s Hallmark Speakers Series presents “Mommy’s Coming Home! The Reintegration of Women Veterans into the Family” on Friday, Mar. 19 from 9 a.m.-12:30 p.m. at the Carver Museum (1165 Angelina St.). Guest speakers Dr. Elwanda Hawthorne of the Austin Veteran’s Center and Gretchen Johnson from the Samaritan Center’s Hope for Heroes will offer insight on how we can assist women service members returning from the combat zone as they reintegrate into the family.  Topics include the effect of “combat zone” on women when they return to the family, Post Traumatic Stress Disorder (PTSD), how women service members return to “normal,” and how the community can support our returning veterans. Info: 512.326.1222 or

The Texas Asian Chamber of Commerce is holding a Business Connections Networking Event on Wednesday, Mar. 24 at Satay Restaurant, 3202 West Anderson Lane, Suite 205 from 5:30 p.m.-7:30 p.m. All are invited to the free gathering for a lively discussion of Asian American artists and their achievements. The event also affords an opportunity to network with the Asian American community while enjoying great food. TACC serves as a catalyst organization for Asian business associations and its strategic initiatives include support for outreach programs to improve the prospects for Asian American owned firms. For more info go to or 512.485.1090.

Mamas from all over Central Texas consign their gently “loved” children’s gear/clothes/ equipment over one weekend-in-one huge “store” set up in the Palmer Events Center, Saturday, Mar. 27 (9-7 p.m.) and Sunday, Mar. 28 (8-5 p.m.). MamaCents, a group dedicated to the mission of motherhood, enables mothers to help themselves while helping others. Their consignment sale is all about good deals, recycling and savings. From the most popular clothing brands, toys that kids love, and all the basics to set up a nursery, to boutique baby accessories and maternity wear, MamaCents offers a savvy and sensible way to shop. Free admission.

Mark your calendar for the East Side Fair, set for Saturday, Apr. 3, from 12–6 p.m. at the intersection of 12th Street and Chicon. The fair is an afternoon family festival which will include local music and entertainment, children’s activities, a food court highlighting East Austin cuisine, a farmers’ market to showcase sustainable farming on the East Side, booths for East Austin non-profits and businesses and fun incentives for walking and riding your bike to the fair. The area’s permanent art installation and streetscaping efforts will be unveiled at the close of the festival. Attendees will also have the opportunity to participate in an East Side Crawl and win a grand prize.

Find TODO Austin at, or call 512.538.4115

A free, weekly African themed dance class for children starts up Wednesday, Mar. 3 at the Orun Cultural Center for the Arts (1401 Cedar Street). Sunshine Dance! is a 12 week class which runs every Wednesday through May 19 from 4-5:30 p.m. Youth aged 4-12 are welcome any class. African dance is a great way to learn about movement, release and focus.  Youth will enjoy learning about balance and nature while giving their bodies free, yet controlled, expression.  High energy and self confidence is the aim at Sunshine Dance! Bring your little one, or not so little one, for an afternoon of wellness and cultural uplifting while they learn communally and have a great time just being themselves. For more info, contact 401.286.7675 or

Restaurant & Bar

Live Music


2 hour lunchtime parking on 6th St. We have relocated from our long time home on South Congress to Austin’s Historic Sixth Street.

Fri Sat Fri Sat

March 5 March 6 March 12 March 13

Mariachi Tamazula Ritmo3 Mariachi Tamazula Atash

Wed Thu FrI

Spring Break SPICY NIGHTS sponsored by March 17 A-T-Boyz, La Distancia,Mariachi Tamazula, Salaman March 18 Chente Barerra/Oscar G, Tortilla Factory, Monte Carlo March 19 Joe B & The Barron Band, AJ Castillo, Gabe Nieto and the Jalapeno Express, Larry Lang and The Lonely Knights


March 20 Tex Maniac, Grupo Vida, John Arthur Martinez, Sister Sister

Fri Sat

March 26 Mariachi Tamazula March 27 Ritmo3

TODO Austin

cClosed // Tue to Thuc8am - 11pm // Fri - Satc8am - 2am // Sunc9am - 4pm


600 East 6th Street // 512.444.7770 //

Celebrating 32 Years! Old Pecan Street Festival 250,000 People ~ May 1 & May 2 Sixth Street ~ Free Admission Music on Five Stages Artisans from all over the United States Food & Fun Sponsorships Are Available We’re Green!

Brandi Cowley Austin Austin Fashion Fashion Awards Awards Winner Winner in in Best Best Women’s Women’s Cut Cut

Nominee: Nominee: Critics Critics Choice Choice Award Award for for Best Best Hair Hair Stylist Stylist Nominee: Nominee: Best Best Men’s Men’s Cut Cut Nominee: Nominee: Makeup Makeup Artists, Artists, Best Best Use Use of of Color Color Best Best Hair Hair Stylist Stylist 2009 2009 Rare Rare Magazine Magazine Brandi Brandi Cowley Cowley is is Now Now at at bô bô salon salon ||

2004 S. Congress Ave | Austin Texas 78704 | 512.448.0060

TODO Austin

Volume I, Number 009 “Sí Se Puede!” March Set for 3-27

Eastside Memorial Senior Prom in Peril

Sweet Relief for Suffering Musicians

One of the most important annual events in Austin is the “Sí Se Puede!” march, scheduled for Saturday, March 27 from 10 a.m. - 1 p.m. The march, which assembles at Terrazas Library (1105 E. Cesar Chavez St.) and ends at City Hall (301 W. Cesar Chavez St.), celebrates the legacy of Cesar E. Chavez, who’s honored in our city with a statue on the University of Texas’ West Mall and whose name adorns a major east-west thoroughfare. Speakers, poetry, dance and music have been featured in past marches. People Organized in the Defense of Earth and her Resources (PODER) is a central sponsor of the march, which gives hope to local youth and instills a sense of community pride. As Chavez inspired millions of people across the country of all races and nationalities to engage in social and economic justice for farm workers, PODER likewise works in Austin to redefine environmental issues as social and economic justice issues. Their advocacy helps increase the participation of communities of color in corporate and government decision making related to toxic pollution, economic development and their impact on our neighborhoods. For more info on the march, contact 512.472.9921 or poder.austin@

The Senior Class of 2010 at Eastside Memorial High School (the former A.S. Johnston High) is in need of our support. “I think our community should know what our children at Eastside are faced with,” says musician Julian Fernandez of Los Texas Wranglers. “Their Senior Prom is only months away and they are faced with the possibility of not having a prom for lack of funds. It’s time that we, as a community, stepped up to help.” The Wranglers have answered the call and are co-hosting a Tardeada (afternoon dance) on Saturday, March 27—from 12 p.m.-3 p.m. at the school. A $5 donation is suggested with kids 12 years and under free when attending with a parent. Light snacks and soft drinks will be available for purchase at the dance. Tickets are available at the door or contact aleena.adonyi@ for more info (or to send your donation).

RajiWorld Tour Consultants founder/owner Roggie Baer hosts a special SXSW 2010 day party and benefit for Sweet Relief on Friday, March 19 at Jovita’s (1619 South 1st Avenue) from 12-7 p.m. “Now in our twelfth year, RajiWorld plus 1 has grown into RajiWorld plus some,” tells the incandescent Ms. Baer. The benefit requires no SXSW badges or wristbands and is open to all ages. Free parking is available with a full menu and full bar benefitting the charity. Sweet Relief Musicians Fund provides financial assistance to all types of career musicians who are struggling to make ends meet while facing illness, disability, or age-related problems. Victoria Williams, Michael Des Barres and the Bluebonnets are among the many artists donating their time. For more, contact 478-0400.

La Peña Marks Women’s History Month “Women without Borders” highlights the spring schedule of La Peña (227 Congress Ave.). The exhibit runs from March 5 – April 3 (gallery hours are Tuesday – Friday, 9 a.m. - 5 p.m.; Saturday: 9 a.m. - 3 p.m. 512.477.6007). “Women without Borders” features many emerging and established artists who come from places including Monterrey and Coahuila, Mexico, South Texas, and the Rio Grande Valley. The group art show also includes works by young women from San Antonio’s SAY Sí multidisciplinary arts program. A reception will take place on Friday, March 12th from 6 – 8 p.m. International Women’s Day was recognized by the United Nations in 1975, and in 1987 the U.S. declared March Women’s History Month. La Peña, an interdisciplinary cultural and educational organization dedicated to the enhancement of art in all its forms, honors these events with an annual group show of women artists. These women use their artwork to represent, share, and preserve their cultural heritage, share their personal stories and perspectives on the world, and sometimes use it as a platform to speak out on issues that are important to them.

Barrientos Scholarship Fund As Judge Olga Seelig stated in La Voz de Austin last month upon the recent passing of Emma Barrientos, “she blazed a trail in Austin that can never be replicated. Her passion for equality and fight for Hispanic political voices was truly an inspiration. We will always draw support from her spirit.” TODO Austin asks that you consider supporting the Barrientos Scholarship Fund in memory of Emma Barrientos. Visit the ACC website: scholarships/Barrientos.php or write to, c/o The ACC Foundation (Barrientos Scholarship Fund) 5930 Middle Fiskville Rd., Austin, Texas 78752.

UT Opens New Black Studies Dept. The University of Texas at Austin has created a new academic department devoted to studying the experiences of African Americans, indigenous Africans and people of African descent around the world, as well as an affiliated institute that will focus on urban policy. The Department of African and African Diaspora Studies was formally established by the state’s Higher Education Coordinating Board in November and is preparing to hire faculty and offer courses and degrees by the fall. The department will work closely with the new Institute for Critical Urban Policy, which has been created with the support of members of the Texas legislature. University alumnus Joe Jamail made a gift of $1 million to fund an endowed chair in the department. “It’s a major step forward,” Anthropology Professor Edmund T. Gordon said of the new department, which he will chair. “These types of programs are very rare. It will be the only Black studies department in Texas and, when established, the only Ph.D.-offering program in the south and southwest.” Currently, about 30 students major in African American Studies through the John L. Warfield Center for African and African American Studies. Gordon hopes to double that number within a few years and to hire ten full-time faculty members from outside the university within five years. “This is a landmark event for The University of Texas at Austin,” said President William Powers Jr., whose support was instrumental in establishing the department and institute. “Not only will the new department and institute offer world-class educational and research opportunities, they also demonstrate the university’s ongoing commitment to diversity and to pursuing understudied areas of scholarship.”

04 TODO Austin // March 2010 //

Mr. Holmes and His Victory Grill Honored The Texas Historical Commission’s military history division, in conjunction with the Historic Victory Grill, dedicated an Official Texas Historical Marker on February 20 commemorating the historical significance of the Victory Grill after World War II. The marker dedication ceremony featured the family of Victory Grill’s original owner Johnny Holmes, as well as city and THC officials. During World War II, segregation prevented African American servicemen from enjoying most civilian restaurants and recreational facilities. In an effort to address this issue, Austin civic leaders urged the city to provide recreational sites for servicemen on leave from military posts. By war’s end, African American servicemen had added but limited “R&R” sites in Austin. Johnny Holmes responded to this need when he opened the original Victory Grill on VJ day (Victory over Japan Day, Aug. 16, 1945) in a converted icehouse on East 11th street. Holmes created a venue in east Austin that provided returning African American servicemen with both an accessible dining establishment and blues and jazz entertainment.

Publisher/Editor - Gavin Lance Garcia Art Director - Dave McClinton Executive Editor - Erica Stall Wiggins Senior Editor - Katie Walsh Associate Editors: Brandon Ramiro Badillo, Alexandra M. Landeros, Ajay Miranda, Blake Shanley, Maverick Shaw Contributing Writers/Artists: Heather Banks, Deborah Alys Carter, Isabel Corona, Brandi Cowley, Kathleen Fitzgerald, Marie Hernandez, Ken Hoge, Julia Lee, JoJo Marion, Jake Morales, Oliver Nicolas, Tom Palaima, Marion Sanchez, Kristina Vallejo, Kuetzpalin Vasquez, Shand Walton, Yvonne Lim Wilson Special Thanks to: Elizabeth Derczo at SXSW Advertising: Kathleen Ginest, 512.284.5492; or TODO Austin is published by Spark Awakened Publishing. © 2010 Spark Awakened Publishing. All rights reserved. Unsolicited submissions (including, but not limited to articles, artwork, photographs) are not returned. WRITE TO US! with stories, submissions, etc.: Editorial – 512.538.4115 On the Cover: Featuring SXSW’s Louis Black, Alicia Zertuche, Brent Grulke, Margaret Moser, Nick Barbaro, Roland Swenson, and Joseph Gonzales Find us on...

Diverse Arts founder/director Harold McMillan commented, “This is significant because it brings attention to a man who provided a safe, nurturing and comfortable environment for a community in a largely segregated town.” The Hoblitzelle Foundation of Dallas funded the marker, which is the 20th in an overall series of special historical markers throughout the state entitled Vignettes of Wartime Texas. Tejanos Add Voice to State Plan Once a decade, the Texas Historical Commission develops a Statewide Preservation Plan for Texas. president/founder Rudi R. Rodriguez recently circulated a survey to gather opinions on the important community preservation issues. “We see this new plan outlining realistic and achievable goals and becoming an on-line tool for preservation with local applications, resources, best practices and links to more information,” states Rodriguez. “The first step in our planning process is to talk about what’s going on locally. The input will help steer the direction of this Statewide Preservation Plan from the very beginning.” To learn more, see www.

Join us at TODO Austin Multicultural Media for all of Austin

TODO Austin is a free, colorful print and online journal for all of Austin highlighting our multicultural heritage. Our mission is to promote the concept of community in an ethnically diverse city. TODO Austin’s content closely mirrors the changing demographics of Austin. TODO Austin is circulated throughout Austin at 300 locations, spanning the city from the West Side’s Pennybacker Bridge on Loop 360 to the Montopolis Bridge in East Austin. TODO Austin provides a platform that profiles Hispanic, Anglo, Asian, African American and other individuals, groups and organizations that are representing a positive vision in the community. Give us a call at 512.538.4115

Let’s Talk About It

The Bell Tolls for Tejano Is Tejano music broken? The answer is multilayered, complicated; yet simple — Tejano music lives! It lives in both a state of denial and a blinded victory. The efforts to strategically reinvent or rejuvenate this market, much like what country music experienced in its evolution, is most often met with skepticism and lingering unwillingness to take action. In an analogy, the center core of the long-standing Tejano tree is solid but the outer rings are infected with greed, self-indulgence and an overpowering lack of leadership. The irony is that one may come across a t-shirt which screams “Tejano Ain’t Dead Baby;” the reality is that Tejano music is in a deep coma. The gridlock of insecurity, lower creative standards and even basic business ethics is eroding the infrastructure of what was once fruitful ground. The genre’s prosperity once thrived with an army of headlining artists and acts for some time in the eighties and nineties. Tejano truly reigned domestically and internationally. In an ideal world, Tejanos (aka Chicanos, Mexican Americans, Texicans, and so on) are no different than any other American artists trying to make a living while establishing their artistic identity. Tejano is more than just music; it’s a culture of determined people with shared values concerning family, relationships and a pride of living the best lifestyle possible. Tejano has evolved from two worlds, the general market and Mexican heritage.   The questions still remain. Why have Tejanos abandoned their earned privilege to build up their genre? Why have they avoided participating in the Latino music world in an inclusive role? Where have the creative thinkers gone? Where has the deeprooted passion to perform and deliver everything on stage--musically--disappeared to? In seeking the brutal truth about the state of Tejano, what better opinion is there than that of a trailblazing pioneer?  His is the voice we may believe since our legacy musicians spent years building an infrastructure of shared values and best practices on their victorious journey. The direct response delivered by this legendary realist?  “Tejanos lack leadership.”  Tejanos are at the cusp of transcending from

what once was an influential culture to a marooned cult. This observation may not be scientific but it’s calculated from experiences of miscommunication, the absence of investment at a serious level (funding and “ganas”) and a lingering presence of apathy. Yet, the spirit of the Tejano culture survives on solid ground in several strongholds, from the Midwest to the Southwest. It seems “Tejano and Proud” is a phrase with greater significance outside the Tejano Triangle (Houston, Dallas and San Antonio), in many respects, because traditional values and heritage thrive in villages where culture congregates as tribes. The post-Selena era brought opportunity, yet only a small number of Tejano artists or acts stepped up to the plate and fewer still welcomed the avenue to venture toward greater Latino participation. Moving outside one’s comfort zone usually finds greater rewards in diversity, opportunity and selfworth. Unfortunately, Tejano artists—including highly recognized names with national record label support—sidestepped from the chance to widen Latino music’s popularity, and instead of increasing their market penetration, they chose a more exclusive arena—their own backyard. A departure from artistic values yielded isolation. While pioneering Tejano artists and acts of the seventies found glory through the influences of jazz, rock, funk and R&B, the newer generation decided to retreat toward roots music, the kind found in Mexican regional music, or rehash the music of an “out of print” collective. True, it is challenging to incorporate a new favorite instrument like the accordion into mainstream music, but it’s not impossible to cross over into the mainstream. Hope has appeared on the Tejano landscape from time to time, in waves with the incubating influence like that found in the music of A.B. Quintanilla, III, Joel Guzman, Texas Tornados, Gilbert Velasquez (San Antonio Sound), La Mafia, Intocable, Jimmy Gonzales and Mazz, to name a few. But there is only a handful at best. Most acts line up in great volume to be cloned, or recycled as part of the cookie cutter club.   Music became the least important factor in the art of Tejano and

by Ruben Cubillos

few tolerated living the painful life of a dedicated, true artist — way beyond the easy 1, 3, 5-chord structures. In a synopsis, Tejano music lives! It lives in many forms across this great country. Tejano has had its moment: from the massive Tejano artists participation of “Canta a La Vida,” a benefit recording for San Antonio Aids Foundation, to the battle for the return of terrestrial Tejano radio in Austin by the Tejano Music Coalition, up to the declaration of disenchantment of a 17-year partnership of “Go Tejano Day” with the Houston Livestock Show and Rodeo. Unity has been achieved on some level at this most critical time in Tejano music history. Unfortunately, the art of Tejano, by some accounts, is economically on the edge of bankruptcy. Restructuring of the genre will begin when artists learn to focus their attention on the greater good and reform the fraternity to speak in one voice.   There is much to learn from other genres and cultures which have found their way to musical prosperity in America. Why not interact with the hip hop influence or mentor and create a focus with the country world? Tejano music is an American original art form much like jazz, country, or Americana music. Why not take the equity of two languages and allow world music’s influence to move this market on a path of rebuilding? When Tejano artists and acts come out from hiding in the shadows of mediocrity and return to the competitive limelight, when they learn to share creative ideas and regain their self-confidence (not arrogance), then we will see Tejano come alive once more. It must treat loyal fans well and build respect for a variety of opinions, even when there are opposing views. Why not create an attitude of inclusiveness instead of exclusiveness? Why not learn more about other American genre influences and incorporate those strategies to stimulate the markets for tangible results? When will these issues be addressed, if at all?  Without self-governance, Tejano warlords will continue polluting the waters of good spirits and denial will prosper until Tejanos suffer the

indignity of lost pride and self-dignity altogether. For Tejanos’ sake, let’s build participation, convert current social tournaments into industry summits fostering honest dialogue or brainstorming sessions. Anything is better than sitting back to “see what happens.” Time has passed quickly in this post-Selena era, but how much has been accomplished in Tejano? Insight dictates that Tejanos take action before the winds of change blow away our leaders’ footsteps in the sands of time.

Tejano music lives wherever there is an affinity for the Tejano culture (and that’s worldwide). ¡VIVE Tejano! (Ruben S. Cubillos identifies with his multitasking character as Musician/Creative/Advocate, but his business card reads A Big Chihuahua, Inc. He is an award-winning creative with over 25 years in Hispanic Advertising who began his career as a Tejano music vocalist with the infamous Latin Breed. After traveling the Southwest, art school infected his inspiration and he holds a degree from the Art Institute of Houston. While working full time with Sosa and Associates, the largest Hispanic agency in the 80’s, he simultaneously freelanced by night. With over 125 album covers he has been active in the evolution of Tejano and Latin music scene through his works for EMI Latin, Sony Discos, Virgin Records and others. His benchmark logos are archived in Tejano artists like Selena, David Lee Garza, Intocable, and myriad others. He has been a voting member of NARAS and LARAS - Grammy Awards since 1995. He is also co-founder of VIVE Tejano, Inc. a non-profit advocacy group of the Tejano culture.)

TODO Austin is proud to be a co-sponsor of the SXSW Tejano Music Showcase on Thursday, March 18 at Kenny Dorham’s Backyard {1106 E. 11th} featuring Tejano and Latin music legends Little Joe y La Familia f Ruben Ramos & the Mexican Revolution f El Tule f Los Texas Wranglers. The showcase is also sponsored by Diverse Arts and the Austin Tejano Music Coalition. Doors open at 6:00 p.m. with the Wranglers taking the stage at 7:00 p.m. TODO Austin welcomes families, area residents and music fans to the all ages show. SXSW has made a great effort to increase community wide participation in its music events and the March 18 date will be a historical occasion not to be missed. Free parking is available throughout the East End 11th Street Jazz and Arts District, a historic, diverse, eclectic and rapidly growing area. The SXSW Latin Music Panel, “Reaching America’s Fastest Growing Market,” takes place Friday, March 19 at the Austin Convention Center from 5:00 p.m. - 6:00 p.m. For more info, go to TODO Austin // March 2010 // 05

Awards Recognize Leaders and Corporations Active in Asian American Community By Yvonne Lim Wilson

The Lunar New Year season in Austin was full of celebrations, and was also a time to recognize people and organizations that are making important contributions to our city and communities. The Texas Asian Chamber of Commerce (TACC) held its fourteenth annual Lunar New Year Soirée at the Bob Bullock Museum on Feb. 19. The TACC awarded Municipal Judge Ramey Ko an emerging leader award. On Feb. 5, Ko was sworn in as Austin’s first Asian American

All photos by Kathleen Fitzgerald

judge. Ko brings a wealth of experience as an attorney who specializes in working with immigrants and victims of domestic violence. Alexander Tan, developer and owner of the Chinatown Center in North Austin, received the business leader award for his work on creating the landmark center that serves not only as a visible symbol for the Asian community in Austin, but also provides jobs and a space for local Asian-owned and Asiancentric businesses.

The TACC also recognized “the corporate citizen,” companies who believe community investment is a business investment. Dell, Tokyo Electron and Vinson & Elkins were recognized for their historical support to TACC and its mission to build bridges with Asia and Central Texas as a whole. In a separate awards ceremony on Feb. 18, the Capital Area Asian American Democrats (CAAAD) awarded Valinda Bolton with Democratic Legislator of the Year, Eugenia

Beh as Democratic Activist of the Year, and gave a Lifetime Achievement Award to Amy Wong Mok, the founder and CEO of the Asian American Cultural Center in Northwest Austin. CAAAD, an organization co-founded by Ramey Ko, holds regular monthly meetings open to anyone who’d like to attend, and recently announced their candidate endorsements. You can find out more on Asian Austin, Austin’s only pan-Asian online news source,

L-R Olga Seelig and Yvonne Lim Wilson

L-R U.S. Army representatives Jeffrey Cho of Cerritos, CA, Steven Song of Brea, CA and Eugene Park, of Fullerton CA. All stationed at Ft. Hood.

(L to R) Lalanie Degen representing Japan, Virginia Snook- India, Elizabeth Sanchez- 2008-2009 Mrs. Philippines of Central Texas, Marichu Hatekeyama and Amelia Fridley- Malaysia

(L-R) Foo Swasdee, Vice Chairman, Jim Yatsu, Chairman, Leng Wong, Mistress of Ceremonies

Texas Bhangra Dancers Mohance Banarjee, Arleen Makki, Shinali Patel, Ash Easwar, Sunny Sharma with Kip Thompson,Vice President of Global Facilities and Strategic Growth for Dell and his daughter Nicole Thompson.

Models Rose Tincher, left, and Quynh Do represented Vietnam in the Parade of Nations.

Good Times at Güero’s For great tunes and great rita’s! Please join us for live music on our outside Jardin Stage, every Thursday through Sunday. All outdoor shows are “weather permitting”

March Line-up

Taco Bar

1412 S. Congress Avenue • Austin, Texas 78704 Open Weekdays 11am-11pm; Weekends 8am-11pm

---------------------------------------------------Thu 3/4 THE BOBBY FUENTES SHOW Fri 3/5 LOS FLAMES Sat 3/6 TOO BLUE Sun 3/7 SPENCER THOMAS BLUES REVIEW ---------------------------------------------------Thu 3/11 THE FABS Fri 3/12 LOS FLAMES Sat 3/13 SHAWN PITTMAN ---------------------------------------------------Thu 3/18 SOUTH BY SOUTH CONGRESS Music Fest Fri 3/19 SOUTH BY SOUTH CONGRESS Music Fest Sat 3/20 SOUTH BY SOUTH CONGRESS Music Fest Sun 3/21 SOUTH BY SOUTH CONGRESS Music Fest ---------------------------------------------------Thu 3/25 JOHNNY GIMBLE Fri 3/26 LOS FLAMES Sat 3/27 THE JUANA B’s Sun 3/28 CHICKEN STRUT

Accent Art

By Kathleen Fitzgerald

UT Austin’s Texas Performing Arts Program presents Dance Repertory Theater Spring Concert, “Canción Del Cuerpo,” Fri. & Sat., Mar. 5 & 6 at 8 p.m. and Sun., Mar. 7 at 2 p.m. in the B. Iden Payne Theatre on the UT campus. Tickets are $15-$20. Educate yourself by attending and participating in a Pre-Performance Lecture and Post-Performance Talkback. The Lecture is Fri., Mar. 5 at 7 p.m. in Room 2.112 of the Winship Bldg. Speakers will be Associate Professors Lyn Wiltshire and Yacov Sharir.  Talkback will begin immediately following each performance in the B. Iden Payne Theatre. Joe Randel, Artes Américas Director, will moderate a discussion between audience members and various University faculty members involved in the “Canción del Cuerpo” project. www. -///The Carver Cultural Center, 1165 Angelina St., will host PARAMPARA: Traditional Dance Of India - An Evening of Bharata Natyam by Anuradha, Gina, and Vinitha, Sun., Mar. 7, 3-5 p.m. Produced by Austin Dance India, the show

is a rare treat as these three long-time Austin dancers take the stage together in a unique performance featuring the best of their individual styles along with new choreography. Gina Lalli is responsible for bringing Indian dance to Austin and is an inductee into the Austin Arts Hall of Fame. Vinitha Subramanian teaches Bharata Natyam through her institution, Natyalaya. Anuradha Naimpally is a teacher, performer and creative director of Austin Dance India. Tickets $18 adults, $12 stu/srs/kids. For info, go to www. -///- It’s easy to be green at the Celtic Cultural Center of Texas St. Patrick’s Day Festival. This celebration of authentic Irish and folk culture includes Celtic music stars from Ireland Matt Cranitch and Tommy O’Sullivan. Local stars include The Silver Thistle Pipes and Drums, The Irish Dance Center and The Clickety Cloggers. Follow the piper to COVER3, 2700 W. Anderson Lane, Wed., Mar. 17, 2-10 p.m. Tickets $8 online, $10 at door. Kids under 13 are free. For info: www. -///- Ballet Austin

continues the tradition with Stephen Mills’ Third Biennial New American Talent/Dance Choreographic Project, March 25-April 4. The latest installment in this national choreographic contest brings the country’s most compelling American dance-makers together to showcase their latest world premieres in a competitive arena. The competition includes live audience voting, nationally recognized jurors and up to $20,000 in prize money. Bring your phone to text your votes to Ballet Austin’s AustinVentures Studio Theatre, 501 W. 3rd St. Times vary; for info: -///- Combining klezmer, funk, jazz and Hip Hop, clarinet virtuoso David Krakauer joins funk trombone master Fred Wesley and pianist, singer, arranger, rapper, writer and producer Socalled in a blending of cultures for a lecture/demonstration on Saturday, March 27 at Hogg Memorial Auditorium on the U.T. campus. Their new record “Tweet Tweet” offers tracks ranging from arrangements of classic Yiddish and klezmer tunes to originals like Wesley’s Push, driven by

a vintage “chicken-scratch” guitar riff, and Fred the Tzadik, anchored by a stuttering bass line and topped by inspired clarinet and trombone interplay from Krakauer and Wesley. Tickets ($36 / $10 stu/srs) are at Texas Box Office outlets,, or 512.477.6060. -///- Rama Navami Community Festival, will be held Sun., Mar. 28, 10 a.m.-5 p.m. at Lanier High School, 1201 Payton Gin Rd. Dedicated to the Lord Rama, the Sri Ramanavami is part of the IFA Community Engagement Series. Commemorating the birth of Rama, who is remembered for his prosperous and righteous reign, the festival is being celebrated all over South Asia with  weeklong festivities. Austin’s celebration is open to the public with voluntary donations accepted. RSVP by Mar. 20 to Janaki Nagarajan at 512-918.1351, or Jayanth Sridhara at 512.779.4847,  jshreed @

Bhutanese Families Find Refuge in Austin By Erica Stall Wiggins

Bhutan, a Buddhist kingdom about half the size of the U.S. state of Indiana, is nestled between China and India. In the early 1990s, in an attempt to retain their ethnic culture (according to Human Rights Watch), Bhutan stripped the minority Nepalese of their citizenship and forced them into exile. The refugees, 107,000 total and mostly Hindu, but also some Buddhist and Christian, had been living in United Nations established camps in Nepal, but in 2008, permanent homes were finally found in what the UN describes as one of the biggest resettlement efforts ever. The United States agreed to resettle 60,000 refugees, and six other nations -- Australia, Canada, Norway, Netherlands, New Zealand and Denmark -- offered to resettle 10,000 each. The refugees were given a few months’ support from the government and related agencies, with the expectation that they become self sufficient afterward. Since 2008, Austin has become home to approximately 120 refugees, and Caritas of Austin and Refugee Services of Texas have taken primary responsibility for their resettlement. Harish Kotecha first became aware of the refugees through SEWA International, and got involved to try and supplement the work  of the agencies and get the Indian community and Hindu Temples in Austin more involved, threading

the key organizations together for more effectiveness. The outreach initially involved finding jobs through personal networks, offering driving lessons and transportation and teaching American social etiquette. Additional outreach has included providing the families with basic household goods, working with the Multicultural Refugee Coalition on assistance in job leads and online job applications, manning booths at Indian functions of organizations such as the Network of Indian Professionals (NetIP), introducing refugees to Hindu temples and establishing bi-weekly get togethers to offer support. Kotecha feels that one of the best contributions he has made has been in helping the different organizations (more than half a dozen in all) work together to support these families who have been uprooted from their homes, and who will continue to need support and resources for some time to come. For more information or to get involved, please visit Caritas of Austin’s Web site: http:// php, Refugee Services of Texas:   http:// htm or contact Harish Kotecha at kotecha@ .

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Joe “King” Carrasco led the Tex-Mex wave at Rauls on August 20, 1979 photo by Ken Hoge

SXSW founders Louis Black, Roland Swenson and Nick Barbaro

Common Threads:

SXSW Born to a Latin Soundtrack By Erica Stall Wiggins

The first year of the South by Southwest Music Festival and Conference (SXSW) may have been 1987, but its roots go back to the seventies. Austin was then home to approximately 250,000 people. Iconic music venues such as the Armadillo World Headquarters were in full swing, fostering— among others—the “cosmic cowboy” sound, a blend of traditional folk, country, Tejano, blues, pop and psychedelic music. Interstate 35, which had been completed in 1962, hadn’t yet become the cultural barrier that it grew into, although the East side’s minority communities lived in the shadow of the predominant West side Anglo populace. Artists, musicians and youth from all over the country were spilling into the city to enjoy the lifestyle and music that embodied the free (if not slightly rebellious) spirit of the decade. The young rock culture in the city melded with and embraced the traditional sounds of Austin, from its roots in blues music to its Hispanic heritage, and there was no place that this was more evident than in a small Tex-Mex bar called Raul’s at 2610 Guadalupe Street, across from the University of Texas at Austin. Owned by East side resident Roy Gomez and managed by Joseph Gonzales, “Raul’s was a place where Tejano acts would play one night and then punk bands would play the next,” recalled SXSW co-founder Roland Swenson, who was just starting out in the music business at the time. Margaret Moser, then a music columnist for the Austin Sun, has similar

memories, recalling one momentous Thursday night in January, 1978, when an outfit called the Skunks took the stage at Raul’s, with opening act the Violators (including Kathy Valentine, who would go on to play with the Go-Go’s). “Voila, the Austin punk scene is born in a Mexican bar on campus,” she chuckled. “Joseph told me that he was thinking of only one thing when a guy named David Abbott approached him and asked if he could hold a concert: ‘survival’,” remembered Gavin Lance Garcia, who published a punk zine at the time. “He said, ‘as long as my cash register was ringing, I was happy.” In the beginning, he was unfamiliar with what it was all about, but he came to love people like Swenson and Moser. It was a race neutral scene, a community of people looking for alternatives without distinctions made between middle-aged Tejanos and their young, mostly Anglo patrons. “Joseph was always looking for ways to mix those two scenes, and one of his crossovers was booking Joe ‘King’ Carrasco and El Molino,” added Swenson, who a decade after Raul’s opening created SXSW with Nick Barbaro, Louis Black and Louis Meyers. “El Molino was made up of white and Hispanic musicians including a number of talented San Antonio artists like the great drummer Ernie Durawa.” Aside from the music, Raul’s one-foothigh stage was shared in its early days by bar-mitzvahs, bridge clubs and wedding anniversaries, but as Austin’s punk scene

08 TODO Austin // march 2010 //

crystallized, its band of ragamuffins captured Gonzales’ heart. “He once told me he regretted buying new furniture, padded chairs, a top end pool table, carpet and glassware because we ruined it in no time,” stated Garcia. “People tore down more than physical walls at Raul’s, they tore down social walls, too.” After Raul’s closed its doors, Swenson and Gonzales remained friends, and when SXSW launched in 1987 with approximately 700 registrants, Swenson persuaded Gonzales to become the Tejano and Latin music consultant, a role that he filled until his death in 1996. Even with the symbiotic relationship of music genres in Austin, it hasn’t always been easy to mesh SXSW and the Latin community, or other traditional music genres, for that matter. Being a festival primarily made up of acts who apply to perform in order to gain exposure to media and music industry executives, there has been an ongoing struggle to book traditional music genres, including blues, jazz, country and Latin. “Eventually, our reputation for being an effective tool for promotion has crossed over from primarily rock music to other styles,” said Swenson. “Those acts didn’t come to us, we had to go out and talk them into playing.” Swenson, a compassionate, reserved man with strong social convictions, intended for SXSW to draw the community—black, white and brown—together. Having been raised in urban Austin, the Reagan High

graduate was well acquainted with the dreams and disillusions of the city’s Latino and African American citizens.

“Joseph and I had to struggle to bring in Latin acts in the early years, and though we had a number of supporters like Ruben Ramos, who played the very first SXSW, Joseph always had to fight the perception that SXSW was only for white musicians. So it’s been sad for me that he didn’t live to see the amazing Latin music from Texas and other parts of the world which we’ve been fortunate enough to present in recent years,” reflected Swenson. Moser has since become the grand dame of Austin’s music scene, going from the Sun to the Austin Chronicle and arriving as director of the Austin Music Awards, which, like SXSW, has always been representative of a changing musical landscape. From the first year of the awards in 1983 (it pre-dates SXSW) a Chicano category under Best Performing Bands was present. That year, Beto y Los Fairlanes went home with the most votes and the award, Continued on pg. 10

By Katie Walsh

At S X S W 2010,

All the World’s on Stage In 2010, the 24th annual South by Southwest Music and Media Conference (SXSW) brings an unprecedented number of international acts to Austin. Featuring a wide range of talent from countries around the world, the lineup for this year’s festival is more diverse—musically and geographically—than any year prior. “In the early days it would’ve been very difficult to conceive of traditional bands from Brazil or the Middle East performing at SXSW,” said long-time Creative Director Brent Grulke. “We just wouldn’t see those kinds of acts having a reason to be here. But now we’re seeing more international acts apply to perform than ever before, and that in and of itself will change the identity of the event.” The increasing global prestige and recognition of SXSW as “the must-attend networking event for the 21st century music industry” has opened up access to a growing number of musical gems—legends and emerging artists alike.

Alicia Zertuche works tirelessly on SXSW Latin Showcases

Of particular note is the festival’s representation of Pan-American, Latino and Hispanic music—including foreign acts as well as domestic Latino- and Hispanicancestry musicians—which has evolved steadily over the past several years. Grulke describes this portion of the festival’s programming as essential and reflective of Austin’s heavy Latino cultural influences. “The culture of Austin is completely intertwined and defined by an ongoing Latino presence in Central Texas. On a fundamental level, Austin is very much a Latino city; many of our most noted local musicians have been Latino. Not reflecting that would be impossible, and not advancing it would just be foolish,” Grulke said. The mastermind behind the festival’s robust

representation of Latin music styles is Mercedes, Texas-born Alicia Zertuche, who began working with SXSW in the late nineties while serving as the Operations, Programs and Promotions Manager for Garcia Communications. Zertuche leveraged direct relationships with many of the managers, bands and labels on the Latin music scene, which she’d formed while managing programming for Latin alternative rock station KTXZ Planeta, to help book and promote acts for SXSW. Grulke could see her passion for the music early on, and encouraged her to become more involved in the festival. In 1997, she accepted a position on the SXSW programming team with a focus on expanding the diversity of Latin programming. Zertuche views her role in the music conference as a “productive, beneficial platform for Latin artists seeking opportunities to perform in front of members of the industry,” as well as a means of exposing attendees to a wider array of musical genres. Her commitment to expanding Latin representation at SXSW comes from her own musical passion, stemming from her teenage years in Donna, Texas as a fan of the music herself. She’s now had the opportunity to invite and accept applications from many of the bands she grew up listening to in the eighties and nineties. “People do their best job booking music when it’s music they have a particular passion for,” Grulke said. “Alicia is very, very passionate about this music, and she brings that passion to her efforts—she really, profoundly cares.” Since she came on board, Zertuche has made massive strides toward broadening the festival’s Latin horizons. This year’s programming features an increased number of Latin showcases, including acts from Uruguay, Colombia, California, Spain, Brazil, Texas, Mexico, Cuba and Ecuador and spanning the sounds of cumbia, Afro-Cuban, Latin rock, Colombian vallenato, Tejano, Afro-Caribbean, tropical hip-hop, swing, ska, merengue, reggae, and salsa, to name a few. World and genre-specific showcases, as well as the general festival programming, also include a large number of Pan-American, Latino and Hispanic acts. Although a greater number of Latin artists proactively applied to perform this year, Zertuche also works with SXSW staff and international publicists year-round to

invite stand-out musicians worthy of the SXSW stage to Austin. She collaborates with various governmental entities on artist outreach in Latin America, the Caribbean and Spain, and also negotiates with labels, management, agents and bands directly to bring noteworthy talent to town and integrate them into the festival’s programming. Her selection process includes a lot of immersive listening and research, digging into the music to understand its surrounding context. Many times the most talented, underground musicians Zertuche searches out for SXSW are also the most difficult to find—in which case, her research methods get a little more creative. “There’s not always much information available on an act due to the lack of infrastructure in the countries they’re from. Even for acts based out of the U.S., they don’t always have the opportunity to expose their talent on a stage,” Zertuche explained. “Sometimes you have to pick up the phone, call around and try to find someone in the area who might know more about them.”

In the end, her decision to invite or accept an act boils down to not just the quality of the music itself, but also the musicians’ larger cultural and societal importance. “Sometimes you have to detach yourself from your own musical preference and look at things more objectively,” Zertuche said. “I look at the significance behind a particular artist; how they have been able to make an impact within the region or country they’re from.” Along with representing a larger portion of the globe, this year’s music festival uniquely highlights the effect that converging technologies have had on the musical arts (further reflected by the exponential growth of the interactive conference). Grulke noted that this may well be the first year that SXSW attendance includes more digital music companies than record labels. Both Grulke and Zertuche cited ongoing changes in Latin musical styles and the developing fusion between

traditional and contemporary elements, at least partly driven by monumental advances in musical and social technology platforms. “You can see how things like social networking sites and new technologies are influencing artists’ creativity,” Zertuche said. “They’re not singing in only their native languages; they’re fusing various rhythms from their folklore into contemporary styles.” Grulke spoke about this same phenomenon in Tejano music, describing an increasing number of “younger musicians who grew up with Tejano and have now put their own stamp on it.” Case-in-point: this year, established Tejano icons Los Texas Wranglers, Ruben Ramos & The Mexican Revolution and Little Joe & La Familia take the stage with their innovative counterparts El Tule at a Latin Showcase sponsored in part by the Austin Tejano Music Coalition (along with Diverse Arts and this publication). “It represents a beautiful thing to bring new acts on stage with the legends who have influenced their music,” Zertuche said. Other showcases include past favorites Sounds of Spain and Sounds of Colombia, as well as the new addition Bossa Nova Brazil, featuring the highly respected and groundbreaking Pedro Moraes alongside an emerging artist of nearly the same name, Pedro Morais. Live Nation brings Mexican rock en Español legend Maldita Vecindad y Los Hijos del Quinto Patio together with Brazilian manguebeat pioneers Mundo Livre S/A, and rounds out the playbill with Bomba Estéreo’s electro-tropical infused traditional Colombian sounds as well as tropical hiphop trio Choc Quib Town and the Mexican bilingual rock band 60 Tigres. And that’s just a small sample. In its 24th year, SXSW literally brings a world of music to Austin’s front door. Its consistently expanding Latin programming pays homage to traditional styles and opens the door for new ones, a true reflection of Austin’s cultural roots and the active shifts within it. In the words of Brent Grulke, this year’s explosion in international talent “brings people together to celebrate cultural differences while finding a common thread of humanity throughout,” saluting the power of music as the ultimate uniting force.

TODO Austin // march 2010 // 09

Margaret Moser, Joseph Gonzales and Dayna Louise Blackwell in 1981 photo by Ken Hoge

Continued from pg. 8

followed by Little Joe y La Familia in second place and Ruben Ramos in third. “Over the years, the categories in the polls have really changed to try and reflect the needs of the music,” said Moser, Austin’s foremost music historian. In the same spirit as SXSW’s founders, Moser enjoys letting musicians loose to collaborate on the awards show, which has fostered unique performances over the years from artists who have come to personify the show, such as Alejandro Escovedo, the Texas Tornados and the late Doug Sahm. From 1991 to 1995, Mexican Traditional/Folk and Tejano/Conjunto were added as additional categories. Eventually, these categories changed to Latin Traditional and Latin Contemporary and stayed that way until 2009, when Latin Contemporary evolved into the title Latin Rock. Moser knew it was the right move when “that category went through the roof,” with bands that “really wanted to win.” Cousin to the Music Awards, the Austin Chronicle Hall of Fame’s Latin inductees represent the many rhythms of Latin music, from accordion aficionado Flaco Jimenez to Ruben Ramos, Los Pinkys y Isidro Samilpa to breakout group Los Lonely Boys. “Texas musicians have more in their kit than anyone else,” said Moser emphatically, quoting a recent interview that she conducted for the Austin Chronicle. “It’s

Brent Grulke, SXSW Creative Director

David Dage, Kathy of the Haskells, Brad First, Bruce Henderson and SXSW President Roland Swenson, circa 1980

because we have white music, black music and brown music, and you hear it all at an early age here, it’s all out there and you can’t ignore any of it.” In the late nineties, the formation of super-group Los Super Seven was one demonstration of how the Austin music scene retained the melting pot atmosphere of the seventies. With original members comprised of Ramos, David Hidalgo and Cesar Rosas (of Los Lobos), rocker Joe Ely, country legend Freddie Fender, Jimenez and country crooner Rick Treviño, the band assembled and performed a showcase at SXSW, then went on to record a self-titled album which won them a Grammy Award in 1999 for Best Mexican/American Music Performance. Additional members of the band have included Doug Sahm and Joel Guzman, among others. The involvement of SXSW in the group’s collaboration “has always made me feel really privileged because they are all musicians I love and respect,” said festival co-founder and Austin Chronicle editor Louis Black, who like Swenson, Moser and Barbaro was a regular at Raul’s and intimate friend of Joseph Gonzales. With the emergence of the Latin Academy of Recording Arts & Sciences (LARAS) in 1997 and the official establishment of a Texas Chapter of the National Academy of Recording Arts & Sciences (NARAS) in Austin in 1998, the national organization known for the Grammy Awards began a series of events

10 TODO Austin // march 2010 //

focused on Latin and urban music in concert with SXSW, including panels and showcases at the music conference and festival. From the late nineties into the first years of the new century, these events—spearheaded by former Texas Chapter Executive Director Carlyne Majer, together with radio station owner Joe Garcia and music community leaders such as José Rosario (formerly with Sony Discos)—brought together nationally known Latin celebrities and musicians to play and speak at SXSW. From 2000 to 2003 alone, notable acts such as Los Lobos, A.B. Quintanilla and Kumbia Kings, Rick Treviño, La Mafia, Alicia Villarreal, La Tropa F, Los Palominos and Del Castillo played to packed houses at the Austin Music Hall, and when that venue became too small due to the overwhelming crowds, the showcase was moved to Auditorium Shores. “That was huge,” recalled Joe Garcia of the Auditorium Shores show featuring La Mafia and Los Palominos. Joe Garcia, continuing in the tradition of his family business, had owned Latin music stations in Austin since the eighties, and in the mid-nineties he literally commanded the market for Latin stations in Austin with Tejano, regional Mexican, Norteño and pop rock stations. He recalls that during the same time period, he was approached by the Latin Rock Alliance and SXSW to promote Latin alternative rock groups. Over the years, his stations provided thousands of dollars worth of publicity for these showcases, and

its support was instrumental in reaching the Hispanic audience and involving them in SXSW’s fare. In spite of the many successes and large audiences for the Latin-themed showcases and panels, changes in the Latin music market, including the emergence of new radio stations and the departure of Majer from the Texas Chapter, brought the momentum for the NARAS/LARASsponsored events to a standstill. “(Carlyne) was the glue that held it together,” said former NARAS/LARAS Project Manager Dave Rios, “it hasn’t been the same since.” With the addition of full-time SXSW programming staff member Alicia Zertuche in the late nineties, the focus of Latin outreach over the last decade has expanded to include Central and South America, Spain and rock en Español. With this expansion of scope, Ruben Ramos voices his hope that the regional artists and the Chicano and Tejano sounds don’t get lost. He plans to continue playing at the festival, “God willing,” he jokes, to keep the audience and market involved. Overall, the mission and vision of the festival hasn’t changed much since the beginning. Louis Black summed it up when he concluded, “The more sounds and cultures that SXSW represents the better. It’s about regional and independent music in a lot of ways, and that doesn’t just mean white, alternative rock bands.” Amen.

By Ajay Miranda

Picture this: It’s mid-March in Austin and you’re in a dimly lit bar, patting the sweat from your brow. A group of dapper-looking twentysomethings with brown skin and jet-black hair are cramped onto a humble stage, playing their hearts out to a raucous crowd. One band member is running his achy fingers up and down the keyboard of his beat-up Hohner accordion; he exchanges a knowing grin with his percussionist, whose stern yet finessed strokes against a güiro keep the beat danceable for the near-capacity crowd in this 6th Street dive. He can barely hear his own rhythms over the trumpet player directly behind him, but he doesn’t care—he’s having too much fun. More concerned about the volume is not the fickle sound guy or the bartender who keeps mishearing orders, but the owner who stands by the entrance, eyeballing his decibel reader. Sound ordinances and high-priced residential developments have long pushed Austin’s lauded music scene eastward, along with a creative class who sought out cheap living options and progressive businesses on the other side of the interstate. Downtown had become much too yuppie—too Dallas—and live music suffered in the process.

of the 512 area code, banking off the epic amount of tourists willing to spend extra dollars on travel to find the newest, hippest event.

Maneja Beto

You’re walking along a sticky sidewalk now, hungry but not really in the mood for the corporate food vendors, whose trailers are on every corner. You’re thinking about the live music you just witnessed and you realize that while the instruments you and your parents grew up with—percussion, brass and accordions—are still being used, the music you grew up with isn’t being played anymore. “What ever happened to Tejano?” you wonder.

For the second year, the Dallas/Fort Worth metroplex has the NX35 music fest in Denton, which this year has The Flaming Lips as its headliner. San Antonio’s short-lived Indie Fest had potential, but got off on the wrong foot by initially naming itself SXSA, and dealing with subsequent legal pressure. But this year, two new SXSW alternatives have popped up in Monterrey, Mexico. Both have booked a substantial number of independent bands from Mexico and Texas. New York party promoter Todd Patrick, who used to host an unofficial party during SXSW, has ditched Austin to launch the MtyMx music festival, which will take place the weekend of SXSW’s music showcases. The weekend before that, Festival NRMAL is invading Monterrey. Both festivals are hosting bands that could just have easily played SXSW. But they’re instead playing in Monterrey, six hours south. Piñata Protest

Tejano music didn’t die, but it isn’t exactly living and breathing either— kind of like a cryogenically frozen body, awaiting a miraculous cure from the future for what ails it. In the meantime, the kids have been playing with Papa Tejano’s toys: Punk-rock bands use accordions. Indie bands use brass sections. Hip hop groups use güiros and other “Latin” forms of percussion.

Este Vato, photo by Marie Hernandez

It’s a Saturday night, and the South by Southwest Music Conference has been taking place for two weeks all over Texas, but the official music portion of it in Austin is mostly confined to the 12th Street and East 5th districts just east of I-35. Unofficial shows still take place downtown, though it seems they’re enforced with more vigor by the authorities than their official counterparts. That also worries the owner, who you can see as you make your way for the cantina’s exit.

The truth is that while the classic Tejano sound stopped evolving a generation ago, music made by Texas Latinos is evolving and progressing, perhaps more quickly and in more ways than the music of their Anglo counterparts. The seeds of this future can be seen in the Latino music scene of the present. Google-search the name Piñata Protest and you’ll find a San Antonio punk-rock band that uses Tejano accordion as an integral part of its sound. Google Este Vato for an Austin-by-way-of-Laredo hip hop group that uses Latin percussion and Spanglish lyrics. And Maneja Beto? Well, that’s an indie band whose affinity for Joy Division is as noticeable as the timbales they bring on stage.

The band has one song left, and the audience is cheering wildly as you squeeze past. “Okay,” the accordionist says into his microphone, trying to recapture the attention of the frenzied crowd. The mic feeds back a tad. “Tenemos una canción más for y’all. It’s a cover by Kings of Leon. ‘Your Sex is on Fire.’” And the crowd erupts. You exit the bar and give the owner a nod and a smile as you stroll past.

And because Latinos are the fastest growing demographic in Texas, it would be wise for SXSW to support and help cultivate this scene. It’s a scene of young Tejanos who grew up with Ruben Ramos and Selena as well as 2Pac, the Smiths and Dropkick Murphys. By all means, SXSW, book the uber-hip bands from Spain, but don’t forget about your Mexican-American brothers and sisters. They’re your fastest growing talent pool.

It’s the year 2020, and it’s SXSW time in a city where Latinos are nearly the biggest population, as the Anglo (non-Hispanic) populace lost their majority status at the turn of the century. But American-born Latinos are still largely neglected in a music scene they help shape every day.

The above year-2020 scenario also alludes to official SXSW events taking place outside of Austin. It’s no secret that SXSW has been highly protective of its brand, at times taking or threatening legal action against critical or unsanctioned use of its name. As a result of the potential hassles, would-be competitors are starting to move outside

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It’s not a stretch to envision SXSW going after these kinds of out-oftown competitors in the years to come, which could lead to the festival stretching itself thin and losing favor with the indie music community that helped popularize it. Much like Tejano, which grew fast and reached a saturation point before being left to relative obscurity, SXSW could experience the festival equivalent if it doesn’t make a priority of improving its public image with music fans and by being more inclusive of the fastest growing minority in Texas. Latinos are here and a part of the music scene. We’re not embarrassed by the Tejano albums in our record collections, but we’re just as eager to be as indie and experimental as anyone. Frankly, the future of Latino music in Texas is as promising and hopeful as any other music scene. And because Latinos will eventually be the largest population in Texas, the future of SXSW will depend greatly on how well it courts and supports Texas Latino musicians and fans. As for that Kingsof-Leon-covering Latino fusion band from the future in the above scenario: Whoever they are, they should be playing an official SXSW 2020 showcase. That band is the future.

SXSW Music Conference Panel to Discuss Engaging the Hispanic Audience by Brandon Ramiro Badillo

Ricardo Acevedo

to gather the support of some neighborhood leaders who are burning resources and favors to make this all work, and to be honest, there has been a lot of drama behind the production. We’ve stayed strong and managed to hold on to this very important date. This is a tale of David and Goliath, which seems to be the same story told time and time again in this beautiful city we call home. Initiative and creativity up against the money; who will win?  Well, that depends on the tenacity of David and his friends (you, the people) that continue to support those who work with integrity.  This is all about the underground operator who has a vision and knack for creating, hustling and establishing trust to build support.  This is what TODO and Bemba are going to do with the show and the panel.    The SXSW panel focuses on the World Beat of tomorrow. That is, the time to come when Hispanics make up the majority of our population. Hispanics are the youngest, fastest growing segment of the U.S. population.   How can the entertainment industry successfully engage this demographic in order to expand their audience?  This is the central question for the panel and a very important one at that.  The panel will consist of big players including David Chavez, Little Joe Hernandez, Becky Arreaga, Lionel Sosa and Gavin Garcia.  Hope to see you at the Austin Convention Center at 5 p.m. on Friday, March 19.  Prior to the big show and panel are a couple of events definitely worth mentioning.    On Sunday, March 14, M&S Music Management will produce an event benefiting Capital Area Food Bank of Texas at United States Art Authority (2908 Fruth St.).  The event will run from 2-10 p.m.  Artists performing include Del Castillo, The Mother Truckers, Suzanna Choffel and more.  For more info, go to  In my last column I noted that multiculturalism is the word of the decade. It’s definitely the word of 2010 and alongside it is the word, collaboration.  Bemba has embraced both of these concepts and will put them to use with a monolithic, multicultural showcase at Momo’s on Tuesday, March 16.  By joining forces with two other local promoters, Jeff Strange and Scott Romero, we’ve put together a showcase that will rock this city and collectively plant a seed that will inevitably sprout and flourish. Romero of Soul of the Boot Entertainment and Strange of Strange Tribe productions were more than happy to combine creative capital and know how/who to make this show possible. The event showcases Chico Mann (NYC), Ocote Soul Sound System (ESL Music/ATX), Ancient Astronauts (ESL Music/Germany), DJs Pleasuremaker & Señor Oz (Afrolicious/SF), w/ John Speice (Ocote Soul/Browout) on percussion, DJ Chorizo Funk (ATX), and Austin Piazzolla Quintet.  Doors open at 8 p.m. with the first performance taking stage at 8:30 p.m.  $10 admission  and $15 for anyone under the age of 21.  Marching in and marching out, voices will be heard and the presence of David will be felt.  For more info about all the Bemba Entertainment happenings, check out www. design by

2010 is moving by rapidly and Bemba Entertainment is riding strong with the turn of the calendar. With weekly multicultural showcases at the rising scenestealing Mi Casa Tamales & Cantina, and the ever popular Momo’s, plus a sold out second annual Nina Simone Tribute on February 20, Bemba is on top of a creative wave. Now the March tide has rolled in the almighty SXSW. Bemba Entertainment, the Austin Tejano Music Coalition, Diverse Arts and TODO Austin are combining forces to push an official SXSW showcase and panel for the first time, and we’re hoping for a worldly embrace. This should bode well for the showcase at Kenny Dorham’s Backyard on Thursday, March 18. Very fitting that it is a Latin based concert with a focus on Tejano.  For this very momentous event, it was necessary to reach out to the Latino community on the Eastside and bring in some familiar favorites like Ruben Ramos and the Mexican Revolution and Little Joe y La Familia. But remember, this is a show not only for the Latin community but all of Austin. It’s a risk SXSW is willing to take and it’s all because of a group of people taking initiative and making it happen.  We were led into this arrangement by the publisher of TODO Austin and have been fortunate

South by Southwest is holding a music panel, “Reaching America’s Fastest Growing Market,” Friday, March 19, to explore how the entertainment industry can expand its audience by successfully engaging Hispanics, the youngest, fastest-growing segment of the U.S. population. Hosted by TODO Austin, the panel will be held at the Austin Convention Center at 5 p.m. Panelists will include some of the leading voices of Hispanic music and marketing, including David Chavez, Little Joe Hernandez, Becky Arreaga, and Lionel Sosa. The panel moderator will be Gavin Lance Garcia, publisher and editor of TODO Austin journal. Garcia is also CEO of Spark Awakened Publishing, Coordinator of the University of Texas Project on Conflict Resolution, and Executive Director of the non-profit agency, Humanitarians Engaged in the Arts for Respectful Dialogue. Garcia is a former music journalist for the Austin American-Statesman and Austin Chronicle, served as Austin Music Liaison and has performed with several Austin bands. David Chavez is the CEO of LatinPointe and producer of Premios Deportes, the ALMA Awards, and the Tejano Music National Convention. His extensive experience in public relations, marketing, strategic event production, combined with his personal commitment to Hispanic advocacy has made Chavez a national Hispanic leader. Prior to LatinPointe, Chavez served as a member of the senior staff of the National Council of La Raza (NCLR), the nation’s largest Hispanic civil rights group and led efforts to build the National Conference, the ABC Network Television Special ALMA Awards and other chief Hispanic events. Little Joe Hernandez is a Tejano music pioneer. Entertaining for more than 40 years, the “King of the Brown Sound” has won every honor imaginable from a Grammy to the State of Texas Governor’s Award for Artistic Excellence. Little Joe has been at the forefront of breaking down cultural and musical barriers with his innovative musical style, heard on an astounding 50 albums.  Becky Arreaga is President and CEO of Mercury Mambo Hispanic experiential marketing agency. Arreaga currently serves on the National Board of Directors of the College of Mass Communications at Texas Tech University as well as the Board of Directors for Latinitas, Inc., an organization dedicated to empowering young Latinas through media and technology.  Lionel Sosa is the founder of Sosa, Bromley, Aguilar & Associates, now Bromley Communications, the largest Hispanic advertising agency in the U.S. Sosa has been a Hispanic Media Consultant in seven Republican presidential campaigns since 1980, and is a member of the Texas Business Hall of Fame. He is also a recognized expert in Hispanic consumer and voter behavior, and was named one of the “25 Most Influential Hispanics in America‚” by Time Magazine in 2005.

World’s Greatest Drummer, Zakir Hussain, Comes to Paramount Master Percussionist Plays Austin March 6 By Jake Morales

Do you find yourself occasionally slipping into an Indian restaurant and feeling at home? Wishing that there was more Indian cultural fare in Austin beyond the dining table? Debating with your friends the merits of Indian music?   Then you’ll be among the curious and rabid aficionados of Indian classical and contemporary world music at the Paramount Theater on Saturday, March 6 to see the multi Grammy-winning Zakir Hussain in his only Texas appearance.   The eyes and ears of the music world have followed the master percussionist on his trek to crossover fame, and serious fans of jazz and rock, including Grateful Dead fans (Deadheads), know Hussain as a remarkable creator of compelling music made in the moment. He may be, in fact, the world’s greatest living percussionist.    Since arriving in America in 1970 as a teenager with eight years of road experience already under his belt, the Mumbai-born Hussain has earned widespread recognition by collaborating with artists like the Grateful Dead’s Mickey Hart, Airto Moreira and John McLaughlin. These experiences with distinguished musicians from the rock and jazz world have given Hussain the opportunity to expand upon his traditional repertoire.  

Worlds of Wisdom

The Austin organization India Fine Arts (IFA) is celebrating its 15th Anniversary by bringing in an artist who in recent readers’ polls in Modern Drummer and Drum! a magazine was named

“Best World Music” and “Best World Beat Drummer.” Joining Hussain, the world’s foremost tabla drummer, are Taufiq Qureshi on mouth and body percussion and other various instruments, Ganesh Kumaresh on violin, Sabir Khan on sarangi, Sridhar Parthasarath on mridangam, Navin Sharma on dholak and the Motilal Dhakis from Bengal.      Under the direction of Hussain, the Masters of Percussion performance will offer an opportunity to experience India’s melodic (raga) and rhythmic (tala) music traditions, as well as dance forms from the northeast Indian state of Bengal. The concert features an array of traditional Indian instruments, including tabla (tuned North Indian concert drums), ghatam (South Indian clay pot), dholak (North Indian folk drum) and sarangi (vertical bowed instrument). Solos, duets and ensemble pieces by Hussain and his fellow musicians will explore the territory between northern and southern India and traditional and contemporary music styles.   

He explained in an interview with The Music Box that “It’s a different show every time. Within the solos, there are new opportunities created every night, which invite somebody to contribute. It’s an amazing thing to hear all of these different elements come together. Some days we play for two hours; sometimes we go for three hours. If something is happening, we let it go á la Grateful Dead. Every day it’s different. The reason for that obviously is the whole process of improvising. Each player has his own solo moment. So, what will happen there, we don’t know. At times, those solo moments turn into duos or trios or whatever the heart’s desire is at that

time. There are times when somebody is playing a solo, and we are in the wings. Then, suddenly we are chiming in. It’s like there is an interaction going on from offstage.”   Hussain makes living in the moment a science and his concerts are known to have a tranquil, participatory effect on audiences. It seems effortless, but the music interplay is as extravagant as it is exhilarating. The world music legend will invite his Austin audience into a musical environment few have experienced. Tickets are available at several price levels from the Paramount Theatre Box Office., or by phone 866-9PROTIX. For more info contact IFA a 512.918.1351.

The interplay of these artists opens up new musical vistas in each performance, as Hussain’s interaction with other classically trained Indian musicians captures the full breadth of his artistry. The 2009 Grammy Award winner in the Contemporary World Music Album category for his collaborative album “Global Drum Project” with Mickey Hart, Sikiru Adepoju and Giovanni Hidalgo, Hussain has been playing professionally for some 50 years, delighting audiences of every nationality.  

Considered the greatest of all mantras, the Hindu sacred sound Om (also spelled Aum) represents absolute harmony; the convergence of all components of a person’s being and of the world around them. Om is made up of the three vibrations created by the sounds a-u-m (felt in the low belly, chest and throat/head), which

each correspond to a different sphere (earth, atmosphere, heaven), type of energy (creative, sustaining and transformative), Hindu god (Brahma, Vishnu, Siva), and many other triads. Om is chanted at the beginning or end of Hindu prayer and meditation, and is also used in Buddhist and Jain practices as well as in Yoga.

TODO Austin // March 2010 // 13

A Meal to Die For

tengo hambre Whether you’re new to Austin or have been here your whole life, you might consider renting the DVD of “Once Upon a Time in Mexico,” not just to get a look at the work of a true Austin auteur, but also to get the recipe for a dish worth dying for. In the movie, Johnny Depp plays Agent Sands, who always orders the same dish, puerco pibil, in his travels through Mexico. If he finds an exemplary version, one that transcends the ordinary greatness of the dish, he holds the cook, shall we say, accountable for this transgression, restoring balance to the world. (Being obsessed with a dish is totally understandable, but why take out the best? It’s never explained, but it is amusing.) Puerco pibil is a pork dish slow roasted in spices and citrus, and traditionally cooked in a banana leaf or buried and roasted in a pit (“pibil” is the Mayan word for buried). Originally from the Yucatan peninsula in Mexico, the dish is also known as cochinita pibil (although technically, cochinita pibil refers to a suckling pig). The film’s director, Austin’s Robert Rodriguez, includes a special feature cooking demonstration in the DVD. If you want something in your cooking

By Julia Lee

repertoire that’s so good it might get you killed, this is the recipe to try. The first ingredient is five pounds of pork butt. That may seem like a lot of butt, but it’ll make sense in the end. Your local butcher may tell you that pork shoulder is the same thing (they can’t tell a butt from a shoulder?!) but rest assured; for a recipe, they’re essentially the same cut of pork. The second ingredient is annatto. What’s annatto? You can find it in the bulk items at Central Market. The spice comes from the achiote tree, and is used as food coloring and flavoring. Although the annatto itself is reddish and colors the dish an orangey-red, it’s also used as a yellow coloring to dye butter and cheeses, giving them a warm tint which implies rich, fatty goodness even if it’s not really there. No implications here. There’s plenty of fat to be colored. Use a mortar and pestle or old coffee grinder to grind the annatto with the whole spices and combine with the liquids, garlic, salt and chile to make the marinade. It’s best to let the meat marinate overnight so the juices

really get deep down into the butt. Or shoulder. Wrap the meat in banana leaves (or heavy foil) and cook in a slow, 325° oven for 4 hours. That’s right, 4 hours. Plan ahead. This recipe easily serves 12 with the right accompaniment. It’s traditionally served with rice, but you might also try it with tortillas, cheese, salsa and guacamole to make little tasty tacos of joy.

Ingredients 5 pounds pork butt, cut into 2-inch cubes 5 tablespoons annato seeds 2 teaspoons cumin seeds 1 tablespoon whole black pepper 1/2 teaspoon whole cloves 8 whole allspice berries 1/2 cup orange juice

This recipe is incredibly versatile so try as many variations as you like. You can cut the recipe in half if you’re not cooking for a crowd, try limes instead of lemons, or cook it without tequila if you don’t have any (always a sad situation). Try different peppers. Poblanos, when they’re in season, give the dish a warm, smoky flavor without any real heat for some of your less tolerant guests.

1/2 cup white vinegar 5 lemons, juiced Shot of tequila 8 garlic cloves 2 tablespoons salt 2 habanero peppers, minced Banana leaves (optional; you can also use heavy duty foil)

Locally, Fonda San Miguel has an amazing version of cochinita pibil, as well as a pollo pibil made with chicken. But make it yourself. Risk it. If it’s so good you do get killed, so be it. You had a good life.

live music 03/02/10 (NO COVER)

Austin Vida’s Nacional Records Listening Party 03/05/10 (NO COVER)

Paul Eason Band 03/06/10 (NO COVER)

Tamales, Tequila and Latin Roots Rock 03/17/10


tamales & cantina

open Tuesday through Sunday 5 pm to 2 am 503 East 6th Street At the corner of Neches & 6th ST, 3 blocks West of IH35 • 512.499.0350

$2.50 Margaritas every night till 11pm Tamales available @

Pork, Pork/Jalapeno, Bean, Chicken/Verde, Cheese/Jalapeno, Spinach, Sweet Corn, Sweet Corn/Jalapeno book us for your company parties


SXSW Music from Columbia, Argentina, Brazil, Mexico 03/19/10

SXSW Music from Mexico, Spain, Brazil 03/20/10

SXSW Music from Italy, Panama, France, Taiwan, USA, Canada, Australia 03/26/10 (NO COVER)

Jeremy Steding

03/27/10 (NO COVER)

Kristen Kelly and the Modern Day Drifters

Chronicles of Undercover Mexican Girl Volume 1.7 By Alexandra M. Landeros

Not too long ago, my partner Shand and I wanted to explore one of the many flea markets we have driven past in Central Texas. Where we come from, out west in California, we call them swap meets. For our first Texas flea market experience, we decided to try the one on East Highway 290 – we had been informed it was one of the largest flea markets in the area. It sure was. If I had to imagine the layout of the flea market from an aerial view, it would be like an octopus. The corridors stemming from the entryway seemed to go on forever and loop back unto themselves, so after miles and miles of walking, we seemed to be right back where we started. Mostly, we found discount clothing and shoes, used hardware, tools and electronics, garish home decor, Tejano music and DVDs, fried food, spicy Mexican candy, old-style kitchenware for making salsas and tamales, fresh produce, curandera curios and a few authentically antique item booths. Among our favorite discoveries were the moving pictures featuring waterfalls, underwater sea life, nighttime city skylines and beach paradises. We were also amused by the unapologetic display of tawdry lingerie, particularly the sequined, butterflycrotch panties. We were particularly curious about the confederate guy selling “period” antiques such as “White Colored Folks Only” plaques and Mamie figurines, and didn’t quite understand how he fit into the whole scene. But we did not go home with any of these items. Instead, we walked away with a sleeping Mexican coin-bank we unoriginally named Pepe, a Mexican flag bandanna made in China and a framed picture of a saint to ward off bad spirits. (And when times get tough, we can break the glass in the picture frame to remove the seven lucky dimes.) We were even treated to a live musical performance by a Tejano band, which I’ve learned to appreciate to some degree. Growing up in Los Angeles, where we referred to that genre of music as Norteño, I developed an aversion to it as a result of my neighbors blasting it out of their pick-up truck in the driveway next to my bedroom at 7 AM. Even at the flea market, I still did not understand why the music had to be played so loud that the sound of the instruments coming out of the speakers was highly distorted. What I really had my heart set on was finding a DVD – or even a videotape – of young Pedrito Fernandez movies. For those of you who do know who he is, Pedro Fernandez was born on September 28 in Guadalajara, Jalisco, Mexico in 1969. His birth

name was José Martín Cuevas Cobos. He made his film debut in 1979 when producer Ruben Galindo gave him his first opportunity in the production “La Niña de la Mochila Azul” where he started his career. He changed his name to Vicente Fernandez, because of his music idols Pedro Infante and Vicente Fernandez. He is also a singer with more than 25 LPs in a 20-year music career. (NOTE: Although he changed his name to Vicente Fernandez, he is NOT to be confused with the original Vicente Fernandez.) Well, not a single Mexican running the DVD booths knew who Pedrito Fernandez was. I mean, come on. He was a legendary teen star in the 1980s in Mexico. Pedrito Fernandez revolutionized sexy for young Mexican teens. No other 12-year-old boy could pull it off better than him. But, lest I forget; he was an icon in Mexico. And Texas was lost to the United States in 1848. Go see for yourself. The flea market, that is. 9500 E Hwy 290 Austin, TX78724-2316 Phone: (512) 928-2795 Hours: Saturday and Sunday 10 AM – 6 PM

photos by Shand Walton

True Story By Blake Shanley

I started the morning with my ritual yerba mate tea from Argentina, complete with bombilla (stainless steel straw). Using a rose soap from China and a favorite line of organic shampoo, conditioner and lotion from India, awakening my senses with the scent of unique oils and spices, I got ready for the day. After a few minutes (ok, 30 minutes) rifling through the closet, I walked out the door in an ensemble involving a velvet jacket, a skirt made from Indian saris, knee-high boots and jewelry from Egypt. I then got into my Japanese car and headed to the office. In the car, I set the tempo for the day by listening to several songs (much too loudly, I’m sure): one Reggaeton, one Bhangra, one Amadou et Mariam, one Nusrat Fateh Ali Khan and one Celia Cruz. For lunch, I headed to Casa Colombia for a delicious plate of veggies, plantains, rice and beans, accompanied by some mango juice. Then back to the office, which is a super modern building on E. 11th St. designed by men from Belgium, Taiwan and Germany that sits across the street from Victory Grill, Austin’s oldest standing Blues club in what is now an African American Cultural Heritage District. Side note: I actually attended the Victory’s Historical Dedication Ceremony last weekend alongside a large and diverse crowd, which was refreshing and inspiring. Today I spoke to, for one reason or another with regard to work, a Bulgarian, a Mexican, a Scotsman, a Trinidadian, an Indian, a New Yorker and a Texan. I skip out on the office a bit early to head to a Kundalini yoga class, and then on to happy hour (and there is always a happy hour…it is Austin

after all). I head to meet friends at Uncorked where I imbibed a flight consisting of delectable red wines from France and Italy, and nibbled on an international cheese plate. On to dinner downtown, which resulted in way too much sushi and sake. With full belly, I head home, this time listening to a bit of Norwegian electronica. I walk into my place, decorated lovingly in all things Moroccan and Indian (of course, with a splash of modern in certain rooms), taking in a deep breath that fills my lungs with a faint trace of incense, and turn on a medley of the greats: Chopin, Mozart and Bach. I do a little work on my laptop at my desk from Ikea, sipping some fragrant tea from Brazil. I email some friends, one in Italy, one in Denmark, one in England and one in New Mexico. And then off to bed to end what really was just a typical day. An incredibly fascinating typical day when I consider that every aspect, experience, person, product, meal, etc. that I encounter, crave, expect, enjoy and seek daily originates from, and is inspired by, a multitude of nations, cultures and belief systems. I am grateful for that. I would be bored to tears without it. What would life really be like without this modern world of multiculturalism and diversity, and the freedom to experience it as one sees most desirable? I have no idea and I really don’t want to find out.

Two Time Grammy Winner

Zakir Hussain & Masters of percussion only show in texas! Saturday, March 6, 2010 7:30 p.m. Paramount Theatre 713 Congress Avenue, Austin Texas 78701 Tickets are available at the Paramount Theatre Box Office Order by phone: 866.9protix

TODO Austin March 2010  

TODO Austin is a free-distribution, full-color, monthly newspaper that focuses on Austin's multicultural community. TODO Austin is published...