Writer, historian, Texan
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Every Saturday nite, yours truly hosts the Texas Music Hour of Power, showcasing all kinds of Texas sounds created over the past century of recorded music. The show runs two hours because Texas spans two time zones and frankly, the music is too dang big to limit it to one hour.
https://landreport.com/water-wars-dell-city-el-paso
My story in The Land Report about water, springs, aquifers, Dell City, El Paso, Fort Stockton and Far West Texas.
RULE OF CAPTURE. The protracted legal battle over monetizing water rights in the Dell Valley hinged on age-old British common law.
It’s a familiar story: Big city needs water and is willing to pay for it. Property owners with extensive landholdings and abundant groundwater want to sell their water. Billionaires swoop in and buy surrounding acreage. Then, the local groundwater district redraws key boundaries restricting landowners’ ability to sell their water. Lawyers descend. Court battles ensue.
That’s the gist of the documentary film Water Wars, which has been screening at film festivals after debuting at the 2024 Dallas International Film Festival, where it won a grand jury prize. Directed by Mario Mattei, Water Wars is an engaging tale about an extremely complex issue.
Rule of Capture is a property right in Texas. If you own the land, you also own the water under your land. The landowner is able to capture all the water under their property. It’s theirs to do with as they please. That’s the theory, at least. But in Texas, a state that champions property rights, those rights are not as absolute as some landowners might think, and they come with all kinds of restrictions and limitations.
PIONEERING RANCHERS. Phil Guitar’s family began ranching in the Dell Valley long before its prodigious water resources were identified.
Water Wars tells the story of Phil Guitar, a rancher whose properties are spread out across West Texas, including more than 30,000 acres in the Dell Valley. The valley surrounds Dell City, an isolated town of 245 that’s less than a square mile in size and is distinguished by the prettiest view of the Guadalupe Mountains, the highest range in Texas, as they rise majestically from the snow-white salt flats at their base. The view is especially scenic in the fall, with fields of red chiles ripening in the foreground.
That mountain range is now part of Guadalupe Mountains National Park. Similarly, Dell City and Dell Valley have changed over the years. Phil Guitar’s granddaddy started ranching in this high plain in the Chihuahuan Desert after buying up part of the historic Figure 2 Ranch during the Great Depression. He was an entrepreneur who recognized value in owning land. The expanse included a watering stop for the old Butterfield Overland Mail stagecoach service, which implied that a steady supply of water was available. Someday, there might be value in that, he thought.
The Lynch family, ably represented in the film by Laura Lynch, was a part of the next wave of immigrants to the Dell Valley: The farmers who moved in after geologists searching for oil found water instead in 1948. The Bone Spring-Victorio Peak Aquifer, 50 to 100 feet below the dry, rocky surface, contained a huge pool of water, most of it runoff from the Sacramento Mountains 100 miles north in southern New Mexico. So much water existed below the surface that when tapped, a well could produce more than 3,000 gallons a minute. With that much water, farmers could irrigate fields and grow crops, and the aquifer would recharge, filling up all over again.
In 1948, an ocean of water was discovered beneath the Chihuahuan Desert.
Promoters declared Dell City “The Valley of the Hidden Waters,” and an influx of farmers responded. During the 1950s, enough cotton was farmed to keep six local cotton gins busy, including those owned by the Guitar family, who also had cottonseed oil mills and compresses. Alfalfa, chiles, melons, and onions were also cultivated.
Even with this sea of water, farming in the desert was a hit-or-miss proposition. In 1964, the end of the Bracero Program, which had brought millions of Mexican guest workers into the US labor pool, put many farmers out of business. In 1966, a torrential flood inundated Dell Valley, washing away crops and causing an estimated $4.3 million in damages. By the 1990s, Dell City had dwindled to just two cafes, a convenience store, a hardware store, and a bar. Ninety percent of the valley’s 40,000 acres of cropland was water-intensive alfalfa.
Meanwhile, approximately 90 miles west of the Dell Valley, the population of the El Paso-Juarez metropolitan area, which relies on the Rio Grande and the Hueco-Mesilla Bolsons Aquifer for drinking water, was approaching 2 million. A city utility, El Paso Water, went on the prowl for more dependable water and saw Dell Valley as a potential source.
The mission of the El Paso Water forced the agency to look far and wide for dependable water sources.
For all their concerns that their big-city neighbor was out to steal their water, large Dell Valley landowners eventually reached a consensus: Pumping and shipping water to El Paso was potentially a lot more profitable than pumping water to their alfalfa and pepper fields.
On the other end of the proposition, Woody Hunt, El Paso’s most prominent developer, whose interests included pipeline construction, saw the writing on the wall and purchased 5,000 acres of farmland in the Dell Valley. Philip Anschutz, who ranks No. 88 on the 2024 Land Report 100, also started buying farmland in the Dell Valley. As a major investor in Union Pacific Railroad, Anschutz controlled a right-of-way crucial to the construction of a pipeline.
With the specter of a big water play, the board of Hudspeth County Underground Water Conservation District No. 1 voted that in order to determine how much water a landowner could export without impacting the aquifer, a landowner must have irrigated his acreage during a 10-year historical-use period from 1992 through 2002. Land that was not irrigated did not qualify. That restricted the Lynch family, who had put significant acreage into a government conservation program. It set up a classic battle pitting farmers against ranchers. Farmers pumped as much water as necessary to water their crops. Ranchers were far more conservative in their water use, utilizing stock tanks to provide water for their livestock, eschewing irrigation pumps. The district had effectively limited the Guitars’ and the Lynches’ opportunities to sell groundwater.
“Five percent of the property gets 95 percent of the water rights,” is how Jim Lynch put it.
The phrase water wars has a long history in the annals of the American West concurrent with its settlement by European immigrants two centuries ago. No matter where you go out West, water remains a contentious subject. There’s never enough.
As I watched the documentary film, I felt like the past 30 years of my life as a journalist were passing in front of me. I knew Dell City and the story of the Valley of the Hidden Waters and its future as a source of fresh water for the people of El Paso, 75 miles west. I recognized many of the characters in the film. And I knew about Rule of Capture.
My interest dated back to the mid-1980s, after I had become an avid swimmer at Barton Springs, a natural pool in Austin fed by artesian springs. I was visiting my friend Kirby Warnock at the Warnock homestead five miles east of Fort Stockton, a West Texas town that is a popular gas and rest stop along Interstate 10. On our way into Fort Stockton on a back road, I noticed sluice gates in the sandy scrub, concrete embankments, what appeared to be canals, and faint remnants of crop rows. What was up?
“There were 200 small truck farms out this way,” Kirby explained to me. “They were fed by Comanche Springs in town,” he said, referring to a historic gathering spot for Native Americans, Spanish explorers, and pioneering settlers that comprised the largest complex of artesian spring water in West Texas.
In 1955, landowners west of town, including Clayton Williams Sr., one of West Texas’s most distinguished civic leaders, drilled wells and installed diesel pumps to feed their crops and newly planted pecan orchards. After the irrigation got up to full speed, the springs stopped flowing for the first time in recorded history. The motorized pumps flooding alfalfa fields and pecan orchards were intercepting groundwater flowing from the Glass Mountains south of Fort Stockton toward Comanche Springs.
The truck farms east of town, and Fort Stockton’s biggest tourist attraction, the Comanche Springs swimming pool, soon dried up. Smaller landowners sued the irrigating farmers, but the Texas Supreme Court upheld Williams, et al’s rights to pump all the water they cared to pump, citing Rule of Capture. In Texas under Rule of Capture, the landowner owns the water under the surface. If the landowner can capture the water, they may do what they wish with it. Groundwater, the court ruled, was too “secret, occult, and concealed” to regulate.
Rule of Capture was established in England and adopted by Texas when it became a state back in the mid-19th century, when much of the Lone Star State meant the eastern, wetter half of present-day Texas. In the 21st century, Texas remains the only western state where Rule of Capture is a property right.
It seemed other greedy landowners could do what the pumpers did to Comanche Springs because groundwater transcended property lines.
In 1995, I attended a community meeting at St. Joseph’s Catholic Church in Fort Davis, a historic Texas mountain town, to gauge the potential impact. The small gathering included prominent area ranchers who had come to learn more about El Paso Water’s recent purchase of the 25,000-acre Antelope Valley Ranch between Marfa and Valentine. If El Paso was to continue growing, the city needed that groundwater.
There was a palpable fear among the ranchers at the Fort Davis meeting that El Paso Water threatened to drain them. Austin developer and attorney Richard Suttle explained what recourse they had, which wasn’t a whole lot.
“Up until tonight, I believed that the right to capture groundwater was an inalienable right,” a neighboring rancher, Chile Ridley, told me for a story I wrote for Texas Monthly. “But I have never been faced with this prospect. When something your neighbor does affects you, I say maybe we should look at the way things are currently designed. As property owners, we’re caretakers and stewards of the land. El Paso wouldn’t conserve it. I’m not at all clear what is the right thing. I’m just concerned about waking up some morning and not having water to drink.”
Another rancher close to Antelope Valley, Lynn Crittendon, added, “As a neighbor, I hope they act responsibly.”
In I997, I drove to Pecos to visit Judge Lucius Bunton. Four years earlier, Bunton made an exception to Rule of Capture in a decision that protected endangered species. Bunton mandated limits to how much water could be taken from the Edwards Aquifer, a vast groundwater complex that has long sustained San Antonio and surrounding communities.
Bunton’s decision led to the creation of the Edwards Aquifer Authority by the Texas Legislature and, indirectly, to Texas’s first comprehensive water plan.
“I’m not going to take credit for that,” Judge Bunton told me for a profile I wrote for Texas Monthly, “But I encouraged some years ago, long before this water bill and the aquifer authority, that the legislature do something. The state of Texas ought to do something. This is a step in the right direction.”
Bunton grew up on a hardscrabble Presidio County ranch located between Marfa and Presidio not far from the old Shafter silver mine. The judge allowed how Rule of Capture worked pretty well in the eastern half of the state. But in the part of Texas where he grew up, Rule of Capture was a direct threat: The biggest pump rules.
I had already visited Dell City, identified by a weathered billboard as The Valley of the Hidden Waters, where the shadow of El Paso loomed large.
The Hudspeth County Herald had been covering the rural versus urban water issues extensively. One of Laura Lynch’s uncles, Jim Lynch, had been farming in the Dell Valley since 1950. He was a major landowner, and he was also in charge of the weekly Herald.
“My thinking is, if we have to give up our water, all of us should share in the money,” he told me. “If a few farmers sell out, they’ll make money, the water will diminish, and everyone else will have to go out of business without compensation.”
Lynch understood the dynamic well. “We all know El Paso is bigger than any of us, and if they choose to take this water, we don’t have the money collectively to fight them. Phil Anschutz is one of the wealthiest men in America. If he’s together with Hunt, there’s no stopping them,” Lynch said. The Lynch family eventually entered into a partnership with Anschutz.
In 1997, the Texas Legislature, under the direction of Lieutenant Governor Bob Bullock, enacted Senate Bill 1, a 50-year “ground up” plan to provide for water in anticipation of Texas’s projected growth. The State Water Plan avoided directly addressing Rule of Capture — legislators and state leadership regarded the property right as sacrosanct and too hot to handle — and instead established 16 regional planning areas, each region charged with balancing rural and urban needs while championing creation of groundwater districts that could restrict water use in order to preserve the resource, subject to voter approval. The rub was that since the state did not provide budgets for the districts that were being created, most districts would be understaffed and underfinanced. A single lawsuit could gobble up a district’s annual budget.
Today in Texas, regardless of Rule of Capture, if the land you own is within a groundwater district, your groundwater use may be restricted (although that has rarely been the case). If the land you own is outside a groundwater district, you can use as much water as you can pump. And so can your neighbor, who may or may not have a bigger pump or intentions similar to yours.
Despite those efforts by the state, the Texas Supreme Court affirmed the right of Ozarka, the bottled-water company, to mine a spring in East Texas for commercial purposes, even though the mining caused neighbors’ wells to go dry.
Kinney County, about 125 miles west of San Antonio, was a vivid example of a local groundwater district trying to do the right thing minus finances. The district was challenged by a handful of landowners who wanted to sell and ship their groundwater to San Antonio, an idea that generated pushbacks from farmers and ranchers who wanted to continue to use their groundwater locally and feared a few greedy landowners would dry their wells.
Water marketers, legislators, attorneys, and lobbyists joined the fray, arguing over how much (if any) water could be pumped and sold outside the county without impacting springs, creeks, and streams inside the county. The argument led to accusations of mismanagement, ballooning legal fees, and groundwater district meetings being videotaped by landowners who wanted to sell water.
“Eight-tenths of one percent of county property is irrigated,” Kinney County judge Tully Shahan said, “and the irrigators are trying to tell us what to do with 100 percent of the water.” Darlene Shahan, Tully’s wife, was the general manager of the groundwater district.
T. Boone Pickens saw the potential in water as a commodity made possible by Rule of Capture. He organized landowners in the vicinity of his 65,000-acre Mesa Vista Ranch near Pampa in the Texas Panhandle to form a compact to sell water to thirsty cities. If landowners organized, they could avoid the contentious infighting in Kinney County.
I visited Pickens’ Mesa Vista Ranch, studied his plans, and wrote an article for Texas Monthly titled “Boone Pickens Wants to Sell You His Water.” Even though the amount of water that had already been pumped from the Ogallala Aquifer made irrigated farming no longer feasible in the Texas Panhandle, Pickens and his allies perceived value in pumping and shipping the precious commodity.
Ten years later, I ran into Pickens at an event in Dallas and reintroduced myself. His eyes narrowed in recognition.
“You cost me a lot of money,” he said acidly. “What happened?” I asked.
He told me how the compact he’d organized ended up having to sell its groundwater not to Dallas or to Fort Worth but to the Canadian River Municipal Water Authority that serves Amarillo, Lubbock, and other communities in the Texas Panhandle and the South Plains.
“At least you sold it to your neighbors,” I said, congratulating Pickens on doing the right thing.
In 2001, I spent a day in El Paso driving around the city with a water cop, looking for telltale signs of water spilling over the curbs of residences and businesses around town. I also took a meeting with Ed Archuleta, the longtime general manager of El Paso Water. Archuleta did his best to make the case that when it came to water, El Paso was the most conservation-focused city in the entire state.
Archuleta cited El Paso Water’s 50-year plan designed to meet the projected needs of 1.3 million people. Eight million gallons of treated wastewater were being recycled into El Paso’s Hueco-Mesilla Bolsons Aquifer each and every day. Rationing ordinances and rate increases had reduced overall demand by 20 percent. In addition, El Paso Water had a desalination plant that treated and cleaned 29 million gallons of brackish and otherwise undrinkable groundwater every day.
El Paso Water intended to secure its water responsibly. This wasn’t going to be another Chinatown where Noah Cross and other power players engineered the theft of water rights from Owens Valley farmers to build a new and better Los Angeles. If El Paso Water purchased faraway land for future use of the water beneath it, then it was imperative to continue farming on that ground as long as it was economically feasible.
Dell Valley landowners did their homework and got on the same page. The science was clear. Fifty-thousand acre-feet of water could be pumped annually, and the aquifer could still fully recharge.
Unlike most modern water stories, this one had a happy ending for the landowners — with a couple of caveats.
Phil Guitar, whose right to use the water beneath his property had been restricted by the board of Hudspeth County Underground Water Conservation District No. 1, appealed his case all the way to the Texas Supreme Court — and won. Guitar’s argument boiled down to the definition of the word “use.”
Then Guitar met with the ground-water district and helped rewrite its rules. He was then able to drill test wells on his land to prove up the groundwater so a deal with El Paso Water could be cut to the satisfaction of both parties.
The Lynches, who were also fighting the groundwater district, sold their 26,470-acre CL Ranch for $50 million in 2016. Phil Anschutz and Woody Hunt got a healthy return on investment when Anschutz’s 16,000-acre CLM Ranch also sold in 2016 for $66 million.
El Paso Water has spent more than $222 million buying 20 properties and now owns 70,000 acres of the Dell Valley, along with necessary permits to pump the water. The requisite pipeline due west to El Paso has yet to be constructed. Meanwhile, the utility has sustained the farming tradition in the Dell Valley, leasing 50,000 acres to farmers growing alfalfa and chiles. A young farmer can now break into the business in Dell Valley without owning any land.
El Paso Water’s deal with Dell Valley landowners led to the sale of the 40,000-acre Antelope Valley Ranch between Valentine and Marfa for $6 million in 2024, a tidy profit from the initial $1.5 million investment in 1995, according to Denise Parra of El Paso Water. The 150-mile pipeline from Antelope Valley to El Paso was projected to cost at least $470 million, far too expensive for the utility.
Keep an eye out for Water Wars in 2025. Think of it as a direct descendant of Jack Schaefer’s classic Shane, pitting farmers against ranchers in the New West. After screening Water Wars, I called Philip Guitar, one of the film’s producers and the son of the plaintiff in the aforementioned Texas Supreme Court case. One of my principal questions revolved around the standard story structure of a Western: Who wore the white hats and who wore the black hats?
MAKING A SPLASH. In April 2024, Water Wars won the Grand Jury Prize for Best Texas Feature at the Dallas International Film Festival.
“This is lined up for the viewer to determine who the bad guy is,” Philip said. “I’m not saying who the antagonist is. I’m not saying who the protagonist is. We are putting it out there for you to determine what you think. You figure out who you think it is. Maybe you think the antagonist is Phil Guitar. Maybe you think the antagonist is Phil Anschutz or Woody Hunt. Maybe you think the antagonist is El Paso Water.”
The board of the Hudspeth County Underground Water Conservation District definitely did not emerge unscathed. In the film, Laura Lynch noted that one board member shot a man twice and did time for another offense.
“What was the takeaway for landowners?” I asked Philip. “What did he want the film’s audience to think about?”
“Be aware of potential consequences that lie ahead,” Philip said. “It doesn’t matter if you have one acre or 10,000 acres. If you’re a landowner in Texas, you should look and ask, ‘Am I in a groundwater district?’ And if you are, ‘What are the rules of that district?’ It’s not a bad idea to get involved and see what your groundwater district is up to, what they’re doing, and what the laws are.
“You may think because it’s Rule of Capture, you’ve got the right to do anything you want with your water. And in most situations, you should. Our ruling helped usher in the idea that all landowners should be treated fairly and equitably. But these districts can be autonomous. They make their own rules. They need to be double-checked to make sure all landowners are being treated equitably.”
“And, if your land isn’t within the boundaries of a groundwater district, it helps to know about your neighbor’s use of groundwater and if their intent squares with yours,” I added.
“You could be drained dry,” Philip said.
There’s a bitter postscript to Water Wars. In 2023, after production on the documentary had wrapped, Laura Lynch, 65, was killed in a head-on collision on Highway 62 between Dell City and El Paso three days before Christmas. The photogenic grandmother was the voice of post-ag Dell City, buying derelict buildings and converting them into Airbnbs that catered to tourists visiting Guadalupe Mountains National Park.
It takes a special person to love a little town like Dell City. That was Laura.
TRAGIC LOSS. A founding member of the Dixie Chicks, Dell City native Laura Lynch was killed in a head-on collision after production wrapped.
https://texashighways.com/travel/gliding-through-the-skies-over-marfa/
Long before Marfa was an art town, a wedding events destination, the embodiment of small town cool—and even before the Marfa Lights—there was the Marfa Dry Line. It’s the invisible division where dry Pacific air meets warm moist air from the Gulf of Mexico that made Far West Texas weather special.
Burt Compton saw it as a teenager. “Dad and I came here in ’67 to fly,” he says. His father, a glider pilot who owned a glider port in south Florida, regarded Marfa highly. The location had all the right ingredients for the pursuit of motorless flight: vast flatlands surrounded by mountains with plenty of thermal updrafts to ride, along with the Marfa Dry Line.
As an adult, Compton became so smitten with the conditions, he sold his glider operation in Miami and moved to Marfa in 2001.
“Marfa’s the place for soaring in America,” he declares emphatically. “The World Gliding Championships in 1970 [in Marfa] was the first championship ever held in the United States. Neil Armstrong flew gliders here before he walked on the moon.”
It was the golden era of gliding thanks to improved technology and use of fiberglass and composites in construction. On July 31, 1964, Al Parker became the first glider pilot to soar more than 1,000 kilometers nonstop when he piloted his Sisu sailplane from Odessa to Kimball, Nebraska, a distance of 647 miles.
Compton’s FAA certification as a gliding instructor and pilot examiner takes him around the United States and frequently to Germany, where soaring first took hold, to certify pilots who want to fly in the U.S. on vacation.
In Marfa, he’s either flying, instructing locals, piloting passenger rides, or hanging out in the hangar, which is the staging area for the current Oktoberfest Annual Vintage/ Classic Sailplane Rally that runs through Oct. 18.
I booked a ride for $160, arriving at Marfa Municipal Airport at the appointed time on a weekday afternoon in late September. I follow the glider signs on the gravel road to an isolated hangar at the north end of the airport, headquarters of Compton’s Marfa Gliders Soaring Center. Compton and his crew of two, James Lewis and Bo Peebles, stand outside, scanning the skies looking for a glider circling high above the airport. A single engine Cessna piloted by John Cone flies by the hangar, dropping a tow rope.
It’s a “Blue Day,” in glider speak, meaning no clouds. Dry thermals, the magic ingredient that gives lift, are hard to see. With clouds, the thermals are directly beneath them. “That’s OK, because there’s still updrafts,” Compton explains. ”The sun heats the ground, the warm air is less dense than the surrounding air, so it rises in a column.” That’s what he’d be looking for.
Think of it as on ocean of air, he says. “There are currents and eddies. My Cessna 182 single engine airplane will tow us skyward with a 200-foot rope, like a motorboat towing a water skier,” he says. “I’m trying to fly just above the tow plane’s wake for the smoothest climb up that we can. That’s the bumpiest part of the ride.”
Lewis and Peebles push the glider, a German Schleicher ASK-13 two-seat trainer with a bright red fuselage and yellow wings, out of the hangar. They scan the skies for incoming air traffic. KMRF, like 95% of all airports in the United States, does not have a control tower, Compton explains.
Once the glider is in position, Compton shows me how it all works inside the cockpit. “There’s one lever here, we don’t know what it does. So don’t touch anything,” he jokes. He explains that the spoilers on the wings are air brakes, which are used to slow down, and how the glider flies without an engine. “Wings resisting gravity makes us fly forward, like a sled on a hill. A motorized plane is like a speedboat. This is like a sailboat, you got to keep thinking about the wind, updrafts. It’s like chess to checkers.”
My small frame allows a relatively easy squeeze into the seat behind Compton, although space is so tight, I remove my gimme cap lest it scrape against the clear canopy. A side vent is left open for air. Compton points to the side pocket where the barf bag was in case of motion sickness.
The day before, my wife reminded me that I’ve tossed my cookies in a helicopter flying over the Grand Canyon and in a DC 3 flying over the Rockies in a very turbulent snowstorm. Heck, I’ve gotten sick on a Tilt-A-Whirl. This would be interesting.
Safety harness secured by the crew, Compton continues the prep. “I’m going to ask you every few minutes, ‘How do you feel on a scale of one to 10?’ 10 being you’re good, 11 being this is the coolest thing you’ve ever done in your life,” Compton says as the cockpit closes. “If you’re below a 9 or 8, I’m going to bring you down smoothly and quickly.”
He completes his checklist, announcing his airbrakes are closed and locked. “Just don’t touch nothing,” he says. “Here we go.”
Compton warned me the takeoff would be noisy but as soon as the tow plane was airborne, I felt like I was waterskiing, sliding over the water from wake to wake. Then came enough of a bump for me to go “Whoa!” loud enough for Compton to chuckle over my response. “As a glider pilot, I’m saying ‘Good! There be updrafts!’”
We release from the tow plane and things go quiet. No more engine buzz from the tow plane, just the sounds of the cool wind rushing through the side vent. Compton’s relaxed, clearly in his element, as he begings pointing out features in the brown landscape we’re flying above. “This is the Marfa plateau—desert grasslands. No oil here,” he says. “They keep trying to find it. There’s Cathedral Peak out there. There’s our golf course over there, with the trees. Highest in Texas, nine holes. There’s Marfa town.”
He keeps asking about my welfare and I tell him I’m a 9 or 10, although I did say 9 or 8 once. It’s an exciting sensation floating on an ocean of air, enough of an exotic thrill that Compton’s experience and constant monitoring of my well-being puts me at ease. As he reminds me, “I can land anytime you say.”
In the bright blue sky, I squint to see the Chisos Mountains of the Big Bend visible to the south through a faint haze.
“We’re just riding the waves,” Compton says. “Isn’t this beautiful?’
He talks about the history of Marfa as an 1880s railroad water stop named by a rail engineer’s wife who was reading the Brothers Karamazov by Dostoevsky. Our conversation turns casual to menu prices at local restaurants while the side vent blows cool breezes into the cockpit like a big fan. Although summer is peak season for thermal updrafts, Compton says he prefers gliding in late spring and early fall to avoid the heat.
After about 20 minutes of circling over the Marfa Highlands, Compton checks in with the crew on the runway to see if it’s clear to land, then announces with a trace of resignation, “Well, I guess I better go on in.”
“Noooo” I protest.
“You want to go again?” he asks as we descend.
So we do. The second time around, Compton catches more updrafts, with the needle on the variometer in front of me jumping as the glider climbs hundreds of feet in altitude in a matter of seconds. No barf bag needed. In that moment, I know what it feels like to be a bird. Maybe even better.
Bill Daniel knows more about Bozo Texino than anyone on this planet.
https://texashighways.com/culture/in-search-of-bozo-texino/
Who is Bozo Texino? That’s a good question in need of some explaining. But better to ask first: What is Bozo Texino?
Bozo Texino is graffiti. The marking is a simple image of a human head with a pipe or a hand-rolled cigarette—also known as a “quirly”—extending out of the side of the mouth, topped by a cowboy hat whose wide brim resembles the infinity symbol. Sometimes smoke-like dots rise above the cig. The name, often paired with the cowboy doodle, is an intriguing mix of “The World’s Most Famous Clown” from long ago and geographic-specificity with a hint of Spanish thrown in.
The drawing, which is sometimes in chalk or oil bar, started appearing on railroad cars and in railyards 90 years ago. For the next 50 years, Bozo Texino became an iconic figure among hobos, tramps, rail riders, and train buffs.
But Bozo Texino almost disappeared until Bill Daniel came along. Daniel is a filmmaker, photographer, and curator who grew up in Dallas. He once lived near the Santa Fe railyards next to Exposition Park where he developed a fascination with trains and, especially, boxcar graffiti. Here was an underground culture like the punk scene he knew.
That prompted Daniel to ride the rails for 16 years, 16mm Bolex camera in hand, documenting the rail-riding culture in black and white “at considerable risk from speeding freight trains,” he says.
His adventures “in search of unknown folk heroes and graffiti artists,” as he describes them, culminated in an experimental documentary film, a DVD, and a book all about the 100-year tradition of hobo and rail worker graffiti, with a specific focus on the graffiti image of Bozo Texino.
Who Is Bozo Texino? The Secret History of Hobo Graffiti is a rugged ride on the rails with independent-minded, artistic misfits who choose to live outside traditional boundaries and laws.
The film is edgy and archival at once, drilling deep in the nomadic lifestyles of the hobo and the tramp, profiling graffiti artists including Herby, The Rambler, and buZ blurr aka The Colossus of Roads, while pointing out the differences separating hobos from tramps and bums. Austin punk rock trailblazer Tim Kerr contributed several tunes to the bluesy, acoustic soundtrack.
Since its completion in 2005, Who is Bozo Texino? has screened at over 400 venues, including the Museum of Modern Art in New York, Slab City at the Salton Sea, Key West, and earlier this year, Amsterdam, since its completion in 2005. He has earned numerous citations for his efforts. As he writes on his website, these accolades include “Illegal Inhabitation of a Motor Vehicle, a Guggenheim Fellowship, and a prized NYC Open Container Violation.”
I’m not going to give away the plot, other than to say there is resolution to Daniel’s question, and that Houston, San Antonio, and Laredo are involved. You’ll just have to watch the film to find out. billdaniel.net has DVDs available.
Daniel has occupied odd and unusual spaces around Texas over the years in Houston, Austin, San Antonio, Dallas, Pasadena, and New Braunfels, where he was caretaker of a shuttered textile mill. These spaces also include a warehouse in Galveston and a former washateria in Waxahachie. He is currently ensconced in a toyhauler RV in the Sacramento Delta of California, “eight feet below sea level,” while he’s fixing to move into a studio in San Francisco.
More Bozo Texino ephemera is tucked into the third edition of Mostly True, The West’s Most Popular Hobo Graffiti Magazine, a book disguised as a magazine, dated February 1923 but actually published last year by Microcosm Publishing in Portland. The fanzine of boxcar graffiti and railrider culture, and what Daniel describes as “obscure railroad nostalgia” further cements the bond between hobo and punk cultures.
Daniel credits punks for keeping the hobo and Bozo tradition alive. “Train punks rediscovered freight riding culture in the 1990s, co-inhabiting railroad jungles with the last of the previous generation of hobos, Vietnam veterans, primarily,” he says. “Punks have actively preserved and added to the culture. Who knows where the next generation will come from?”
Bozo Texino, the graffiti, is still around, even though the original artists who created him have been gone for decades. “There are other people who make the drawing and write the name in homage,” Daniel says.
As for the question, who is Bozo Texino? Daniel laughs. “The answer turned out much greater than the question. I’m still surprised at where ole Bozo still pops up,” he says. “Bozo Texino just keeps going in the world because of two things—graffiti culture and punk train rider culture. They’ve spawned a new form of rail fandom. The world of rail fandom now includes graffiti nerds and moniker nerds.”
The history of the Cadillac Ranch for TexasHighways.com
https://texashighways.com/travel-news/fifty-years-of-cadillac-ranch/
The vintage Cadillacs at their original location in the 1970s
Fifty years ago on the summer solstice, three experimental architects and artists completed Amarillo’s iconic Cadillac Ranch. Facilitated by a larger-than-life eccentric millionaire, the permanent installation of 10 Cadillac sedans buried nose first at a 60-degree angle into the dirt of a flat field within eyeshot of Interstate 40 has become the Panhandle city’s No. 1 tourist destination and biggest roadside attraction. It’s a must-see for road trippers touring Route 66, America’s Mother Road, seen by more than 1.4 million visitors a year.
Cadillac Ranch at 50, an exhibit documenting the strange and quirky history of the site at the Amarillo Museum of Art, opens June 1 and runs through Aug. 15, with a special celebration on June 21. One hundred enlarged photographs by Wyatt McSpadden, who has documented Cadillac Ranch since its inception, share space with videos, drawings, and ephemera from Chip Lord from the Ant Farm art and architecture collective that dreamed up the project.
Lord and fellow outsider architect Doug Michels formed Ant Farm in San Francisco in 1968 for underground design projects. “We were doing concepts, sketches, and photo collages of imaginary landscapes and environments,” Lord says. “It was a way to realize some ideas that would expand on conventional architecture.”
When Hudson Marquez joined the group, the three bonded over their shared obsession with automobiles. “At Ant Farm, we were car crazy,” Marquez recalls. “It was always drawing cars, collaging cars, making art with cars. I had an idea to make seed packs where you could plant seeds that would grow cars. You could have a field of ’49 Fords or ’59 Cadillacs that would grow out of the ground.” But to realize any concept, they needed a physical site. And money.
Installing the vintage Cadillacs was no easy feat
The Ant Farm sent out letters with their idea to a number of eccentric millionaires around the country. Prominent Amarilloan Stanley Marsh 3 answered back with an oversized letter written in 36-point type. “I’d love to do something with you, but I only do things here in Amarillo,” Marquez recalls him saying.
Lord and Michels stopped in Amarillo after finishing the House of the Century, a tubular ferro cement lake house near Angleton built with Houston architect Richard Jost. By the end of their visit two days later, Marsh asked Lord and Michels to draft a proposal. “We went back to California and drew up this idea of making a monument to the rise and fall of the Cadillac tailfin,” Lord says. The drawing had a text box in the corner—the budget. They would need $250 to hire a backhoe, and $300 for each of the 10 cars. Marsh gave the Ant Farm the green light.
The Ant Farmers descended on Amarillo. They placed ads in the Amarillo Globe-News seeking used Cadillacs and checked out Marsh’s land holdings. They picked a site near Interstate 40 and the old Route 66. “They were mysterious, these three hippies,” says Wyatt McSpadden, the young photographer who worked for Marsh at the time. He remembers Lord, Michels, and Marquez lived on the property while putting the site together. “They were gone a lot because they were out shopping for cars, trying to make deals, get cars as cheap as they could.”
Finding the first car, the 1949 Cadillac, proved to be a struggle. They found one on the east side of Amarillo, though it cost them a whopping $700—far over budget. “As soon as Doug had the title, somebody pulled the canvas off the bed of the truck,” McSpadden remembers, “and it was full of sledgehammers and axes. Doug took an axe out and started beating on the front of the car. They didn’t care what the front of the car looked like. That was my first involvement with the Ant Farm and the Cadillacs.”
The Cadillacs were moved from their original spot to its current location in 1997
The first hole was dug, and they got the car into the ground. “We didn’t really know what we were doing,” Marquez says. “We hadn’t dug holes to put cars in before, and we didn’t know anyone who did, so we were just flying by the seat of our pants. We just dug some holes and drove the cars in at 60 degrees, same angle. We didn’t talk about that. It just happened to be. It looked good.” The whole endeavor took less than a week.
The day after the Cadillac Ranch was finished, Marquez rose before dawn and drove out to the site to watch the sunrise. “I was blown away,” he says. Marquez remembered a talk the radical French artist and sculptor Marcel Duchamp gave in Houston. His idea was that when someone sets out to create, they start from what they think is zero and in their mind is 100% of what they want to create. “It’s in your mind, but you never get to 100. That doesn’t happen,” Marquez says. “But that morning was as close to 100% as I ever got.”
On June 21, 1974, a huge party was held in celebration of the ranch, a big tent, open bar, and Amarillo notables included. Shortly after, the Ant Farmers returned to San Francisco to work on other ideas. “When it was first built, it wasn’t hyped yet,” says David Turner, who was the assistant director at the Amarillo Art Center at the time. “People didn’t know what it was. It was just this oddball group of cars some crazy rancher planted in his field.”
There was no signage identifying the site, making it hard to convey the installation was an artist-made sculptural piece. Seeing the installation up close required some want-to. “You used to have to stop on the road, take your life in your own hands, go through a barbed wire fence, and hope for the best,” says Tom Livesay, director of the Amarillo Art Center in 1974.
Though grafitti wasn’t part of the original plan, it’s become tradition for visitors to leave their mark
A year later, journalist Charles Kuralt, host of the folksy On the Road program on the CBS television network, passed by in his bus, pulled over, and put Cadillac Ranch on the map. He was charmed. “At first, we thought someone might be trying to raise little baby Cadillacs,” Kuralt says. “Then we thought maybe the farmer just parked them this way each year after he bought a new model.”
Marsh talked up the Ant Farm and compared the Cadillac Ranch to Stonehenge, declaring, “It’s the most important roadside attraction of our generation.” Kuralt ended the segment waxing poetic over “a cowboy herding steers out there where the tall tailfins grow and the traffic heads west on Route 66 and the Texas sun goes down on the chromium bumpers of the American dream.”
Next came the bullet holes, an instinctive reaction around the Panhandle. If there’s something out there and you don’t know what it is, shoot it! “People would take their keys and scratch their initials into the paint,” Lord says. “Eventually, we went out there and signed it, to copyright.”
Then came the spray paint. First as simple graffiti tags—names, expressions of love, expressions of hate. Then wholesale paint jobs. “I was kind of outraged when people started spray-painting it,” Livesay says. “I asked Stanley what he thought of that, and he said, ‘I don’t give a damn.’ It showed ownership. People had to care enough about it, or hated it enough, to come see it. And they did.”
In 1997, Cadillac Ranch moved 2 miles west to its current location. The city of Amarillo was growing, and parking lot lights were visible at the installation. “That property was getting more valuable,” McSpadden says. “It was harder digging them up and replanting them than it was putting them in the ground the first time. From the road, it didn’t change at all. It was still the same flatland background.”
The relocation coincided with the dawn of the internet. Cadillac Ranch had become a featured attraction on RoadsideAmerica.com. Social media further broadened its reach. Cadillac Ranch remains a metaphor for the Golden Age of the American automobile, but over 50 years, it’s taken on many meanings and interpretations. A search for “Cadillac Ranch” on Instagram retrieves images of the Cadillac Ranch at sunrise, sunset, during dust storms and blizzards, and as a backdrop for selfies.
The scent of Krylon is fairly constant. On Cinco De Mayo, red, green, and white paint have dominated. The Cadillacs have been painted pink for child cancer awareness. After Michels died in 2004, the Cadillacs were painted black, his favorite color.
McSpadden spent two days at the site in October 2022, making portraits featured in the Cadillac Ranch at 50 exhibit. “I got people from England, Switzerland, Italy, the Netherlands, Germany, Ireland,” he says. “People paint, they leave, and 20 minutes later somebody comes up and paints over what they painted. They don’t just paint the cars, they paint the dirt, they paint the access road, the barriers are painted, the trash cans are painted.”
Four years ago, Marsh’s son, Stan Marsh 4, added a merch truck that sells spray paint, beverages, and tchotchkes on the site. “The Cadillacs are one of the last things in the nation that are truly wild,” he says. “There are no bathrooms. There is no running water. There’s no shade. There’s a different energy out there. It’s an adventure every time.”
Marquez says he’s only had two good ideas in his life. “One was the Cadillac Ranch. The other was copyrighting Cadillac Ranch,” he says. “Ant Farm owns the copyright to Cadillac Ranch. For many years we’ve made money, it’s like an annuity. Commercials, clothing lines, billboards, print ads, everything.”
Marsh’s heirs still own the Cadillac Ranch. Following a series of debilitating strokes, ownership of the land was transferred from Marsh to a family trust. He died in 2014, shortly after facing allegations of sexual abuse by multiple minors. Though perception of Marsh’s reputation may have changed following the allegations, Cadillac Ranch’s legacy continues to stand the test of time.
Today, people come from all over the world to see Cadillac Ranch
Stanley Marsh 4 regards the Cadillac Ranch as a participatory work of art that everybody is welcome to collaborate on. “Every mark is permanent, but it’s also temporary,” he says. “You can say anything you’d like to say with absolute freedom—but it’s going to be covered up in 30 seconds.”
The next 50 years are less certain. “We’re looking at options to preserve and protect the Cadillacs for future generations,” Stanley Marsh 4 says.
Lord is not so sure. “I favor not doing a restoration. With farmers, when a truck stops running, they put it out in a field and it rusts away. Just let it rust down to nothing, which eventually it will,” Lord says. “That’s the most logical end of Cadillac Ranch.”
Whatever Cadillac Ranch’s future holds, Livesay appreciates what it means to the Panhandle city. “It’s wonderful it’s lasted so long and generated so much excitement for the town,” he says. “It’s grown with the times. You can’t argue with the facts.”
My story in Texas Highways about learning to surf at age 72
https://texashighways.com/things-to-do/riding-waves-as-a-septuagenerian/
Photo by Wyatt McSpadden
Surfing has been a lifelong obsession for me. Back when the Beach Boys ruled the airwaves and the California surfer lifestyle became something to emulate, two junior high friends and I pooled our money and bought a surfboard by mail order—but never put it to the test. I rented longboards on South Padre Island family vacations, but try as I might to paddle out past the third sandbar to catch a wave, the few times I did manage to stand up, the wave disappeared. Unless a hurricane or tropical storm was in the Gulf, I would later learn, those choppy waves were as good as it got.
But today is the day. I’m going to surf. All it takes is a two-and-a-half-hour drive to the woods east of Waco, a couple hundred dollars, and the desire to finally stand up on a surfboard at age 72.
I’m at Waco Surf, the new epicenter of Texas surfing, to experience how technology is impacting surfing in much the same way ski lifts, snow-making machines, and manicured trails transformed snow skiing. In 2021, new owners bought Waco Surf’s lagoon and upgraded it into a surf and water park with slides, a lazy river, cabanas, and a hotel.
After checking in at the Surf Center, the spacious headquarters with a floor-to-ceiling view of the 2.5-acre lagoon, I head for the open-air palapa for the park’s Beginner Academy. I’m joined by three fellow novices from across the state, as well as a broad-shouldered California native named Stephen Shipman who is a lifelong bodysurfer. “They won’t let me bodysurf here, so I guess I’m going to have to learn to stand up,” the 68-year-old says. His confidence suggests that won’t be a problem.
We’re given generic 6-foot longboards with soft padding while instructor Reef Ellison, a surfer from Houston, gives us the 101. This includes pointing out the features of the board, how to paddle, and, ultimately, how to stand up.
After running us through a series of yoga stretches, we enter the shallows of the chlorinated lagoon. Across from us, surfers work intermediate swells in front of the wall lining the entire bank of the lagoon. Somewhere near the No. 7 marker, a machine engine cranks with a soft rumble akin to a washing machine. Seemingly out of nowhere, waves start to appear.
Manufactured in various sizes, our waves are set to the most forgiving level: The Coaster. These progress all the way to The Wedge, a wave that reaches up to 5 feet. In this controlled environment, there’s no need to worry about paddling out to the swells, as there are Surf Team members waiting to launch and catch you at the end.
Our assigned team member, treading water, urges me forward, and in a flash, I begin to slide down the wave. The sensation of pushing the board down the slope feels like I’m trying to steady myself on an icy pond. Standing on the board with knees bent, arms extended for balance, I aim toward the wall and ride the wave until it peters out five seconds later.
One of the most frustrating aspects of trying to surf in the Gulf or the Pacific is getting knocked back by waves while paddling out. Waco Surf has eliminated that early obstacle in its design. After that first attempt, a waiting surfer was quick to congratulate me: “You popped right up! There are some people who’ve been going for a while who can’t do that.”
Following the first half of the session, the swells grow slightly larger. With each attempt, my energy begins to flag, and on the final wave, I have my first honest wipeout. Shipman, the seasoned bodysurfer, overcomes a frustrating start to master standing up. He quickly signs up for an second session later that afternoon.
Since that weekend, I’ve looked at myself cresting waves—captured for posterity in photos on wacosurf.com. Even all these months later, I can feel and relive the adrenaline-filled thrill of every ride. Although cautious at first, I gave myself over to the moment and risked it all in a culminating wipeout—not bad for an old guy. No matter that it took place far from any sandy shore. Surfing lesson: $139.
Mack McCormick (right) photographed with drummer Spider Kilpatrick. Photo courtesy National Museum of History Archives Center, Robert Mack McCormick Collection, 1485, Box 10, Folder Photographs of Mack McCormick, modern, 1960-1998, undated
The first time I saw Mack McCormick’s name, it was attached to the liner notes on the back of the first albums issued by Arhoolie Records, the storied American folk music label founded by Chris Strachwitz. At the time, I didn’t know McCormick had led the Polish-born music enthusiast, who passed away earlier this year, to Lightnin’ Hopkins, Mance Lipscomb, and Clifton Chenier—Arhoolie’s core artists—before falling out with him. The break was a familiar pattern for Mack McCormick, as I came to learn.
Eight years after his death in 2015 at the age of 85, the self-taught music folklorist and field researcher from Houston is finally having his moment. The Smithsonian Institution has recognized Robert “Mack” McCormick with a book, an exhibit, and, coming Aug. 4, a box set of 66 field recordings he made that are nothing less than the most comprehensive collection of Texas blues music ever assembled.
McCormick was a high school dropout who held a series of odd jobs to underwrite his passion—collecting, recording, and writing about music from what he called “Greater Texas,” East Texas and surrounding states extending back to Mississippi. He was particularly fond of African American blues. From the 1950s through the 1970s, he traveled throughout Texas and the South searching the places where early recording artists and their music originated and seeking out the music makers and people who knew them. For McCormick, it was all about the hunt for music and information, which he rarely shared, even while he dealt with personal issues including anger and isolation and clinically diagnosed manic depression.
As a field researcher chasing music, McCormick was directly influenced by John Avery Lomax and his son Alan Lomax, the trailblazing song hunters and music folklorists who were also from Texas. Lomax’s eldest son, John Avery Lomax Jr., and McCormick were both involved with the Houston Folklore & Music Society, founded in 1951, which nurtured the careers of Lightnin’ Hopkins, Mance Lipscomb, Townes Van Zandt, Nanci Griffith, and Guy Clark.
Unlike the Lomaxes, who were tied to academia and the Library of Congress, McCormick was an amateur obsessive. To support his habit, he drove taxis and worked for the U.S. Census Bureau in Houston’s Fourth Ward in 1960, just so he could learn more about barrelhouse pianists in the neighborhood. In addition, he did contract work for the Smithsonian in the late 1960s and early ’70s, scouting the South for talented musicians to perform at the institution’s summer music festival.
Mance Lipscomb with his family, photographed by Mack McCormick. National Museum of History Archives Center, Robert Mack McCormick Collection, 1485, Box 20, Folder 17, Outsize photos, Texas Blues, undated
Of all the musicians McCormick studied, none captured his attention more than Robert Johnson. In May, the Smithsonian published McCormick’s much-anticipated Biography of a Phantom: A Robert Johnson Blues Odyssey about the influential Mississippi Delta blues guitarist and singer who once recorded 42 songs at sessions at the Gunther Hotel in San Antonio in 1936 and the Warner Brothers/Vitagraph building in Dallas in 1937 before dying in 1938, allegedly under shady circumstances. He would become a major influence on Eric Clapton, Jimmy Page, and other British rock guitarists of the 1960s, and one of most mysterious figures in blues music.
Twenty years after Johnson’s death, McCormick started chasing Johnson’s ghost. Studying phone books and maps and making cold calls, he drove all over Mississippi following leads, visiting neighborhoods, asking around. McCormick’s manuscript about his quest was first finished in the early 1970s, but he continued making revisions without ever publishing it. After McCormick’s death, John W. Troutman, curator of music and musical instruments at the Smithsonian Institution’s National Museum of American History, edited the manuscript and wrote the book’s detailed preface and afterword.
Here’s my suggestion to truly appreciate Biography of a Phantom: Skip Troutman’s commentary until later, forget you’ve ever heard anything about McCormick, and dive in.
It’s a fun ride, part detective mystery, part anthropological travelogue. McCormick’s research methodology may seem quaint and dated, but it led to opportunities for direct contact: He speaks with relatives and friends who knew Johnson very well—and under another name. As the hunt progresses, McCormick’s appreciation of the secondary characters as real people changes, and he understands the artist more in the context of the community he lived in, culminating in a vivid scene in 1970 in a Mississippi Delta shotgun shack, where the music so familiar to his friends and family is played back to them on recordings.
John A. Lomax’s Adventure of a Ballad Hunter is the template for all books about collecting music. Other books, such as Where Dead Voices Gather by Nick Tosches and Do Not Sell at Any Price by Amanda Petrusch, do deeper dives into that obsessive world, but Biography of a Phantom hits the sweetest spot. It shines the light on the music chase at a time when scores of collectors were fanning out to the countryside trying to find out about a blues song’s origins or a recording artist’s roots.
McCormick’s friend Roger Wood, author of the books Down in Houston: Bayou City Blues and Texas Zydeco, says the published manuscript reminded him of John Graves’s Goodbye To A River. “[I]t takes the reader on a very personal trip with the narrator, who intertwines history and immediate experience, prior knowledge, and discovery, to communicate how a place, a culture, has changed over time (and will change more in the future),” he tells me in an email exchange. “I see/appreciate this book as great writing, the most fully articulated presentation of Mack’s narrative voice and capacity for engaging his audience.”
Wood adds, however, that McCormick would have hated it. “Mack would likely be furious about myriad details and developments with this [or any] publication beyond his control and the process that led to it,” Wood says. “He would likely threaten lawsuits, claim victimhood, add several new names to his enemies list, etc. Even if he had consented to whatever transpired, he would likely be furious, if not immediately, eventually—after he had taken time to sprout and nurture grievances. That was Mack.”
With fury and resentment no longer impediments, the story that finally has come out stands on its own merits. It’s a quest that anyone who has loved a particular song or artist can relate to. For blues researchers and scholars, this is as deep as the hunt for music ever gets.
When doing his field research a half century ago, McCormick knew he would draw scrutiny of white law enforcement and Black community leaders, but he jumped the color line nonetheless, a brazen act at the time. A Black researcher chasing white music could not have done the same. This reality is addressed in Treasures and Trouble: Looking Inside a Legendary Blues Archive, the exhibition at the Smithsonian National Museum of History opened in June in Washington D.C.
For Texans unable to travel to the nation’s capital, the exhibition showcases artifacts from “The Monster,” McCormick’s nickname for his massive collection of work, along with a reexamination of the process of gathering and preserving music. There is a focus on the patriarchal dynamic of a white man documenting a Black man’s history in the Jim Crow segregated South, and a frank assessment of McCormick’s myriad issues, which included grifting and hoarding.
McCormick persuaded Johnson’s siblings and heirs to share photographs and stories and sign agreements to share in profits from his estate, but he did not return materials to the relatives, as letters in the exhibit document. A Memphis producer named Steve LaVere subsequently secured an agreement from Johnson’s half-sister Carrie Thompson that effectively undercut McCormick. He wasn’t the only music hound chasing Johnson’s ghost, and the realization that he might not be able to capitalize on his quest might have contributed to McCormick’s fragile mental state.
McCormick preserved critically important music and information about African American musicians in the early and midcentury, and how he went about it is rightfully called into question. Certainly, what he did then is not what someone could do today. Then again, what they were chasing no longer exists.
Finally, there’s the music. On Aug. 4, Smithsonian Folkways Recordings releases Playing For the Man At Door, a 66-song box set of field recordings made by McCormick between the 1950s and ’70s, along with 128-page liner notes that include essays from producers Jeff Place and John W. Troutman on McCormick’s life, the musician’s daughter Susannah Nix on growing up with the massive collection, and musicians and scholars Mark Puryear and Dom Flemons on the marginalized communities to which McCormick devoted his life’s work.
Any controversy about McCormick vanishes when listening to these songs. The field recordings are McCormick at his obsessive best—on the street, being so bold as to request someone perform for his recorder (a request usually fulfilled), taking notes, occasionally interjecting a question, trying to capture the moment, in living rooms, porches, backyards, bars, and even prisons.
There are some familiar names. The storytelling preceding songs like Mance Lipscomb’s version of “Tall Angel at the Bar,” and Lightnin’ Hopkins’ duet with Long Gone Miles, “Natural Born Lover,” is priceless. But most of the performers of these recordings were neither famous nor notorious outside their communities. I got to know some of the lesser-known characters, including barrelhouse pianist Robert Shaw, the ethereal Gray Ghost, and drummer-rapper Bongo Joe Coleman (what may be his first recordings). Performing live in person, each comes off as an original.
Revelations abound. “Quills” by Joe Patterson features one of the last players in Texas skilled in blowing handmade quills, or pan pipes made of cane, a talent famously articulated by Henry “Ragtime Texas” Thomas from Big Sandy in the 1920s, who McCormick also extensively studied. “St. James Infirmary” by Dudley Alexander and Washboard Band, sung in English and French, is a stellar example of Creole music that predates zydeco.
Mack McCormick leaves behind a dilemma. He was a terribly flawed individual. He obsessively guarded what he knew. He became paranoid his research would be stolen. In other words, McCormick consigned himself to death before the rest of the world could learn what he knew.
The world that McCormick dove into so zealously is gone.
What is left is all that McCormick learned about Texas blues and roots musicians, particularly African Americans. That work was both critical and monumental. Now that that knowledge is accessible, recognition of what he did is something to celebrate, nevermind the baggage of the tortured life that came with it.
https://texashighways.com/travel/the-cricket-craze-comes-to-texas/
My story about Cricket in Texas, profiling the Prairie View Cricket Complex, the largest in North America, and the new home of Major League Cricket in Grand Prairie
My story about swimming holes in Texas, drought, and climate change in the 50th Anniversary issue of Texas Monthly magazine.
https://www.texasmonthly.com/travel/ode-to-texas-disappearing-swimming-holes/
I’ve spent the past half century immersing myself in Texas’s clear, cool waters. But if development and drought have their way, I may be the last of my kind.
I lived through the golden age of Texas swimming holes. Having spent my youth submerged in chlorinated pools in and around Fort Worth, I moved to Austin in 1973 and discovered Hippie Hollow before it was a county park and Barton Creek before a mining executive threatened to build a giant development along its banks.
Swimming in clear artesian spring water was a revelation to me. As a child, I’d seen San Marcos Springs when it was the Aquarena Springs theme park, but I didn’t associate the crystalline waters that Ralph the Swimming Pig frolicked in with something that was accessible to me. And yet, to my delight, I came to learn that they were.
The water in a Texas swimming hole is a pale blue or green or a hue somewhere in between that you can see through, often right to the bottom. Your eyes don’t sting when you open them underwater. There are creatures to observe—minnows, perch, crawfish, carp, catfish, bass, turtles, ducks, and maybe even, God help me, a water moccasin. A spring-fed swimming hole means cool-to-cold temperatures. The bottom is limestone, not squishy mud. Spoiled by such wonders, I quickly developed an aversion to cement ponds, as The Beverly Hillbillies’ Jethro Bodine called conventional swimming pools, and flinched at the scent of chlorine.
My then-girlfriend got me hooked on doing widths at Austin’s famous Barton Springs, and pretty soon I had worked up to swimming a round trip along the pool’s roughly one-eighth-mile length. Then it was a half mile and then a full mile. I was addicted. If I missed a day, I got cranky.
My search for clear, clean water turned into a treasure hunt. Hill Country rivers were prime targets: the Guadalupe, the Comal, the west fork of the Nueces, the Blanco, the San Marcos, the Llano, the Frio, the Medina. Creeks that fed the rivers sheltered hidden delights such as Jacob’s Well, Krause Springs, and several Blue Holes.
But I also found swimmable springs near Houston (swimmable but murky—it’s Houston!), near the Panhandle (Roaring Springs), and in the desert (Independence Creek). I became a regular at Balmorhea State Park, in far West Texas, swimming in the pool every month of the year. There are secret spots that I’ve been sworn never to reveal, at the risk of physical harm, and secret spots I can’t share because I trespassed. Having a gun pulled on you when you’re sopping wet is no fun.
Swimming-hole denizens are my tribe. We quietly exchange information about places worth checking out and share where the crowds aren’t. I’m fortunate to have friends who own ranches with secret holes to swim in and to have been invited to the Narrows, a typically off-limits miniature canyon in the Hill Country smack-dab between Blanco and Wimberley.
My obsession grew so fevered that thirty years ago my family and I left Austin for Wimberley to gain regular access to the Blanco River. I found an ideal swimming hole, and for years it has been part of my daily routine during the warm months.
Along the way, I’ve learned about karst topography and other unique features that make Texas swimming holes so abundant. I’ve also learned about the rule of capture, a Texas law that allows property owners to draw as much underground water as they wish, even at the risk of drying up a neighbor’s wells and springs. In the fifties, it effectively killed Fort Stockton’s Comanche Springs, once the largest in West Texas.
It wasn’t the first swimming hole to disappear, and it’s far from the last. In 2021, for the first time in my many summers in Wimberley, the Blanco ran so low that there wasn’t enough river to swim in. Extended drought, exploding population growth in the watershed, and aggressive groundwater pumping had reduced it to a trickling stream.
My bible, Gunnar Brune’s Springs of Texas, Volume 1, had warned me that this would happen. A technical volume published in 1981, it’s an expanded version of a 1975 report that Brune, a Fort Worth geologist, prepared for the Texas Water Development Board. He noted that the decline of Texas springs, in number and in volume, began with the first Spanish colonists and continued to the time of the book’s publication, largely as a result of agricultural, industrial, and municipal use of water, as well as the reduction in groundwater recharge.
That decline continues, primarily fueled by population growth. By 2005 only 17 of the 31 large springs once known in Texas remained. During the drought of 2022, Blue Hole, in Wimberley, and nearby Jacob’s Well were closed to swimming because of low or no flow. The Frio River at Concan went dry. Las Moras Springs, near Brackettville, stopped running. And this sad trend will likely only accelerate: we’re expecting a hotter, drier Hill Country in the future.
Some years back, I toured the Coal Mine Ranch in the isolated Trans-Pecos borderlands northwest of Candelaria. My host paused at a field of sun-bleached rubble. This was an ancient river delta, he said, leaning down and picking up a large rock to hand to me. Up close, I could make out the fossilized remnant of a very large turtle shell.
Will this be the fate of so many of the springs, creeks, rivers, and swimming holes that I love? Will the iconic image of our times be a minnow trapped in a shrinking puddle as the waters retreat? Or will the springs flow again and my beloved Blanco return when the rains come? So far in my lifetime, the water has always come back. But what about the next time?
Though the signs right now are dire, my faith remains strong enough that I recently ordered a new swimsuit, goggles, and earplugs. Perhaps I’m fooling myself. Perhaps hope is the only thing that springs eternal.
This article originally appeared in the February 2023 issue of Texas Monthly with the headline “C’mon in, the Water’s Finite.” Subscribe today.
by Joe Nick Patoski
After 63 years, The Triumphs are finally hanging it up. This time they mean it. Sure, there have been “last shows” before, but this time, after a few more live dates between New Year’s Eve and February, that’s going to be it.
“We’re retiring. For real,” says Don Drachenberg, one of the band’s vocalists who also plays saxophone. At 82, he is one of two members, along with Gary Koeppen, remaining from the band’s glory days in the early to mid-1960s. (A third original member, Tim Griffith, sadly passed away earlier this month.)
During its heyday, the band packed dance halls between Houston and San Antonio, engaged in storied battle of the bands with Roy Head’s band The Traits, and scored a hit record with a cover of the mournful Hank Williams ballad “I’m So Lonesome I Could Cry,” sung by the group’s then lead vocalist, B.J. Thomas.
Formed in Rosenberg by Lamar Consolidated High School students, the band, named after the motorcycle, expanded over the years to include as many as seven to nine members. They first hung it up in 1980, but unable to quit the music, the group reformed in 1992. They called it quits a second time in 2020, with COVID-19 to blame.
“Our last performances were at East Bernard and Swiss Alp in January through February 2020, right before the pandemic hit,” Drachenberg says. “By the time May rolled around, all of our performing dates had been cancelled. By the middle of summer, we started yakking among ourselves. Live music and live dance halls may not be coming back for a few years. It looks like we’re done.”
That retirement lasted a year. A different tune was sung by the summer of 2021, when pandemic restrictions began to be lifted. “Three guys in the band started talking: we had a little gas left in the tank,” Drachenberg says. “A couple guys didn’t want to do it, seven of us did. We got back together in July to rehearse. In September, we started performing again.”
A year of gigs later and The Triumphs have reconsidered once again.
“We came to the conclusion we’re too old to be doing this. It’s too tiring, it’s too rough,” Drachenberg says, laughing. “You remember the good times, but you forget all the hours, lifting heavy equipment, all that. It was too much work and not enough fun.”
If ever there was a group who knew fun, it was The Triumphs. They built a following playing Top 40 and rock music in Texas dance halls between Houston and San Antonio. “East Bernard, Tate, Hilje, Hallettsville, Schulenberg, Moulton, LaGrange, El Campo KC Hall, Angleton Fairgrounds—we worked a circuit,” Drachenberg recalls. “We played those halls once a month, and worked in a party or a festival or reunion.”
Their repertoire included the popular songs of the day, from Motown and Jimmy Reed tunes to party songs like “Louie, Louie” and “(I’m A) Soul Man.” Very few original tunes were part of the setlist.
“My Girl,” made popular by the Temptations, remains one of the most requested songs at a Triumphs’ show. “Color My World” by Chicago became a band standard during the 1970s, as did “Midnight Hour,” “Red, Red Wine,” and “Cotton Eye Joe.” And, acknowledging the musical heritages of the dance halls where they played, the band performed polkas, including a medley of “Julida,” “Beer Barrel” (aka “Roll Out the Barrel”), “A Ja Sam,” and “In Heaven There Is No Beer.”
Two of their songs remain part of every Triumphs show today: their biggest hit, “I’m So Lonesome I Could Cry,” and “Garner State Park,” which still is the last song played at Saturday night dances on the patio of the pavilion at Garner State Park north of Uvalde.
During the early 1960s, the Triumphs tried their hand at recording and realized some success, thanks to Houston Top 40 radio stations. Their first two 45 rpm singles, “I Know It’s Wrong” and “Lazy Man,” received airplay in 1962 on both KILT and KNUZ, with “Lazy Man” reaching No. 7 on KILT’s chart. Other hits included “I’ve Got a Feeling,” “Billy and Sue” (reached No. 1 on KILT in 1964), and “Garner State Park.”
Then in December 1965, the band’s remake of Hank Williams’ “I’m So Lonesome I Could Cry” broke out of Houston and went No. 1 nationally. Acknowledging the lead singer’s distinctive tenor voice, the band was promoted as B.J. Thomas and the Triumphs.
Things took a turn in March 1966 when the group was offered a slot on a national tour. Thomas eagerly signed on, but the rest of The Triumphs stayed behind. “Most of us were in college,” Drachenberg says. “We didn’t want to go. B.J. did. None of us had the aspirations he had.”
It’s a familiar showbiz story, only in this version the band that stayed behind never quit. “We’ve always been a local band,” Drachenberg explains. “We just wanted to enjoy what we do, and have our friends around us…We have so many fans that come out to see us. If we put something out on Facebook that we’re going to do something, we know several hundred people are going to turn out at that event. We recognize the faces, recognize the couples, even as they’ve gotten older. We have a hellacious fan base.”
Over the years, the band’s popularity could be seen at venues like Riverside Hall in East Bernard, which drew fans from Columbus, Eagle Lake, Bay City, Houston. The group was so popular there, Drachenberg says, “[w]hen it burned down in the late 1980s, they immediately built another hall.”
Playing Swiss Alp, a storied Texas dance hall between Schulenberg and LaGrange, is like going to a family reunion. “My wife’s family comes from Hallettsville,” he says. “Her grandparents danced at Swiss Alp, her parents danced at Swiss Alp, my wife and I danced there, my daughter in Schulenberg dances there. And now my granddaughter who lives in Houston dances at Swiss Alp.”
In 2010, 44 years after he left for biggest stages, Thomas performed with the Triumphs again. “Both of us were kicking ourselves for not having got back together earlier,” Drachenberg says. They continued doing special performances together until Thomas’ death in 2021.
Drachenberg admits he’s going to miss doing what he’s done his entire adult life. “Performing on the stage, you get a great feeling,” he says. “Having somebody applaud or go ‘Whoop!’ after you’ve done a song, that gives me chill bumps.”
And after the band gave so many people a good time with music, the fans are returning the favor. “People have been calling me, thanking me for giving their family so much fun and pleasure over the years,” Drachenberg says. “That feels really good.”
The Triumphs’ final public shows take place New Year’s Eve at the Silos in Giddings, Jan. 28 at the band’s historic home base Riverside Hall in East Bernard, and Feb. 18 at Swiss Alp Hall. For more information, check the calendar on The Triumphs’ website.
