Bob Feldman : Civil Rights, SDS, and Student Activism in Austin, Texas, 1954-1973

Massive march against the War in Vietnam, Austin, Texas, May 8, 1970. Image from The Rag Blog.

The hidden history of Texas

Part 13: 1954-1973/2 -- Student Activism and the Anti-War Movement at the University of Texas

By Bob Feldman / The Rag Blog / April 17, 2013

[This is the second section of Part 13 of Bob Feldman's Rag Blog series on the hidden history of Texas.]

Inspired by the early 1960s Civil Rights Movement protests of groups like the Congress of Racial Equality [CORE], the Southern Christian Leadership Council [SCLC], and the Student Nonviolent Coordinating Committee [SNCC], and in response to the 1965 escalation of the Pentagon’s War in Viet Nam, an increasing number of students and non-students in Austin, Texas, became involved in New Left and countercultural groups like SDS and in underground press journalism during the 1960s.

There was substantial New Left activity in other Texas cities, including Houston where underground newspaper Space City! helped pull together an active movement community, but Austin -- which had always been a center for cultural and political iconoclasm -- would become one of the nation's New Left hot spots.

As Beverly Burr observed in her thesis, "History of Student Activism at the University of Texas at Austin (1960-88)":

The Students for a Democratic Society [SDS] formed a chapter in the early spring of 1964. From 1964-7, the UT chapter of SDS began to build the local white, radical student movement. Alice Embree, one of the early participants in SDS at UT, said that when she went through registration at the beginning of the Spring 1964 semester, there was an SDS information table. She conjectured that 4 or 5 people started the group.

The early focus of the group was participating with black student activists in the sit-ins at downtown Austin restaurants... In mid-October 1965, SDS held a death march protesting U.S. policy toward Vietnam. This protest was apparently the first antiwar demonstration on the campus during the 1960s. About 70 students participated in the march and rally... SDS had attempted to get a parade permit to march on the streets during the rally but the permit had been refused by the City Council...

SDS held its first fall 1966 meeting in late October [1966]... At the same time, students organized an underground newspaper called The Rag... Most of the staffers were SDSers who created the paper not only to publicize issues of importance to the movement but also in reaction to the corporate controlled mainstream media... During the fall [of 1966] 10 SDS and Rag women... held a sit-in protesting the draft at the Selective Service in Austin. In January of 1967 several demonstrations were held against Secretary of State Dean Rusk while he was in town... Over 200 came to the second protest which succeeded in canceling Rusk’s dinner at the UT Alumni Center...

The first conflict between SDS and the University occurred later in the spring of 1967 during Flipped-Out Week... SDS had planned a week of activities including a speech by... Stokely Carmichael..., an anti-war march to the Capitol, and Gentle Thursday... The activities attracted several thousands... The week after Flipped-Out Week, SDS distributed flyers... to plan a Monday protest against Vice President Hubert Humphrey who would be speaking at the Capitol... On Monday, about 150 students protested at the Capitol against the war in Vietnam. Later that day, UT withdrew recognition of SDS as a campus organization...

UT initiated disciplinary proceedings against 6 students involved in the anti-war protest... against Hubert Humphrey... Simultaneously the UT administration... called for the arrest of George Vizard, a non-student. Vizard was arrested by Austin police... The police brutally arrested him in the Chuckwagon, a café and radical hangout in the Student Union... Over 250 outraged students and faculty members... founded the University Freedom Movement [UFM].

University Freedom Movement rally,
UT campus, 1967. Photo from The Rag.

But despite subsequently well-attended free speech rallies and extralegal campus protests by UFM supporters during the rest of April 1967, the six anti-war students who were being disciplined by the UT administration were all placed on probation for their political activity on May 1, 1967. Yet the anti-war countercultural movement in Austin continued to gain more local popular support, and in October 1969, around 10,000 people protested in Austin against the Republican Nixon Administration's failure to end the Pentagon’s War in Vietnam .

African-American student and non-student Movement activists also continued to organize anti-racist protests during the late 1960s in Austin. As the “History of Student Activism at the University of Texas at Austin ” thesis also noted:

In 1966, the Negro Association for Progress [NAP] was formed... During the spring of 1967, NAP... members converged on the office of... athletic director and... football coach Darrell Royal to find out why UT was not accepting or recruiting black athletes... In October [1967]... NAP held an illegal demonstration for black student rights... In the spring of 1968 NAP was replaced by the Afro-Americans for Black Liberation [AABL]...

In May [1968]... the owner of a Conoco station... attacked a black musician... Larry Jackson of Austin SNCC and Grace Cleaver, chair of AABL, called on all persons opposed to racism to picket [and to boycott the station]... Jackson requested that SDS participate in the action and the group agreed. The students held several sit-ins at the gas station. City police arrested about 50 in the demonstrations... That fall AABL won 2 academic programs in Afro-American Studies...

And in a Feb. 1, 2003, speech before the W.H. Passion Historical Society at the Southgate-Lewis House in Austin, former Austin SNCC activist Larry Jackson also recalled how a SNCC chapter came to be formed in Austin during the late 1960s:

I was born in central East Texas, a little town called Hearn... And that’s the place I first began my activities in civil rights... I first got involved in a lot of civil rights activities when I was in high school in Hearne, Texas. And I was trying to integrate the pool... I left Hearne, Texas because I was involved with so much strife there...

And in Houston I became very active in school activities at Texas Southern... And what really got me here in Austin was I had previously worked on the Martin Luther King speech day in Houston... And at the music hall, outside of the TSU people and a few whites to hear Martin Luther King speak, there was not 200 people there. And this happened in 1967... And I ended up coming here on a speaking deal with Stokely Carmichael and Rap Brown. That’s how I got to Austin , Texas... And so he was speaking out there at the University of Texas. So I stayed on here because I was gonna form a SNCC chapter here in Austin...”

Austin was also a center for the fast-growing women's liberation movement and, according to Jo Freeman in Women: A Feminist Perspective, the landmark Supreme Court decision on abortion, Roe v. Wade, "was the project of a small feminist group in Austin, Texas and the lawyer [Sarah Weddington] who argued Roe before the Supreme Court was one of its participants."

[Bob Feldman is an East Coast-based writer-activist and a former member of the Columbia SDS Steering Committee of the late 1960s. Read more articles by Bob Feldman on The Rag Blog.]

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Allison Meier : Radical Archive Exhibits 'Rebel Newsprint' from the Sixties

Image from “Rebel Newsprint: The Underground Press” at Interference Archive. Photo by Allison Meier / Hyperallergic.

One radical archive offers a
hands-on approach to activist art

The indie counterculture newspapers of the 1960s multiplied to over 500 around the country, with their art and design as radical as their messages.

By Allison Meier / Hyperallergic / March 6, 2013

The intensified activism of the 1960s fueled by the Vietnam War and struggles over class inequality, women’s rights, and black liberation drove the rapid growth of the underground press. Between 1965 and 1969, the five indie counterculture newspapers scattered across the United States multiplied to over 500 around the country, representing and communicating the voices of feminists, the Black Panther Party, gay activists, psychedelic aficionados, and other social movement groups with their art and design as radical as their messages.

"Rebel Newsprint: The Underground Press" at Interference Archive in Gowanus [a neighborhood in Brooklyn, New York] is digging into this historic period with over 100 newspapers from across the sixties underground.

The exhibition of ephemera is curated by Sean Stewart, the editor of On the Ground: An Illustrated Anecdotal History of the Sixties Underground Press in the U.S. (2011), and was drawn from his own collection, with yellowed and folded issues of newspapers like the bilingual community publication Basta Ya started in San Francisco in 1969, the experimental San Francisco Oracle published from 1966 to 1968 out of Haight-Ashbury that reflected the area’s psychedelic scene in trippy rainbow ink and spiritual poetry, and the sexual revolution sourced Screw: The Sex Review co-founded by pornographer Al Goldstein.

Most of the newspapers are held in plastic and suspended from the walls of the Interference Archive’s small space, a cascade of counterculture messages like “End the War Now,” “Don’t Mourn, Organize,” and “All Power to the People” blaring out from vibrantly hued cover art and rapid fire text.

One issue of the East Village Other, responding to the 1967 storming of hippies convening in Tompkins Square by police, has an image of a man with a bloodied face, his hands handcuffed and stretching down while text frames him on two sides: ”My God! My God! Where is this happening? This is America!” (You can see this and some other covers in detail on the Interference Archive blog.)

The Rag. Image from
Interference Archive.

The importance of a visually engaging communication device was especially essential for movements that were located outside of the radical coastal centers, like Space City! in Houston. Thorne Dreyer, part of its editorial collective, is quoted in the exhibition text: “Houston was all spread out, you know, there were antiwar people and there were rock ‘n’ rollers but there wasn’t anything to pull them together. Space City! created a place where all these people could come together.”

There was also the relaying of information between distant parts of the world where activism was broiling. Alice Embree, a staff member at Austin's Rag, is quoted: “The importance of Rag and the underground press movement was that it was the connective tissue; it spread the news of what was happening from here to other places. It brought the news of, say, People’s Park or whatever was going on in Berkeley or New York, back.” This extended to movements in Mexico and even across the ocean in Japan and France.

True to the Interference Archive’s mission of providing hands-on access to their materials, there are a few copies of underground newspapers to flip through, such as an issue of the radical California-based Berkeley Barb that includes an article on activist Jerry Rubin and a tantalizing story on “Erotic Lennon.” ”We prioritize use, not preservation,” said Cindy Milstein, one of the members of the Interference Archive collective of volunteers. She also emphasized the archive’s focus on the history of aesthetics and art in activism.

Opened in December of 2011, the Interference Archive is run by a volunteer collective with Kevin Caplicki, Molly Fair, Josh MacPhee, Cindy Milstein, and Blithe Riley at its core. Their small library in Gowanus is packed with materials from around five decades of social movements, with a significant portion of the archives related to activism outside the United States. As a public resource, anyone can stop by during their open hours and dig through boxes of zines, comics, protest banners, books, and some audio and video material.

There are also buttons and t-shirts and flat files of prints from Just Seeds, an art cooperative for graphic designers started by Interference Archive founder MacPhee. Much of the Archive is sourced from the personal collections of MacPhee and fellow founder the late Dara Greenwald, which was amassed from their own participation in social movements and the punk rock culture of the 1980s and 90s.

The Berkeley Tribe. Photo by Allison
Meier / Hyperallergic.

Every drawer and box and shelf of the Interference Archive is overflowing with valuable research on social movements, from the Paris Rebellion of 1968 to the Latin American solidarity organizations to materials on apartheid, with the importance of art as an avenue for a message’s resonance appearing throughout the decades and the physical connection with the relics of movements really bringing them to life.

While access to all of this is their main goal, their regular exhibitions are a way to examine the role of visual messages in these materials. Looking at the walls covered in the underground newspapers can be a bit overwhelming, but is worth spending time with for the innovative takes on design and use of visuals to convey their fervent messages that were unrepresented in the mainstream press.

"Rebel Newsprint: The Underground Press" is at Interference Archive (131 8th Street, Unit 4, Gowanus, Brooklyn) through March 24. Hours are Tuesdays, Wednesdays, and Sundays 12 – 5 pm.

[Allison C. Meier is a freelance and fiction writer based in Brooklyn. Originally from Oklahoma, she has been covering contemporary visual art for print and online media since 2006. You can read about her New York and world travel adventures on her website.  Meier wrote this article for Hyperallergic, "a forum for serious, playful and radical thinking about art in the world today."]

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BOOKS / Mariann G. Wizard : Steve Russell's 'Wicked Dew'

A chapbook review:
Steve Russell's 'Wicked Dew'

By Mariann G. Wizard / The Rag Blog / January 9, 2013

[Wicked Dew, by Steve Russell. (2012: Dog Iron Press, Georgetown, TX.); Paperback; 88 pp; $7.75.]

I've known Steve Russell since sometime in 1968 when he started showing up at The Rag office, a tall, gangly, very young Vietnam-era vet going to UT Austin on the GI Bill. Although Steve is incredibly bright and witty, and I've always enjoyed his prose contributions to The Rag and now The Rag Blog, I was nervous about reviewing his first book of poetry, Wicked Dew.

Steve is a Native American writer, and all of the previously published works in this collection have appeared in the Native press, where he is a regular contributor of weighty essays as well as occasional poetry. The book in fact won the 2008 Poetry First Book Award of the Native Writers Circle of the Americas (NWCA), and would have been published as part of the award; unfortunately, NWCA lost publication funding and the book is only now seeing the light of day.

I worried I might not be the right person to review poems that would obviously, just from these facts, be deeply rooted in Steve's experience as a Native American. My mostly Scotch-Irish parentage undeniably has Native ancestors as well, but in my generation, and even in my folks', as Russell writes in "Blood Quantum," the "thin red line" of Native genes became gray oblivion.

My unfamiliarity with contemporary Native American literature (these days, honestly, with literature in general!) added to my concern. Would this blue-eyed daughter of "the flood of European blood" really get it?

I needn't have worried, and neither should other poetry lovers. While a deeper knowledge of Native American literature would no doubt add to the grasp and enjoyment of these 37 poems, most transcend ethnic or tribal viewpoints, offering windows into the transformation of a poor "halfbreed" Oklahoma dropout into a multifaceted human rights activist and whole human being, rooted in and proud of his heritage.

"Heritage" for Steve is, I think, not just who someone's ancestors were or what they did, but what a person makes of it. He writes his own history, and defines his own family, too.

Steve Russell

Here are no paeans to Native purity or essential nobility. Only the lovely "Haiku for Walela" hearkens back before the European flood hit the Western hemisphere. One rather cynical poem, "Teach Me," begins, "Teach me, White Father, so I may understand. I understand slavery..." Slavery -- although not of the lifelong variety -- was commonly practiced among Native tribes long before there was any European contact. Of these critical looks at Native political correctness, the most powerful is "How to Succeed as an Indian Poet":

Don't say 'hunger.'
Write of the plump red strawberries
grown by Cherokees
in the Cookson Hills,
rather than rodents fried in lard,
garnished with herbs from the bar ditch,
government commodities on the side...
In "Probably Wolf Clan," "Indistinguishable Color," "Blood Quantum," and other poems, Russell mourns the ongoing loss of Native identity and weighs his own. The question of who is "red" enough to be a "real Indian" has parallels in other discussions: is Barack Obama a "real black man?" What does it mean to be "Hispanic" or "Latino?" And for goodness sake, what in the world is "white?" "When I'm Old" begins:

And when I am very old
will the drums outrun my feet?
Will the sweetgrass be just another smoke, and the sage a burning weed?
Does White Buffalo Calf Woman return for the civilized Indians?
A few selections distill the "wicked dew" of the title and cover illustration, inking the perfidy of European America in its true colors of bitterness and gall. "Bison Bones" excoriates oblivious conquerors who do not even know what they desecrate:

Were Dallas Texans born with neckties on
to be served in deep carpet
by smiling brown faces
where dishes disappear silently
and condiments come in tiny sealed jars
to dine on bison bones?
In other poems, Russell celebrates Native cultural values. "Disruption, Spring 1997," based on news accounts of an Albuquerque school girl not allowed to graduate wearing a traditional shawl by her grandmother, tells of family pride in the girl's achievement. Poems for two of Steve's (non-simultaneous) wives and one titled "Lust" are lit from within by wise acceptance of what-it-is. Another, "Cherokee Love," begins:

There is no love in Cherokee.
No falling in or falling out,
no marry now or live in doubt,
no changing weather love in Cherokee...
Some selections are rooted in Steve's activism as part of Austin's late 1960s-early 1970s anti-war movement. "Jailpoem 2," from 1970, was clearly written following angry protests of the U.S. invasion of Cambodia and massacres of students at Kent State and Jackson State. Steve became a leader in the Austin chapter of Vietnam Veterans Against the War.

Steve Russell, front with VVAW flag, participates in a demonstration by Vietnam Veterans Against the War on the University of Texas Campus at Austin in the late Sixties. Photo from Mariann Wizard's files.
"At the Vietnam Veterans Memorial" alternates flashbacks of a Southeast Asian village, a horse cavalry massacre in an Arapaho village, and tears for the fallen soldiers memorialized on the Wall. "Seeing Off the Troop Train" contrasts his youthful desire for heroic action with his grandmother's wisdom and his own fears as a father:

Twenty-eight years later, my son is a volunteer soldier.
Nobody elected Bush or his crew of 20th century retreads.
Granma is not here to say 'We got no business over there!'
But I hear her anyway.
Not everything is equally successful. "Not Juan Valdez," a clever idea, is marred by Spanish spelling errors and the misplacement of Colombia's iconic coffee grower to the Mexican state of Chiapas. Not Juan Valdez, indeed; this one confuses the reader and thus loses points.

A few poems with long, complex lines push against the borders of the printed page, seeming to demand spoken performance and perhaps hand drum punctuation, but add to the depth of the collection overall.

Wicked Dew charts a vision of optimism, traditional values, and endurance in selections such as "Indian Lawyer's Creed" and "A Matter of Faith." "To My Grandfather," the initial poem in the collection, is perhaps the most revealing of these:

I told him I wanted to be like Mickey Mantle,
who escaped the poverty of rural Oklahoma,
and appeared to own New York,
a grand place located near Oz...

I left Oklahoma
and as the years accumulate
Oklahoma almost leaves me.
The road home is distant and dusty and even more unlikely
than the road here...

I have seen New York.
And Oz.
And College...
And although I still cannot tie a necktie, Grampa,
I have taken your name...

and I want you to know
I am still playing batter.
Retired from a first career as an Austin and then Travis County, Texas, trial judge, and a second as a professor of criminal justice in San Antonio and later at Indiana University, and with a book of essays also just out (Ceremonies of Innocence: Essays from the Indian Wars, 2012, Dog Iron Press), Steve Russell bats close to a thousand with this collection of verse.

[Mariann G. Wizard, a Sixties radical activist and contributor to The Rag, Austin's underground newspaper from the 60s and 70s, is a poet, a professional science writer specializing in natural health therapies, and a regular contributor to The Rag Blog. Read more poetry and articles by Mariann G. Wizard on The Rag Blog.]

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RAG RADIO / Thorne Dreyer : Interviews with Activist David MacBryde; Author Jan Reid

Berlin-based activist David MacBryde in the KOOP studios in Austin, Texas, Friday, November 9, 2012. Photo by Tracey Schulz / Rag Radio. Inset photo below, from left: Rag Radio's Tracey Schulz and Thorne Dreyer and guest David Macbryde. Photo by Charlie Martin / KOOP.
Rag Radio podcasts:
Our man in Berlin David MacBryde
and Ann Richards biographer Jan Reid

By Rag Radio / The Rag Blog / November 1, 2012

David MacBryde -- a Berlin-based correspondent for The Rag Blog -- offered a progressive perspective on developments in Germany and the Eurozone to the Rag Radio audience on Friday, November 9.

And on Friday, November 2, Ann Richards biographer Jan Reid shared the story of the legendary late Texas governor. He was joined on that show by radio journalist Frieda Werden, who worked with the Ann Richards-initiated Texas Women's History Project.

Listen to Thorne Dreyer's interview with David MacBryde here :


and listen to our interview with Jan Reid and Frieda Werden here :


Rag Radio is a syndicated radio show produced in the studios of KOOP-FM, a cooperatively-run all-volunteer community radio station in Austin, Texas. It is broadcast live Fridays at 2 p.m. (CST) on KOOP, 91.7-FM in Austin, and streamed live on the Internet, and is rebroadcast on WFTE-FM in Mt. Cobb and Scranton, PA., on Sunday mornings at 10 (EST).

David MacBryde, a former Austin peace and justice activist, is a faith- and economics-based social activist with roots in the Quaker church. Much of his work in Germany has involved the “Swords to Plowshares” movement, especially in the work of converting military bases to peaceful civilian use, and with the anti-war American Voices Abroad in Berlin. He discussed the European Occupy Movement and economic justice and environmental activities among other topics.

MacBryde studied physics and mathematics at Yale and philosophy at the University of Texas, was a staffer at The Rag, Austin’s influential ‘60s underground newspaper, and worked with the Students for a Democratic Society (SDS) and with Austin’s Armadillo Press, an IWW union print shop. He was also a UT shuttle bus driver and worked with the drivers' union, ATU Local 1549. David MacBryde moved to Germany in 1981.

David also reported on the October 31-November 2, 2012, conference in Ann Arbor, Michigan, honoring the 50th anniversary of the Port Huron Statement, which he attended, and discussed how the SDS concept of "participatory democracy" influenced his life and his politics.

Author, journalist, and Ann Richards biographer Jan Reid, in the KOOP studios, November 2, 2012. Photo by Tracey Schulz / Rag Radio. Inset photo below, from left: Tracey Schulz and Thorne Dreyer of Rag Radio, Frieda Werden of WINGS, and author Jan Reid. Rag Radio photo.
Jan Reid, the author of Let the People In: The Life and Times of Ann Richards, is a senior writer for Texas Monthly and his writing has appeared in Esquire, GQ, Slate, and The New York Times. His other books include The Improbable Rise of Redneck Rock, The Bullet Meant for Me, Rio Grande, Texas Tornado: The Times and Music of Doug Sahm, and two award-winning novels, Deerinwater and Comanche Sundown.

Also joining us on the show was Frieda Werden of WINGS, the Women's International News Gathering Service. Austin native Werden is also the Spoken Word Coordinator at the Simon Fraser Campus Radio Society near Vancouver, British Columbia.

When Ann Richards delivered the keynote at the 1988 Democratic National Convention (“Poor George, he can’t help it. He was born with a silver foot in his mouth”), she instantly became a media celebrity.

In 1990, Richards became the Governor of Texas. She was the first ardent feminist elected to high office in America; her progressive achievements and the force of her personality created a lasting legacy that far transcends her rise and fall as governor of Texas.

In Let the People In, Jan Reid draws on his long friendship with Ann Richards, interviews with her family and many of her closest associates, her unpublished correspondence with longtime companion Bud Shrake, and extensive research, to tell a very personal and human story of Richards' remarkable rise to power as a liberal Democrat in a conservative Republican state.

Former President Bill Clinton wrote, “Jan Reid gives us new insight into Ann Richards, whose wit filled any room with laughter, whose candor chased away every smoke screen, whose heart was as big as Texas...”

Rag Radio features hour-long in-depth interviews and discussion about issues of progressive politics, culture, and history. The show, which has aired since September 2009, is produced in association with The Rag Blog, a progressive internet newsmagazine, and the New Journalism Project, a Texas 501(c)(3) nonprofit corporation.

The host and producer of Rag Radio is Rag Blog editor and long-time alternative journalist Thorne Dreyer, a pioneer of the Sixties underground press movement. Tracey Schulz is the show's engineer and co-producer.

All Rag Radio shows are posted as podcasts and can be listened to at the Internet Archive.

Rag Radio can be contacted at ragradio@koop.org.

Coming up on Rag Radio:
THIS FRIDAY, November , 2012: Singer-Songwriter -- and multiple Austin Music Awards winner -- Guy Forsyth.

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RAG RADIO / Thorne Dreyer : Storied Texas Civil Rights Attorney David Richards

Texas civil rights lawyer David Richards in the KOOP studios in Austin, Friday, Sept. 14, 2012. Photo by Thorne Dreyer / The Rag Blog. Inset below: Richards, right, with Rag Radio host Thorne Dreyer. Photo by Tracey Schulz / Rag Radio.
Rag Radio podcast:
Famed Texas civil rights and
labor lawyer David Richards 

By Rag Radio / The Rag Blog / September 19, 2012

Texas civil rights and labor lawyer David Richards was Thorne Dreyer's guest on Rag Radio, Friday, September 14, on KOOP 91.7-FM in Austin.

Richards, who is the ex-husband of the late Texas Gov. Ann Richards, has argued extensively before the U.S. and Texas Supreme Courts, including a number of historic landmark cases. According to Texas Monthly magazine, Dave Richards "has earned his place in Texas history" as "a rebel-rousing civil-rights lawyer who fought to make Texas just."

Listen to Thorne Dreyer's Rag Radio interview with David Richards here.


Rag Radio features hour-long in-depth interviews and discussion about issues of progressive politics, culture, and history. The syndicated show is produced in the studios of KOOP-FM, Austin's cooperatively-run all-volunteer community radio station. It is broadcast live on KOOP and streamed live on the Internet, and is rebroadcast on WFTE-FM in Mt. Cobb and Scranton, PA.

On the show we cover Dave Richards' illustrious legal career -- as well as some unique Texas history -- as Richards reflects on some of the most memorable figures in Texas liberal politics including Ann Richards; humorist John Henry Faulk (who was blacklisted by Sen. Joe McCarthy); Judge William Wayne Justice ("the judge who brought justice to Texas"); and Texas Observer founder Frankie Randolph. And the late great folk pundit Molly Ivins, with whom Richards rafted the Grand Canyon just weeks before her death from cancer.

Among David Richards' more notable cases were ones that established single member legislative districts in Texas, that declared the Texas obscenity statute unconstitutional, and that overturned the Texas loyalty oath.

In 1972, representing the ACLU before the U.S. Supreme Court, Richards won the right for the underground newspaper, The Rag, to be distributed on the University of Texas campus. He also sued the Dallas Police on behalf of Stoney Burns, editor of the underground tabloid Dallas Notes, who was busted for obscenity; worked to overturn a vagrancy statute that was used to bust hippies; and sued for the right of students to vote in college communities.

David Richards has also been an adjunct professor of law at the University of Texas Law School; served as an attorney with the U.S. Commission on Civil Rights; was Executive Assistant Attorney General of Texas; and was General Counsel for the Texas AFL-CIO. Richards is the author of Once Upon a Time in Texas: A Liberal in the Lone Star State.

Rag Radio has aired since September 2009 on KOOP 91.7-FM in Austin. Hosted and produced by Rag Blog editor and long-time alternative journalist Thorne Dreyer, a pioneer of the Sixties underground press movement, Rag Radio is broadcast every Friday from 2-3 p.m. (CDT) on KOOP, 91.7-fM in Austin, and is rebroadcast on Sundays at 10 a.m. (EDT) on WFTE, 90.3-FM in Mt. Cobb, PA, and 105.7-FM in Scranton, PA.

The show is streamed live on the web by both stations and, after broadcast, all Rag Radio shows are posted as podcasts at the Internet Archive.

Rag Radio is produced in association with The Rag Blog, a progressive internet newsmagazine, and the New Journalism Project, a Texas 501(c)(3) nonprofit corporation. Tracey Schulz is the show's engineer and co-producer.

Rag Radio can be contacted at ragradio@koop.org.

Coming up on Rag Radio:
THIS FRIDAY, September 21, 2012: Singer-Songwriters Bob Cheevers and Noëlle Hampton & Andre Moran.
September 28, 2012: Composer, Musician, Conductor, Writer, and Scholar David Amram.

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INTERVIEW / Jonah Raskin : Mariann Wizard's Odyssey

Above, Mariann Wizard at Threadgills, Austin, Texas, 2012. Photo by Gloria Badilla-Hill. Inset below: Mariann with former cable television commissioners, Jack Hopper and Tommy Wyatt, at ribbon-cutting ceremony to launch Austin's public access TV. Mariann was the chair of the Commission. Photo by Stuart Heady.
A Rag Blog Interview:
Mariann Wizard's Odyssey

“I love my country, but not always my Nation. I am a child of Mother Earth and loyal to her alone.“ -- Mariann Wizard

By Jonah Raskin / The Rag Blog / June 22, 2012

Wizards really do work wonders and Mariann Garner Wizard -- an icon of Austin’s radical movements and countercultural institutions -- is no exception.

The feisty co-author of two popular books -- the legendary underground comic, The Adventures of Oat Willie, and a classic study about the Sixties-era G. I. movement, Turning The Guns Around -- Wizard was also a contributor to No Apologies: Texas Radicals Celebrate the '60s, and to Paul Buhle's Students for a Democratic Society: A Graphic History.

She has worked her wizardry all over Texas for most of her life, and especially in Austin ever since she moved from Fort Worth to attend UT.  These days she works that wizardry, more often than not, on the Internet -- as a professional science writer specializing in natural therapies, and as a contributing editor to The Rag Blog.

A writer for The Rag and later for The Daily Worker, she joined SDS in the 1960s, and later belonged to the Communist Party of the United States. Her activist life didn’t leave much room for studying and she left UT before she earned a degree. On July 23, 1967, her husband, George Vizard, was shot and killed in Austin, and, though 45 years have passed since then, she has never forgotten the murder that day or her own youthful self.

By the time that she went back to college, and graduated from Juarez-Lincoln University with a B. A. in communications, Texas wasn’t the same and the United States wasn’t, either. The War in Vietnam had ended, legal segregation was a thing of the past, and American women had liberated themselves from the narrow roles that had confined them in the 1950s. Wizard herself had been transformed by the waves of rebellion and resistance that broke all around her.

For her whole life, she has rarely if ever accepted any of the preordained roles that others might have tried to impose on her. Even as a child, she had a free, independent spirit. In the last half century, she has been the author of her own ongoing Odyssey, delivered her own irreverent lines, written and performed her own brand of satirical poetry, helped to give birth to Austin’s public access TV station, and served as a mainstay in a community that has sustained her for decades.

Loyal to friends and to family, she’s as much a part of Texas traditions as Molly Ivins, Ann Richards, and Marilyn Buck, a friend of 45 years until her death two years ago, in August 2010.

I met Wizard for the first time eight months ago, spent several days with her in Austin, where she introduced me to her son, Matthew, and her former partner, Michael Kleinman, one of the prime movers and shakers behind Seattle’s annual Hempfest.

We ate Mexican food, listened to homegrown music, and gazed at the stars at night. I think we may have had a margarita or two. Mostly we talked from early morning to late at night about Austin, burritos, cannabis, UT, the weather, the Yippies, and more. We’ve gone on talking ever since then. This is our first public conversation.

Mariann Wizard (left) with Marilyn Buck at Dublin FCI in 1996. Inset below, from top: Mariann Vizard in 1968; with husband George selling The Rag on the Drag in 1966; the artist as a young woman; Oat Willie comic; Mariann reads her poetry.
Jonah Raskin: Wizard sounds like an unusual last name. Where does it come from?

Mariann Wizard: After my first husband, George Vizard, died and after my divorce from my second husband, Larry Waterhouse, I adopted the nickname “Wizard” that Alice Embree had given me. I made it my legal last name. I probably took the name in part because of "Mr. Wizard" who was featured on a science program for kids on TV when I was growing up.

Your husband, George Vizard, was shot and killed on July 23,1967. That’s 45 years ago. How does that event touch you today?

On a very real level, I will be "the widow Vizard" until the day I die. I was 20 years old, and although I've given it the good old college try on several occasions, there has never been another man who made me feel so totally secure, or so immensely proud that of all the girls in Texas, he picked me to be his wife. He was really somethin' else! I would not be the person I am today had I not known him.

You were born in Fort Worth. What was it like growing up there after World War II?

It was a great town in part because as a little white girl I didn't get segregation. The city had and still has a great library system, parks, art and history museums, public transit, and a feeling of unlimited opportunity. We also had something called "winter" with snow days, snowmen, winter coats, and winter wardrobes.

Were you a child of the Cold War?

The whole red terror was a part of my childhood. In high school, they gave us cardboard discs to write our names and pin them on our shirts in case of nuclear attack. That was the beginning of the end of my confidence in authorities.

When do you think you woke up and began to see what was happening in America?

When I saw black kids on TV fire-hosed in Alabama for doing what I did every Saturday: sip a soda at Woolworth's. I thought it could be fixed if people would simply remember what they taught us in Sunday school about Jesus loving all the little children. I didn’t look deeper into the workings of our society until on TV I saw the bombing of Vietnam and the Vietnamese and made a connection between the war there and racial injustice at home. Thank goodness for TV!

Why did you join Students for a Democratic Society?

A very brilliant, now deceased Austin anarchist organizer, and Navy veteran known as Bob Speck -- whose real name was Bob Baker -- got me to staple booklets for a Vietnam teach-in when he found me drinking coffee in the Chuck Wagon, the UT Student Union hangout for beatniks, bikers, international and Negro students, civil rights workers, and assorted weirdos. A week or so later, I went to an SDS meeting and was blown away.

And why was that?

I’d been in girls' organizations all through high school and knew that girls and women could decide things as well as boys and men. I had also been in mixed-gender groups where girls sat back and let the boys do the talking and pontificating. At the SDS meeting, two beautiful women -- both of them hooked up with cute, smart, influential guys -- stood up, spoke up, and got their points across. Even their men folk were pleased. That was Alice Embree and Judy Schieffer, who had been a civil rights worker in Mississippi, weighed about 80 pounds dripping wet, and was fearless.

Did you think that SDS would go on and on, forever?

As I came to know SDS people and "to participate" with them, I had the sense that our relationships would last forever, based not on some casual propinquity, money, or the bonds of high school, but because we believed in things worth struggling to achieve, struggling without cease, and perhaps without even a glimpse of the promised land. We had to learn to be kind to each other, to accept each other as we were, to love for real, and to keep the faith. Bob Dylan was a big help. I reckon he still is.

Do you think Texas is more violent than any other place in the States?

Hell no!... Do you want to step outside and ask that question again, Mr. Raskin? We aren’t a violent people. We’re just emotional. I support the Second Amendment to the U.S. Constitution. I have a Goddess-given right to self-defense by any means necessary.

When you think about Texas, do you consider it a part of the United States, or is it its own separate country?

Greater Tejas -- say, the 1718 boundaries, when Mission San Antonio de Bexar was founded -- is a vital geopolitical part of Mesoamerica, ripped from Madre Mexico by Yankees. The hideous border fence is an insult to Nature as well as Humanity. Imagine the influence of Mexico today if Texas had remained part of its Republic! Viva Zapata! Viva Juarez! Y Viva la Reconcuesta de Paz that we now witness in our changing demographics! If you can't beat 'em, outbreed 'em. The most popular name for baby boys in 2011 in Texas, and several other current U.S. states, was Jose.

To many Americans in, say, New York or Berkeley, the idea that Texas has a counterculture and a radical movement seems implausible.

It's not just Texas that leftists on the effete coasts don't see, hear, or respect! They don't know what's going in Oklahoma, Kansas, Missouri, or Arkansas, either! That's why SDS had to have a "Prairie Power" movement. Texas is the Heartland, but all y'all bi-coasters just fly over it or motor through it looking for hicks.

How has feminism unfolded in Texas in ways that would surprise East Coast and West Coast feminists?

Hmmmm... Roller Derby, maybe? With the Internet, Grrrrl Power is everywhere.

How do you define yourself politically these days?

I don't have a party; sometimes I think of myself as an unaffiliated working-class libertarian Marxist-Leninist, but I am more than that, too. I write satiric and outraged poetry, howling to the best of my ability at the moon of our discontent, trying to keep some sense of language alive wherein words have meaning beyond the convenience of the moment.

I hope that the generation coming into their prime now will embrace new paradigms of social and economic intercourse, redefine happiness as something that cannot be bought at a store, learn it's okay to live on beans and bread, and put into practice a lot of what my generation dreamed.

You've been involved in the movement to decriminalize and legalize cannabis. What ideas do you have now to further the cause?

The legalization movement has allowed itself to be stigmatized as a kind of Cheeto-munching-couch-potato-smart-ass-white-boy-jerk. The public face of the movement is all too often exactly that. NORML's new Women's Alliance is a welcome development and one that we’ve been advocating for years. Grown-ups smoke cannabis, too. Until users start supporting professional, well-planned public interest campaigns, we can all go on reveling in our image as "rebels."

You’ve been through several incarnations, if you can call them that, as a radical. Is there a cause or a movement that you belonged to and feel proudest about it?

I have always been an advocate and practitioner of the First Amendment. I’m a Free Speech and a Free-to-Assemble loyalist to the bottom of my soul. To speak and associate freely with people of like- and unlike minds is the essence of freedom. I’m a proud supporter of the American Civil Liberties Union and the Texas Civil Liberties Union, and have a long and proud roster of free speech causes, publications, and occasions.

What are some of your Austin activities?

I spent a good 14 years involved on a daily basis as a volunteer with public access television in Austin, and at the state-of-the-art television studio that I and a small group of people demanded be built in East Austin. When visitors ask me for a tour of "my town" it’s the first place I show them. Every day people at the studio learn to deconstruct the mass media and construct their own media. Public access is free speech television!

What about your involvement with the Communist Party, U.S.A.?

I joined in 1966 in part because it was then illegal under Texas law to do so. I was not then and never was a secret member, but a proud and open one. The CPUSA taught me critical thinking to go with my own critical feelings.

When you’re away from Texas what do you miss most about it?

My family, the big sky, the back roads, Mexican comida y cultura, and my own pad.

When you leave Texas what is it that you most want to get away from?

Nothing. I am going toward something special when I leave, not running away!

If you look at the whole state, in what part of it can one see the most glaring inequalities in terms of wealth and poverty?

I think it’s pretty well spread out, though the Valley is the poorest. Houston, Dallas, and Austin have enclaves for the super-rich juxtaposed with hairy areas where people live hand-to-mouth. Rural areas and small towns also show deterioration in the quality of life, but at the same time new construction is bringing in new populations.

Texas went from LBJ to George Bush; was that a big step backward or just a change of names and party designations?

Damn, don't blame Texas! A lot of other states supported George I! And a lot of others supported LBJ, too! Texas liberals -- many of them very sweet people -- have a propensity for shooting themselves in the foot perhaps more than any other group. If there’s a way to lose, they’ll find it.

Even in Austin you’re aware of the border aren’t you?

Every town with a significant Hispanic population is a target for la Migra. We absolutely see it here. Austin was a sanctuary city, although the feds took that away from us. Many immigrants come to Austin because there are resources here. Barbara Hines, part of the Austin Rag community, is an internationally-known advocate for immigrant rights and we’re all really proud of her! Casa Marianella is a local group that helps people who are fleeing political and social persecution.

Austin is a cultural oasis, and an anomaly isn’t it. I guess that’s why you live there.

Well, it was, but not so much now, I don't think. There are lots of towns where people are cooking Asian-Latin fusion food, where people talk with soft Caribbean accents, and where you can hear reggae. Of course, cannabis is everywhere, and sometimes more available in Boonietown, Texas, than here in the big bad city. And that has made all the difference culturally!

What about cowboy culture?

We still have unregenerate rednecks, and that's their right and their freedom as much as yours or mine. I have conservative religious people in my family and we get along okay -- though we can sure disagree -- because we’re family first and commissars of political correctness much further down the line. I lived in a rural north central Texas county for seven years, between 1997-2004, and really enjoyed most everything about it.

You’ve known some famous Texas radicals including Marilyn Buck and Lee Otis Johnson, both of whom spent big time in prison. What do you remember most about them?

Buck was my friend for 44 years and I only now understand what a privilege that was and what an extraordinary person she was. I miss her very much. I longed for her freedom and hoped until the very end that we would meet again in this life; I wasn't allowed to visit her for the last 14 years of her life. However, I feel her spirit very strongly moving in the world now. She’s a revolutionary icon for me with the same power as Che and George Jackson, forever young and beautiful, an inspiration to more people than we will ever know.

And Johnson?

I knew Lee Otis only briefly before his long tragic incarceration and only briefly after his release. Before, he was gallant, charming, bold, and beautiful, an articulate student leader at a repressive black campus where the Uncle Toms of tomorrow were taught. Instead of shooting him, they busted him for passing a joint at a party and gave him 45 years in prison on a first offense. I was one of those who advocated for his release for many years. A local movement law firm secured his freedom and there was a huge, heartfelt party for him.

What happened after his release?

Years of imprisonment, torture, and isolation messed him up, and it wasn't long before he pulled the welcome mat right out from under himself. Today, we would understand, I hope, that he suffered from PTSD and had other serious medical issues. He got himself back in order, with the help of his family, before he passed away, but the prison system broke him, and we didn't know how to help him get it together again.

You have ties with prisoners and ex-prisoners, don’t you?

These days I'm really happy to have Robert King as a friend, a former prisoner in Louisiana's Angola State Prison and one of the "Angola 3." He’s the only one so far to be released. King is an asset to our progressive community; a wise man who spent 29 years in solitary confinement, he doesn't hate anyone, and continues to battle the system in a principled, disciplined way.

Are you the un-Texas Texan and the un-American American?

I love my country, but not always my Nation. I am a child of Mother Earth and loyal to her alone. Borders are drawn by men on maps, but they don't exist in nature. Nation-states are social formations that have arisen as civilization has (presumably) advanced, built on specific types of economic interactions.

But when you walk the paths of Tikal, or other ancient Mayan cities, or think about the civilizations that have risen and fallen in the Near East, it seems clear that borders are impermanent. Different economic patterns bring different sorts of social interaction, and no doubt will again, as the world turns. Maybe our descendants will be nomads, hunter-gatherers, or live in the kinds of space colonies that Ray Bradbury imagined in his science fiction.

Find articles and poems by Mariann Wizard on The Rag Blog.

[Jonah Raskin, a regular contributor to The Rag Blog, is the author of Marijuanaland: Dispatches from an American War, and Rock ‘n’ Roll Women: Portraits of a Generation. Read more articles by Jonah Raskin on The Rag Blog.]

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BOOKS / Mariann G. Wizard : 'Inside/Out': The Poetry of Marilyn Buck

'Inside/Out':
The poetry of Marilyn Buck
 
By Mariann G. Wizard / The Rag Blog / May 10, 2012

The Rag Blog's Mariann Wizard will join fellow poets Czarina Aggabao Thelen, Lilia Rosas, Jorge Renaud, Michelle Mejia, and Jane Madrigal (San Quilmas) at "Inside/Out: a Reading and Celebration of a new poetry book by former political prisoner Marilyn Buck," presented by Red Salmon Arts at 7 p.m., Wednesday, May 16, 2012, at Resistencia Book Store, 1801-A South First St., Austin.

[Inside/Out: Selected Poems by Marilyn Buck;  Foreword by David Meltzer (2012: City Lights Books, San Francisco); Paperback; 128 pp.; $13.95.]

Marilyn Buck's fellow poet and mentor David Meltzer writes that once when he was visiting her in Dublin Federal Correctional Center (prison), she expressed a desire to be known "not as a political prisoner poet, but simply as a poet."

For this collection, racing against uterine cancer until her death, she and a small group of now-surviving artistic and political friends (Meltzer, Felix Shafer, and Miranda Bergman, with poet Jack Hirschman and City Lights publisher Elaine Katzenberger) selected 63 poems that will give general poetry lovers their first real opportunity to savor her body of work.

Marilyn Buck was a Ragstaffer in Austin and Newsreel activist in San Francisco before becoming active in the Black Liberation movement. She died in August, 2010, in her 63rd year, after 25 years in federal prison and 19 days of freedom.

She began writing poetry in prison as one of the few means of self-expression open to her. As she wrote in her Master's thesis, On Becoming a Poet and Artist: Beyond Censorship to Re-Imagination (New College of California, Fall 1999, author's copy), "I was a censored person by virtue of being a political prisoner. Ironically, defiance of State censorship reduced me to self-censorship. Nevertheless, I needed to affirm myself... I turned to poetry, an art of speaking sparely, but flagrantly."

Buck's earlier collections (a chapbook, Rescue the Word [San Francisco and New York: Friends of Marilyn Buck, 2001], and a CD, Wild Poppies [San Francisco: Freedom Archives, 2004]), and other published works, while including poems that didn't spring from political or criminal convictions or fugitive experience, leaned heavily in that direction and by her choice.

While Inside/Out certainly doesn't slight her political and prison-related work, we may also see several other facets of a woman who was much more than a one-dimensional icon. In almost all, she preserves her hallmark "spare... but flagrant" style.

Some selections will be familiar to Buck's readers, and already beloved. "Clandestine Kisses" celebrates love against the rules with defiant elán. Like many of her poems, it summons a vision of irrepressible life finding a foothold in a world of steel and concrete.

"Woman with Cat and Iris" is another understated, sleight-of-hand creation: a tranquil Sunday morning illusion of normalcy dissolves in clanging steel doors and the shouts of guards, but the cat and flower linger, Cheshire-like, in the mind.

Marilyn wrote often about how the human mind can escape the sterility of prison, even for a moment; road maps, perhaps, for other prisoners, of whatever barred crucible, with "Gone" the most direct. "Night Showers," celebrating washing off the pain and grief of each day along with its grit and grime, and "Woman's Jazz Band Performs at Women's Theater" also mine this theme.

Incarceration is in large part a punishment because of its sensory deprivation. Deprivation from color, movement, textures, tastes, rain, the moon, etc., loom large in Buck's work, but as Meltzer notes, it also bursts with music.

The jazz cadences of her longer poems beg for a saxophone's honk and moan, a conga's quick counterpoint. The centrality of music and poetry in liberation struggles past and present, personal and political, is never lost on her. Here are a few lines from the previously unpublished "Reading Poetry":

Chao Ut reads Vietnamese poetry
I tell her she reads well
she smiles...

she reads another poem
                          it sounds like music, I say
       yes I'll read it again
                 the way we everyday talk
she reads
            do you hear?
                      yes, I say...

Or this, from "Boston Post Road Blues":

...I wait in the car's darkness I count
minutes and coins
            11:00 I step through blinking neon
             into the vacant booth drop coins
             and hear a click

the plum-colored voice
             Baby I'm here
trumpet notes tap along my spine
my delight a waterfall
             blues turn bold
                       intimate in the dark…

Buck had a dry, playful wit, well-known to friends but seldom given rein in her published work. It's nice to find it here in a few poems such as "Definition":

when I was much younger
than I am now
my mom told me
look out for tall dark strangers
I thought she meant
look for one

Many poems seen for the first time in this collection are intensely personal. "Our Giant" recalls the darker side of Marilyn's father. Louis Buck was defrocked as an Episcopal priest for opposing segregation. Crosses were burned on the family's lawn during Marilyn's childhood.

A courageous, outspoken crusader to the world, he was a controlling tyrant to his wife and children, demanding perfection, as he defined it, from each of them:

brooding Irish Atlas
props long-legged baby
in the window of a '47 car
(a car I remember better
than my father's sweet attentions)
the only clue left of kindness
             a bled-orange Kodacolor

a handsome rundown football player
like a thundering giant
he dangled our lives from his fingertips
            four morsels
we hovered over the chasm of his rage
our tears seasoned his wounds
swallowed whole
           we were regurgitated
                     each daybreak...

When Marilyn's increasing radicalism led to her involvement in Black Liberation groups embracing armed self-defense, their estrangement increased. After she became a fugitive from the law, she and her father had no contact for many years.

Yes Louis' uncompromising ideals and stubborn courage clearly informed much of her own conduct, including, some might say, the self-destructive parts. Their reconciliation before his death was extremely important to Marilyn. Here she expresses the terror, admiration, and eventual compassion he inspired:

...he was our giant, defrocked
he stomped in "jesus sandals"
stained the silken robes
           of rich men's hypocrisy
a jeremiah in farmboy overalls
           and starched Mexican wedding shirt

titanic storms flayed his flesh
too angry to leave this too-small world…

Her mother, Virginia, to whom the volume is dedicated, is also recalled in "Loss." Her death from the same type of cancer that would claim Marilyn was not only a grievous loss in itself, but a blow to the hope that Marilyn might survive to a healthy old age in freedom.

Virginia Buck defied (and eventually divorced) Louis, visiting as often as possible the daughter she "could not save... from vengeful-suited men nor from myself." Marilyn was not allowed to attend either parent's funeral, another deprivation that took a deep emotional toll.

Besides her poetry, much still uncollected, Marilyn Buck over time developed her ability to express herself "sparely yet flagrantly," making significant contributions to radical and liberation theory and discussion, contributing to numerous journals and publications.

She taught herself Spanish, and in 2008 City Lights published her translation of exiled Uruguayan poet Cristina Peri Rossi's collection, State of Exile, in a bilingual volume.

In prison, Marilyn became a certified literacy instructor and taught hundreds of women to read. She learned and taught yoga, became an advocate for women's healthcare, and organized AIDS education and prisoner fundraising activities. She mentored uncountable prisoners, prisoners' family members, and poets around the world. She was a voracious reader who maintained a vast and varied correspondence, including with my grateful self.

One fault with Inside/Out is that is doesn't tell when the poems were written, except those with dates in their titles. This would have been useful not only to academic readers but to friends and fellow poets who will long to know when such epic works as "Blake's Milton: Poetic Apocalypse" and "Revelation" were composed. Much longer than most of her other poems, these works blaze with intense visions wherein prison walls have neither substance nor meaning, such as these lines from "Revelation":

...Do you see demons and desolation, hear sounds
of screams, wailing? Or smell sulfur burn
behind your tongue – a taste of wormwood
and aloes? Or encounter the touch as a torch upon the skin?
           You imagine fire but it might be ice...

There are no apologies here, no appeals for special consideration. As she rejected white-skin privilege in life, binding herself to oppressed people in words and deeds, Marilyn Buck sought no deathbed, deus ex machina salvation from prison, cancer, or the condemnation of the self-righteous.

For those who loved and miss her, Inside/Out is a special gift, long dreamed-of. For those who don't know her, or who've had limited knowledge of her as person or poet, here she is at last free to speak outside State restraints. No more bars, shackles, solitary confinements, or super-max jails.

The last poem included is "The First Year You Learn to Wear the Robes":

his teacher told him on stepping into the Zen priesthood

to wrap one robe and then another, is not as simple as it looks
rather this is not a simple matter of getting dressed, not a covering
a process of finding oneself inside one's situation,
revelation

a prisoner must learn to wear robes of absence
prepared to live this day

In my heart, I see Buck's eager spirit wearing new robes now, a rebel angel inspiring poets and activists around the world to work compassionately yet relentlessly for justice, peace, and freedom. She lives this day, and tomorrow, in the words left behind.

[Mariann G. Wizard, a Sixties radical activist and contributor to The Rag, Austin's underground newspaper from the 60s and 70s, is a poet, a professional science writer specializing in natural health therapies, and a regular contributor to The Rag Blog. Read more poetry and articles by Mariann G. Wizard on The Rag Blog.]

Inset art above: Hand-rubbed woodcut print of Marilyn Buck by Chicana artist Jane Madrigal, from her forthcoming collaborative project/exhibition: "Revolutionary Women Woodcuts."

Read articles (and poems) by and about Marilyn Buck on The Rag Blog.

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The Rag Blog : 'Old Skool' Will Be in Session on April Fool's Day

Famed Austin surrealist graphic artist Jim Franklin designed a special commemorative poster for the event.
‘Feed Your Head’ on April Fool’s Day:
Legendary Austin Bands at Rag Blog Bash

A Rag Blog Benefit Bash with
Shiva's Headband, Greezy Wheels & Jesse Sublett
Jovita's, 1619 S. First St., Austin
Sunday, April 1, 2012, 6-9 p.m.
$10 Suggested Donation

“Old Skool” will be in session on April Fool’s Day at Jovita’s in Austin, when The Rag Blog invites you to “Feed Your Head.” A big slice of Austin music and countercultural history will be on display at the event, which will feature performances by Shiva’s Headband, Greezy Wheels, and Jesse Sublett. Austin surrealist artist Jim Franklin will sign a commemorative poster he designed for the occasion.

The event, scheduled for 6-9 p.m., Sunday, April 1, at Jovita’s, 1619 S. First St. in Austin, will benefit The Rag Blog, an Austin-based progressive Internet news magazine published by the New Journalism Project, a Texas 501(c)(3) nonprofit corporation.

The Rag Blog traces its roots to Austin’s legendary underground newspaper, The Rag, which was published from 1966-1977. Also with ties to the original Rag is Rag Radio, a weekly public affairs program broadcast on Austin’s KOOP 91.7-FM and hosted by Rag Blog editor Thorne Dreyer.


The bands

Psychedelic rockers Shiva's Headband, founded in 1967 by Spencer Perskin, a classically trained violinist, served as the house band at Austin’s Vulcan Gas Company, and was the first group to perform at Austin’s iconic Armadillo World Headquarters. The Shiva’s Headband album, Take Me to the Mountains, was the first nationally released album by an Austin rock band.

Pioneers of the “progressive country” movement in the 1970s, Greezy Wheels was for years the unofficial house band at the Armadillo. Guitarist and writer Cleve Hattersley and “fiddler extraordinaire” Mary Hattersley, led the group that, according to the Austin Chronicle’s Margaret Moser, “owned Austin” in the mid-70s.

Bassist Jesse Sublett -- also an Austin-based mystery writer and visual artist -- founded the legendary alt-punk band, The Skunks, which debuted at Austin’s Raul’s in 1978, and Sublett continued to be a mainstay on the Austin music scene.


Jim Franklin's poster

Austin surrealist artist Jim Franklin has designed a limited edition poster which he will sign at the Rag Blog event. Franklin, as house artist at the Armadillo World Headquarters, helped turn the lowly armadillo into an internationally recognized symbol for the Texas counterculture. His artwork graced the landmark Shiva’s Headband album, Take Me to the Mountains, and his surrealist armadillos appeared on several covers of the original Rag.

Graphic designer James Retherford has designed a new Rag Blog t-shirt, which will also be unveiled at the Jovita's event.

Proceeds from "Feed Your Head" benefit the New Journalism Project, the nonprofit corporation that publishes The Rag Blog. Suggested donation is $10. Jovita’s has a full bar and food menu. There is a Facebook event page for the Rag Blog benefit.


The Rag and The Rag Blog

The Rag Blog, founded in 2006 after a lively reunion of staffers from the original Rag, features commentary on news, politics, and cultural affairs. The Rag Blog, which has developed a worldwide following and has become an influential force in the progressive blogosphere, has received a million and a half unique visits in its short lifetime. Many of The Rag Blog's contributors are veterans of The Rag and of the Sixties underground press.

Rag Radio features hour-long in-depth interviews with newsmakers, artists, and leading thinkers from Austin and around the country, and its archived podcasts are creating a significant oral history library -- much of it previously undocumented -- that includes unique profiles from Austin's countercultural history. Broadcast Fridays from 2-3 p.m. (CDT) on Austin's KOOP 91.7-FM, a cooperatively run all-volunteer community radio station, Rag Radio also streams live to a widespread Internet audience, and is rebroadcast on Sundays at 10 a.m. (Eastern) by WFTE-FM in Mt. Cobb and Scranton, PA.

Rag Blog editor and Rag Radio host Thorne Dreyer was a pioneering Sixties underground journalist and New Left activist who was a founding editor of The Rag in Austin and Space City! in Houston. Dreyer was also an editor at Liberation News Service (LNS) in New York, was general manager of KPFT, Houston's Pacifica radio station, and worked with the early Texas Monthly magazine.


Where it all started

The Rag, called "one of the few legendary undergrounds" by historian Laurence Leamer, first hit the streets in Austin on October 6, 1966. The Rag was one of the earliest of the Sixties underground papers, was the first underground paper in the South, and was a model for many papers that followed it.

According to author John McMillian, whose definitive work on the Sixties underground press, Smoking Typewriters, was published in 2011 by Oxford University Press, The Rag "was a spirited, quirky, and humorous paper, whose founders pushed the New Left's political agenda even as they embraced the counterculture's zeal for rock music, psychedelics, and personal liberation." According to historian McMillian, the underground tabloid was regarded by the Austin community as "a beautiful and precious thing."

Austin -- and especially the University of Texas campus -- played a major role in the development of the Sixties counterculture in the United States. Austin was a center for civil rights, anti-war, student power, and New Left activity, and was a major player in the early "psychedelic" music scene -- incubating talents like Janis Joplin and the Thirteenth Floor Elevators -- and in the underground comix and poster art movements -- with Franklin's armadillos and Gilbert Shelton's "Fabulous Furry Freak Brothers" gaining iconic status.

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