RAG RADIO / Thorne Dreyer : October Interviews with Poppy Northcutt, Maneesha James, Seth Holmes, and Thomas Zigal

Frances "Poppy" Northcutt with Rag Radio's Thorne Dreyer in the studios of KPFT-FM in Houston, Friday, October 25, 2013. Photo by Guy Schwartz / The Rag Blog.

Rag Radio podcasts:
Thorne Dreyer interviews Poppy Northcutt,
Maneesha James, Seth Holmes, and Tom Zigal

Our October guests address Texas feminist history, issues involved with death and dying, the plight of migrant farmworkers, and the post-Katrina craziness.

By Rag Radio / The Rag Blog / November 11, 2013

Thorne Dreyer's guests on Rag Radio in October 2013 included pioneering Houston feminist Frances "Poppy" Northcutt, president of both the Houston and Texas chapters of the National Organization for Women (NOW) and a historic figure in the women's movement; psychotherapist, meditation facilitator, and death and dying counselor Maneesha James; anthropologist Seth Holmes, author of Fresh Fruit, Broken Bodies about the plight of migrant farmworkers; and novelist Thomas Zigal, author of Many Rivers to Cross set in post-Katrina New Orleans.

Rag Radio is a weekly syndicated radio program produced and hosted by long-time alternative journalist Dreyer and recorded at the studios of KOOP 91.7-FM, a cooperatively-run all-volunteer community radio station in Austin, Texas.


Frances "Poppy" Northcutt

Listen to or download the podcast of Rag Radio's interview with Houston feminist Frances "Poppy" Northcutt here:


Houston attorney Frances "Poppy" Northcutt is president of the Houston and Texas chapters of the National Organization for Women (NOW). Northcutt, who has played a central role in the women’s movement since the mid-Sixties, was the City of Houston’s first Women’s Advocate in 1974-75 under Mayor Fred Hofheinz. In that role she initiated legislative and executive proposals to eliminate sex discrimination in the police and fire departments and elsewhere in city government.

She was also the founding chair in 1974 of the Harris County Women’s Political Caucus. Northcutt was on-site coordinator for the historic National Womens Conference, sponsored by the U.S. State Department and held in Houston in November 1977, drawing 20,000 participants.

Northcutt first gained national attention during the Apollo missions in the mid-Sixties when, as a mathematician and engineer, she was the first woman to work in flight support at NASA’s Mission Control. In a September 1970 Life magazine cover story titled “Women Arise,” Northcutt was one of eight women profiled as "succeeding in a man’s world.”

She was singled out in a 1969 AP story about women playing key roles in the space program and was also featured in Mademoiselle, Ms. Magazine, and other publications. Northcutt won a number of awards, including the Presidential Medal of Freedom Team Award for work in the rescue of the Apollo 13 crew.

This episode of Rag Radio was produced in the studios of KPFT-FM in Houston with the assistance of KPFT news anchor Marlo Blue.


Maneesha James

Maneesha James with Rag Radio's Thorne Dreyer (left) and Tracey Schulz at the KOOP studios, October 18, 2013.

Listen to or download the podcast of Rag Radio's interview with death and dying counselor Maneesha James here:


Born in Melbourne, Victoria, Australia, in 1947, Maneesha James offers "psycho-spiritual support in living and dying." She has a background in nursing (general, midwifery, and psychiatric) and is a psychotherapist and meditation facilitator. Maneesha, who lives in London, is co-founder and co-director of the Sammasati Project, which offers a vision of living and dying based on awareness and celebration.

Through her years of meditation and living in the meditation resort of the contemporary mystic, Osho (she was his chief editor), Maneesha has developed and facilitated workshops worldwide on a meditative way of living. She works with people who wish to go through the process of dying with as much awareness as possible -- working on an individual basis with those who are facing imminent death and in workshops with those who want to explore their issues with dying while they are still relatively healthy.


Seth Holmes

Anthropologist Seth Holmes in the studios of KOOP-FM in Austin, October 11, 2013. Photo by Roger Baker / The Rag Blog.

Listen to or download the podcast of Rag Radio's interview with anthropologist Seth Holmes here:


Seth M. Holmes is a cultural and medical anthropologist and physician who teaches at the University of California at Berkeley where he is Martin Sisters Endowed Chair Assistant Professor of Public Health and Medical Anthropology. Holmes is the author of Fresh Fruit, Broken Bodies: Migrant Farmworkers in the United States. The book, which “weds the theoretical analysis of the anthropologist with the intimacy of the journalist,” is an “ethnographic witness to the everyday lives and suffering of Mexican migrants.”

The book is based on five years of field research during which time Seth lived with indigenous Mexican families in the mountains of Oaxaca and in farm labor camps in the United States, planted and harvested corn, picked strawberries, accompanied sick workers to clinics and hospitals, participated in healing rituals, and mourned at funerals for friends.

Holmes traveled with migrants through the desert border into Arizona, where they were apprehended and jailed by the Border Patrol. After he was released from jail, and his companions were deported, Holmes interviewed Border Patrol agents, local residents, and armed vigilantes.

Tom Philpott wrote in Mother Jones about Holmes' book: “Here in the U.S., we both utterly rely on immigrants from south of the border to feed us, and erect walls and employ militias to keep them out. In this groundbreaking new book, Holmes goes underground to explore what this bizarre duality means for the people who live it. A brilliant combination of academic rigor and journalistic daring.”


Thomas Zigal

Novelist Thomas Zigal in the KOOP studios in Austin, Friday, October 4, 2013. Photo by Carlos Lowry / The Rag Blog.

Listen to or download the podcast of Rag Radio's interview with novelist Thomas Zigal here:


According to Kirkus Reviews, Novelist Thomas Zigal writes “page-turners with a conscience.” His latest book, Many Rivers to Cross, is set in post-Katrina New Orleans. The White League was also set in New Orleans, as will be a third novel to come. His three popular crime novels, featuring hippie Sheriff Kurt Muller, take place in Aspen. Author Jan Reid wrote that Many Rivers to Cross "is awe-inspiring. Thomas Zigal has entered New Orleans' heart of darkness after Katrina. His story is brave, frightening, and so dramatic that at times you have to get up and walk around the room."

Zigal was born in Galveston and grew up in Texas City where his father worked in an oil refinery. He graduated from the University of Texas -- where he was “an anti-war hippie and an avid reader of The Rag.” He got his masters in creative writing at Stanford and “hung out with writers like Raymond Carver, James Crumley, and Scott Turow.”

He published a literary magazine, The Pawn Review, and was an editor at the Harry Ransom Center at the University of Texas at Austin. Zigal has served as a speech writer for one UT-Austin chancellor and four of the university’s presidents. He is a member of the Authors Guild, the Mystery Writers of America, the Texas Institute of Letters (of which he is a former vice president), and the Writers League of Texas.


Rag Radio is hosted and produced by Rag Blog editor Thorne Dreyer, a pioneer of the Sixties underground press movement. Dreyer was a founding editor of the original Rag, published in Austin from 1966-1977. Tracey Schulz is the show's engineer and co-producer.

Rag Radio has aired since September 2009 on KOOP 91.7-FM, an all-volunteer cooperatively-run community radio station in Austin, Texas. Rag Radio is broadcast live every Friday from 2-3 p.m. (CDT) on KOOP 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. Rag Radio is also aired on KPFT-HD3 90.1 -- Pacifica radio in Houston -- on Wednesdays at 1 p.m. (CDT).

The show is streamed live on the web 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.

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

Coming up on Rag Radio:
THIS FRIDAY, November 15, 2013: Staffers from the original Rag in '60s Austin: Doyle Niemann, now a leader in the Maryland House of Delegates, and poet/activist Mariann Wizard.
Friday, November 22, 2013: Empowerment activist Sam Daley-Harris, author of Reclaiming our Democracy: Healing the Break Between People and Government.

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RAG RADIO / Thorne Dreyer : Father-Daughter! Newsman Dan Rather & Environmental Activist Robin Rather

Dan Rather and Robin Rather on Rag Radio, Friday, September 27, 2013, in the studios of KOOP-FM in Austin, Texas. Photos by Roger Baker / The Rag Blog.

Rag Radio podcast:
Legendary newsman Dan Rather
and environmental activist Robin Rather

Their first ever father-daughter interview is a funny, far-ranging discussion spiced with lively anecdotes, sharp political insights, and touching family memories.

By Rag Radio / The Rag Blog / October 21, 2013

Legendary newsman Dan Rather and Austin-based environmental activist Robin Rather join Thorne Dreyer for their first-ever father-daughter interview. The incisive, far-ranging, and frequently funny session was originally broadcast live on Rag Radio, Friday, September 27, 2013.

Rag Radio is a weekly syndicated radio program produced and hosted by long-time alternative journalist Dreyer and recorded at the studios of KOOP 91.7-FM, a cooperatively-run all-volunteer community radio station in Austin, Texas.

Listen to or download the podcast of Rag Radio's interview with Dan Rather and Robin Rather here:


Texas-born newsman and former CBS News anchor Dan Rather, who was recently honored with the prestigious Trustees Award of the National Academy of Television Arts and Sciences, and his daughter, Robin Rather, an Austin-based environmental activist and sustainability advocate who chaired the city's historic Save Our Springs Alliance, join us in a lively discussion, spiced with oft-funny anecdotes and personal reflections.

Dan talks about his early career in Houston, including his stint as a play-by-play announcer for the minor league Houston Buffs (in road games they "recreated" the on-field action in the studio by reading from a telegraph ticker tape) and his dramatic and innovative coverage of Hurricane Carla in Galveston in 1961 that led to his hiring by CBS News.

He also discusses his controversial exit from CBS; his blogging about Aaron Sorkin's HBO series, The Newsroom; and his take on larger contemporary issues including the increasing corporatization and concentration of ownership in the news business and what he considers to be an endemic lack of courage in today's news reporting.

Robin talks about growing up as the daughter of a famous reporter and media star; about her seminal work in the movement to protect and sustain Austin’s unique environment; and about the daunting challenges -- especially to the region's fragile ecosystem -- caused by the city’s current unprecedented growth spurt. And they each reflect on the other's accomplishments and their close relationship over the decades.

Rag Radio's Thorne Dreyer with Dan Rather and Robin Rather in the KOOP studios.

Dan Rather, now managing editor and anchor of Dan Rather Reports on AXS TV, went to work at CBS News in 1962 and was anchor of the CBS Evening News for 24 years, from 1981-2005. Born in Wharton, Texas, in 1931, he began his career as a full-time journalist with Houston's KTRH radio and KHOU-TV.

The recipient of numerous Emmy and Peabody awards, Dan joined the illustrious company of Edward R. Murrow and Walter Cronkite when he was honored with the prestigious Trustees Award of the National Academy of Television Arts and Sciences in New York City on October 18, 2013. Rather's new book is Rather Outspoken: My Life in the News. Dan and his wife, Jean Goebel, to whom he’s been married since 1957, maintain homes in New York City and Austin, Texas.

Robin Rather is an Austin-based environmental activist and sustainability consultant. She is the CEO of Collective Strength where she consults on projects involving renewable energy, water conservation, health care, and community values. Robin was chair of the board of the historic Save Our Springs Alliance, established in 1992 to advocate for Austin's iconic Barton Springs and the Edwards Aquifer ecosystem. Robin was also co-founder of Liveable City, Hill Country Conservancy, and Envision Central Texas, and serves on the advisory board of the Sustainable Food Center.

Born in Houston in 1958, she is the daughter of Dan Rather and Jean Goebel.


Rag Radio is hosted and produced by Rag Blog editor Thorne Dreyer, a pioneer of the Sixties underground press movement. Tracey Schulz is the show's engineer and co-producer.

Rag Radio has aired since September 2009 on KOOP 91.7-FM, an all-volunteer cooperatively-run community radio station in Austin, Texas. Rag Radio is broadcast live every Friday from 2-3 p.m. (CDT) on KOOP 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. Rag Radio is also aired on KPFT-HD3 90.1 -- Pacifica radio in Houston -- on Wednesdays at 1 p.m. (CDT).

The show is streamed live on the web 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.

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

[Thorne Dreyer edits The Rag Blog, hosts Rag Radio, and is a director of the New Journalism Project. Dreyer was a founding editor of The Rag in Austin in 1966 and Space City! in Houston in 1969. He was on the editorial collective of Liberation News Service (LNS) in New York, was general manager of Pacifica's KPFT-FM in Houston, and was a correspondent for the early Texas Monthly magazine. Dreyer can be contacted at editor@theragblog.com]

Coming up on Rag Radio:
THIS FRIDAY, October 25, 2013: Feminist pioneer and Houston Area NOW president Frances "Poppy" Northcutt, veteran of NASA's Mission Control and first Houston Women's Advocate (1972).
Friday, November 1, 2013: Singer-Songwriter Slaid Cleaves.

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BOOKS / Ivan Koop Kuper : Vicki Ayo's 'Boys From Houston' Documents a Thriving '60s Music Scene

Vicki Welch Ayo's 'Boys From Houston'
describes a thriving '60s music scene

The book is a real eye-opener for those who would have never believed that the city once known as 'Baghdad on the Bayou,' referring to its oppressive climate and its brackish waterway, was anything but a cultural wasteland.

By Ivan Koop Kuper / The Rag Blog / August 15, 2013

[Boys From Houston: The Spirit and Image of Our Music by Vicki Welch Ayo (2013: Create Space); Paperback; 450 pp; $89.95.]

Author Vicki Welch Ayo and I have never actually met, but we share a similar adolescent experience. The very first rock concert we both attended as teenagers was a performance by a local group called The Sound Investment, a garage band from South Houston fronted by a charismatic vocalist named Ray Salazar.

The year was 1967, and in the high school semester before the "Summer of Love,” Houston, Texas, was experiencing a cultural renaissance. This was a period of creativity and progressive thinking that was reflected in alternative lifestyles, hippie fashion, visual art, and most important, the music.

Vicky Welch Ayo at 17.

Three years had passed since the “Fab Four” first appeared that eventful Sunday night on the Ed Sullivan Show, and from that point on, in the living rooms, basements, and garages of America, boys and sometimes girls were hard at work, on a grassroots level, honing their craft in an attempt to emulate their mop-top heroes.

This was also an era in Houston, Texas, when music was everywhere, and on any given weekend, local bands were performing for their peers in high school gymnasiums, fraternity houses, and neighborhood shopping malls.

These bands were comprised of mostly “waspy” teenagers with a smattering of Italian, Jewish, and Hispanic kids in the mix, who, in the laboratories of their parents' suburban homes, borrowed from the British Invasion, California surf music, and their own Texas blues roots to create what would be referred to as the “Gulf Coast Sound.”

The soundtrack to this special era was provided by Texas bands with the names of A-440, The Coachmen, The Coastliners, The Clique, The Crabs, The Sixpentz, The Fun & Games Commission, The Children, Thursdays Children, Lost and Found, Red Krayola (with Mayo Thompson), The 13th Floor Elevators (with Roky Erickson), Fever Tree, Bubble Puppy, The Moving Sidewalks (with Billy Gibbons), and Zakary Thaks, to name just a few.

Roky Erickson and the 13th Floor Elevators at the New Orleans Club, 1966. Photo © Robert Simmons. Image from Boys From Houston.

Although not all of these bands originated in Houston, they all performed in Houston clubs, recorded in Houston studios, and their records were played on Houston radio. Their music was embraced by Houston teenagers, and some of these bands and band members even went on to make a name for themselves in the national music arena.

First-time author Ayo speaks to those baby boomers who, like herself, share a collective memory of coming of age during the 1960s in Houston, in teen clubs like The Living Eye, Love Street Light Circus, La Maison, and The Catacombs, and in “head shops” of the era like The Electric Paisley, Dirty Jim’s Dry Goods, and Houston Blacklight & Poster Company.

Boys From Houston is a real eye-opener for those who would have never believed that the city once known as “Baghdad on the Bayou,” referring to its oppressive climate and its brackish waterway, was anything but a cultural wasteland.

The Moving Sidewalks: From left, Dan Mitchell, Tommy Moore, Don Summers, and Billy Gibbons. Photo courtesy Rick Campbell. Image from Boys From Houston.

Ayo chronicles the time period from 1965 to 1970 with near-encyclopedic accuracy, and explains what key ingredients contributed to this creative and historic time in a town not necessarily known for tolerance or for having an enlightened outlook toward social change.

Houston musician and songwriter, Neal Ford (of The Fanatics), puts this phenomenon into perspective ever so poignantly in the prologue of this publication:

Up and down the streets of the neighborhoods of Houston the sound of bands practicing in their garages and living rooms could be heard day and night. New sounds, fun sounds, and exciting sounds of guitars, basses, drums and keyboards that claimed we are here and we have something to say.

Ayo does have a tendency to overly romanticize this time period and eschews writing about those musicians we lost due to their fascination with the dark side who were added to the roster of Houston’s rock & roll casualties. These were individuals whose promising careers were cut short, and who left us wondering where their talent would ultimately have taken them had they lived.

Bubble Puppy. Photo courtesy of Dave Fore. Image from Boys From Houston.

Tragically, three prominent guitarist/songwriters of this era with ties to Houston -- Steve Perron of The Children, Stacy Sutherland of The 13th Floor Elevators, and Michael Knust of Fever Tree -- all died prematurely, and their all-too-early deaths were unfortunately linked to reckless behavior, an excessive lifestyle, addictive personalities, and substance abuse.

Still equally sad is how some of the key players of this era grew into adulthood and abandoned their musical ambitions only to buy into the trappings of the generation they strived to become an alternative to. Some were lured by Houston’s petrochemical industry, some by the promise of riches in real estate development; and still some have been seen over the years pandering to conservative Texas politicians and other special interest groups.

Ayo reveals how this special point in time could not have occurred without the help of rival AM radio stations, KILT and KNUZ, who made a commitment to the community to provide radio airplay to records produced by local talent, as did Houston’s first progressive free-form FM station, KFMK. This was a time before corporate greed and radio programming consultants redefined the concept of broadcasting into one of “narrowcasting” by creating new radio formats that restricted the quantity and genre of music introduced into the marketplace.

Ayo also gives accolades to local music columnist Scott Holtman, whose weekly column, “Now Sounds,” in The Houston Post, gave invaluable print exposure to the city’s burgeoning music scene and youth culture. Holtzman, with his wife, Vivian, would go on to produce and manage Houston’s psych/pop export, Fever Tree.

Another Houston Post music columnist who is referenced by Ayo is Larry Sepulvado. Sepulvado is recognized as one of the first to write about the Texas music scene in a national publication. In December, 1968, Rolling Stone magazine issue #23 published Sepulvado’s comprehensive expose, “Tribute to the Lone Star State.”

B.J. Thomas and the Triumphs. Photo courtesy Don Drachenberg. Image from Boys From Houston.

This was the issue with the iconic photo on the front cover of the late Doug Sahm and his toddler son, Shawn, who is seen wearing an oversized cowboy hat. It is also the issue, thanks to Sepulvado, that first exposed the nation to Beaumont native and guitar virtuoso, Johnny Winter.

Ayo also acknowledges the contribution made by disc jockey-turned-TV-host, the late Harry Lieberman aka Larry Kane, who hosted a teen dance show Saturday afternoons on KTRK-TV for more than 11 years. The Larry Kane Show broadcast both local Houston and Texas bands lip-synching to their new 45 rpm singles on the air while adoring fans in the studio audience danced to the infectious backbeat of the music.

Vicky Welch Ayo, who now resides in Southern California, spent eight years researching this self-funded labor of love, and after shopping her unfinished manuscript to both UT Press and Texas A&M Press for their “Texas Music Series,” she opted to self-publish, under the company name, CreateSpace Independent Publishing Platform, in favor of editorial control.

Boys from Houston is a fun read and is recommended to all those who ever wondered about Houston’s once-glorious musical past. It was a special time in the most unlikely of cities whose once-thriving music scene vanished as mysteriously as it appeared.

My only burning question is, “What happened?” Perhaps Ayo could address this issue in Boys From Houston, Volume II, which I understand she is in the process of researching.

[Ivan Koop Kuper is a a drummer and a real estate broker, and is still a graduate student at the University of St. Thomas in Houston. He can be reached for comment at kuperi@stthom.edu. Find more articles by Ivan Koop Kuper on The Rag Blog.]

• Also see "Houston Was an Unlikely '60s Hotbed," by Thorne Dreyer, originally published in Boys From Houston.

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Thorne Dreyer : Houston Was an Unlikely '60s Hotbed

The staff of Space City!, Houston's late '60s-early '70s underground newspaper. Cover photo -- from the paper's June 8, 1971, issue -- by Jerry Sebesta. Image from Wikimedia Commons.

Boys From Houston:
Bayou city was unlikely '60s hotbed

Houston may not have had a center, but it certainly had a heart. Montrose, still one of the great neighborhoods of the world, and long a haven for artists, homosexuals, and iconoclasts, became a bohemian mecca in the Sixties.

By Thorne Dreyer / The Rag Blog / August 15, 2013

[The following is reprinted from Vicki Welch Ayo's new book, Boys From Houston, about the city's thriving '60s music scene. Houston native Dreyer, now editor of The Rag Blog and host of Rag Radio, was active in alternative media and community organizing in late '60s-early '70s Houston. Also see Ivan Koop Kuper's Rag Blog review of The Boys From Houston.]

Houston was a fairly unlikely Sixties hotbed. A sprawling adolescent boomtown, the city had no real center and little sense of actual community (unless you were River Oaks old money and/or in the oil bidness). Austin, on the other hand, had long been a focus for literate and iconoclastic traditions and populist/left activism, geographically and culturally tied to the campus of the University of Texas.

Austin was a major point of origin for the massive student rebellion against the War in Vietnam, for the psychedelic music phenomenon, and for the underground press and comix movements. Austin, too, was très cool; it was beautiful and progressive and everyone in Texas who was born with the weird gene wanted to head for the hills of Central Texas.

Houston, not so much.

But by the late 1960’s/early ‘70s, Houston was really where it was happening in the Texas counterculture. There were several factors that played into this transformation (including an “us-versus-them” attitude that made for a strong and cohesive community).

First, lots of important music talent grew out of or was nurtured in Houston and East Texas, and Houston had a vital, organic club scene that provided outlets for that talent. Mike Condray, George Banks, and the Jubilee Hall-Family Hand-Liberty Hall continuum of clubs played an especially critical role in showcasing cutting edge roots-music talent from the region and around the country, and Anderson Fair -- which from its inception served as an organizing site for progressive politics -- would become one of the nation’s most important acoustic venues.

Billy Gibbons with Vicki
Ayo's Boys From Houston.

Although I first saw Janis Joplin in Austin -- at the UT student union’s weekly folksinging circle -- it was Houston’s Jubilee Hall that initiated me into the transformative experience that was the Thirteenth Floor Elevators; Liberty Hall where I first saw Lightnin’ Hopkins and Bruce Springsteen; and Anderson Fair where I discovered Townes Van Zandt, Guy Clark, and a raft of progressive folkies.

The Old Quarter was a pioneering acoustic venue, and David Adickes’ Love Street Light Circus held court to the psychedelic crowd and the likes of Bubble Puppy, Fever Tree, and Billy Gibbons’ Moving Sidewalks. Of Our Own brought in Phil Ochs and the MC5.

These weren’t just places to go hear music. They were an integral part of the scene; there was little separation between them and the community they served.

Second, Houston may not have had a center, but it certainly had a heart. Montrose, still one of the great neighborhoods of the world, and long a haven for artists, homosexuals, and iconoclasts, became a bohemian mecca in the Sixties, with a sense of community and a tolerance for diversity that were unique in the city.

It was an eclectic mix of elegant old houses and ramshackle apartment complexes, head shops and boutiques, strip clubs and burger joints, lively music venues and gay bars. There were galleries, museums, and folk art sites, hippie communes and esoteric enterprises like the Pagan Church, plus a Greenwich Village-type strip of bars and bistros with European fare. There were always block parties and outdoor concerts and guerrilla theater actions and anti-war demonstrations -- and longhairs, dude, abode!

And, if you really looked, you could find a place to live for well under $100 a month. With indoor plumbing!

Logo from Houston Scene.

Finally, and perhaps most important, was the role of underground newspaper Space City! -- with a significant assist from Pacifica radio station KPFT -- in spreading the word and creating an environment where the counterculture could thrive. Space City! (originally Space City News) helped to pull together “pockets of resistance” throughout the massive metropolitan area, provided otherwise-isolated hipsters with a sense of belonging, and was a primary source of information about community activities.

In the community-at-large, Space City! became the face of Houston’s thriving counterculture, as hundreds of young kids peddled the newspaper throughout the city -- at the corner of Montrose and Westheimer, on the University of Houston campus, at Hippie Hill in Hermann Park, and downtown at Market Square and Allen’s Landing.

Not only did the offices of Space City! serve as a de facto community center, but the paper also spun off a number of auxiliary counterculture institutions, including a drug crisis center, a food coop, several high school underground newspapers, and a community-run nonprofit rock ‘n roll hall, Of Our Own.

Also playing a key role in making Houston a happening place were noted painter Margaret Webb Dreyer, a peace activist and a prime mover in the Houston art scene, and her journalist husband, Martin. (Full disclosure: they also doubled as my parents.) Their Dreyer Galleries had, since the 50’s, been a gathering spot for Houston’s arts, literary, and academic types -- and liberal politicos like Houston’s young progressive mayor, Fred Hofheinz -- and now it became a center for the burgeoning peace movement.

Thorne Dreyer in the mid-Sixties. Photo by Robert Simmons. Image from Vicki Welch Ayo's Boys From Houston.

(Avant garde rockers the Red Krayola played [blasted!] at one Dreyer Galleries art opening, and legendary Houston folkie Don Sanders sang at the 1976 memorial homage to Maggie Dreyer, held at Houston’s Rothko Chapel.)

Houston was also home to an active -- and actively violent -- chapter of the Knights of the Ku Klux Klan. (It would later be revealed that the KKK had built a strong and abiding presence inside the Houston police department.) The Klan targeted the Houston counterculture, with most of the city’s peace organizations feeling its wrath. Klansmen shot bullets through the front door of Dreyer Galleries after throwing yellow paint on the front wall of the converted old house on San Jacinto. The offices of Space City! were bombed and some of the paper’s advertisers were threatened and their shops riddled with bullets. Pacifica radio was twice bombed off the air by right wing nightriders.

Ironically, the work of the KKK scared nobody off, and if anything, the violent acts just seemed to strengthen the commitment of the peace activists and counterculture denizens -- and made the radical community even more cohesive and purposed.

To say nothing of providing a lot of free publicity!

[Thorne Dreyer is the editor of The Rag Blog and host of Rag Radio on KOOP 91.7-FM in Austin. A Houston native, Dreyer was a founding editor of underground newspapers The Rag in Austin and Space City! in Houston and was general manager of KPFT-FM, Houston's Pacifica radio station.]

• Also see "Vicki Welch Ayo's 'Boys From Houston' Documents a Thriving '60s Music Scene," by Ivan Koop Kuper in The Rag Blog.

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Bob Feldman : Population Growth and Civil Rights Victories in Texas, 1940-1953

Herman Sweatt was the first African American to attend the University of Texas after a 1950 Supreme Court decision. Photo courtesy of UT Press / Daily Texan.

The hidden history of Texas

Part 12: 1940-1953/2 -- Population growth and some significant civil rights victories.

By Bob Feldman / The Rag Blog / February 18, 2013

[This is the second section of Part 12 of Bob Feldman's Rag Blog series on the hidden history of Texas.]

As Texas’s manufacturing industry expanded to produce more weapons and supplies for U.S. government needs during World War II, the need for factory workers in Texas increased; and more people in Texas moved from rural areas into cities and towns between 1940 and 1953.

By 1950, over 7.7 million people now lived in Texas and around 60 percent of all people in Texas now lived in urban areas. By 1950, for example, 596,163 people lived in Houston, 434,462 in Dallas, 408,407 in San Antonio, and 278,728 in Fort Worth; however, Austin's population was still only 132,459 in 1950.

According to Alwyn Barr’s Black Texans, “World War II almost doubled the number of black industrial workers” in Texas -- from 159,000 to a peak of 295,000 in 1943. But during World War II “the Consolidated Vultee plant” still “segregated its assembly line; and Baytown oil refineries paid blacks less than whites for the same work,” according to Randolph Campbell’s Going To Texas.

Many Texas-born African-Americans continued to leave white supremacist Texas society between 1940 and 1953 for states in the Northeast, Midwest, or West in which racial segregation was not legalized and where they had often been able to find factory jobs during World War II. But in Houston -- where the total population had grown from 384,514 to 596,163 between 1940 and 1950 -- the “black population increased from 86,302 to 125,400” during the 1940s, according to Merline Pitre’s In Struggle Against Jim Crow.

And -- despite an anti-black riot by white racist Texans that occurred on June 15, 1943, in Houston -- African-American civil rights activists in Houston and elsewhere in Texas between 1940 and 1953 began to win a few victories in their campaigns for an end to legalized racial discrimination, white supremacy, institutional racism, and interpersonal racism in Texas society and daily life.

In 1943, for example, a Houston NAACP “boycott against Winegarten Store [Sic: Correct spelling is "Weingarten's"] led to the dismissal of one of the store’s security guards, who had struck a black customer” and “an NAACP-led demonstration made it possible for blacks to attend a production of Porgy and Bess at the Houston Music Hall and be seated on the same floor levels as whites,” according to In Struggle Against Jim Crow.

In addition, “on Apr. 6, 1943... representatives of the Negro Committee of the Houston Teachers Association presented the school board with a petition for pay equalization” and “on Apr. 13, 1943, rather than take a chance on a... lawsuit, the Houston school board agreed to make the salaries of black teachers and principals equal to those of their white counterparts who possessed the same credentials and performed the same duties,” according to the same book.

Then in 1944, the U.S. Supreme Court declared Texas’s white Democratic primary law to be illegal in its Smith v. Allwright decision in a legal case that African-American civil rights groups in Texas had initiated. And in 1946 -- when 5,000 new members were recruited into the Houston chapter of the NAACP -- African-American civil rights activists in Texas began to challenge the racist admissions policy of the University of Texas in Austin.

As In Struggle Against Jim Crow recalled:

Lulu B. White... executive secretary of the NAACP’s Houston branch, and the NAACP’s state director... led fight...to integrate the University of Texas... Urged on by the NAACP and accompanied by Lulu White and other supporters, Herman Sweatt attempted to register at UT in Austin on Feb. 26, 1946. After a discussion with [then-University of Texas] President Theophilus Painter and other university officials, Sweatt left his application at the campus and returned to Houston... Sweatt sued university officials on May 16, 1946 for denying him admission...

In April 1949, Joseph J. Rhoades, president of Bishop College, organized a mass registration attempt sending 35 black college seniors from across the state to apply to various professional programs at UT... When they arrived at the registrar’s office seeking admission, they were told that they could apply at TSUN [Texas State University for Negroes; later renamed Texas Southern University]. These students then decided to stage a demonstration, marching from the university to the State Capitol. They carried placards... One sign read, "Texas Can’t Afford a Dual System of Graduate and Professional Education" Another proclaimed, "Separate and Equal Education Is a Mockery."...

The Supreme Court announced its findings in Sweatt v. Painter on June 5, 1950. In a unanimous decision the Court ordered Sweatt admitted to UT.

Also, “during the summer of 1946... the death of a black man gave rise to the largest mass protest demonstration that the city of Houston had ever witnessed” and “the NAACP... converted the funeral for Berry Branch, killed by a white bus driver, into a rally” in which “all labor unions in the city were represented,” according to the same book.

Yet despite the legal victories, there was still a poll tax in Texas that was utilized to block many African-Americans from being able to vote and the “only civil service positions” African-American residents were allowed to hold in Houston before 1945 “were in the post office,” according to In Struggle Against Jim Crow.

In addition, in 1948 only 15 of Houston’s 503 police officers were African-Americans and the “custom” of “the most blatant among the Houston companies” in its discriminatory policies between 1940 and 1953 -- Hughes Tool -- was still “to hire whites at 60 cents an hour and blacks at 50 cents an hour, although they were performing the same tasks,” according to the same book.

And,  “Austin in 1951 changed its city council representatives from geographical districts to an at-large basis which guaranteed control of all seats by the white majority,” according to Black Texans.

The number of African-Americans who lived in Texas only increased from 924,391 to 977,458 between 1940 and 1950, as many African-Americans left Texas for the West Coast, Midwest, or Northeast; and as late as 1945 there were still only about 45,000 people of Jewish religious background who lived in Texas.

But by 1950, the number of Latinos of Mexican descent living in Texas -- 1 million -- now exceeded the number of African-Americans who lived in the state.

[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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Bob Feldman : The Rise of the Klan in Texas, 1920-1930

Flyer for "Ku Klux Klan Day," October 24, 1923. Image from The Portal to Texas History.
The hidden history of Texas

Part 10: 1920-1930/1 -- The rise of the Klan in Texas

By Bob Feldman / The Rag Blog / December 12, 2012

[This is the first section of Part 10 of Bob Feldman's Rag Blog series on the hidden history of Texas.]

Between 1920 and 1930, the number of people living in Texas increased from over 4.6 million to over 5.8 million, and the percentage of Texas residents who now lived in urban towns and cities with populations above 2,500 people increased from 34 to 41 percent.

By 1930, over 292,000 people lived in Houston, over 260,000 people lived in Dallas, over 231,000 people lived in San Antonio and over 163,000 people lived in Fort Worth -- although the number of people living in Austin in 1930 was still less than 54,000.

Between 1920 and 1930 the percentage of farmers in Texas who were now just tenant farmers also increased to 61 percent. And in Texas during the "Roaring Twenties,” as Randolph Campbell recalled in his book, Gone To Texas:

Thousands upon thousands of farmers continued to live in destructive poverty as tenants and sharecroppers. Giant corporations still wielded monopoly power because anti-trust and regulatory laws had always aimed more at "foreign" businesses... Laws protecting children in industry... went unenforced... The doctrine of white supremacy ruled race relations, and in South Texas Anglo bosses exploited Texans of Mexican descent politically and economically...

Alwyn Barr’s Black Texans, observed:

Mob violence increased in the early 1920s with the rise of the new Ku Klux Klan... Klansmen branded a black bellhop in Dallas with acid and castrated a light-skinned Negro accused of relations with a white woman. They raided the office of the Houston Informer and threatened the Dallas Express, both black papers. Hooded groups beat a black youth in Texarkana, removed two Negroes from the Denton jail to flog them, and forced black cotton pickers near Corsicana to end their strike for higher wages...

In addition, during the 1920s, “the new Klan, which claimed over 100,000 members in the state, proved powerful enough... to help elect Earle B. Mayfield, a Klansman, to the United States Senate from Texas,” the same book noted.

According to Gone To Texas :

The KKK arrived in Texas in September 1920 when a kleagle came to Houston and recruited 100 men into the state’s first local chapter. "The initial roster represented literally a glossary of Houston ’s Who’s Who," wrote one observer. The charter members were silk-stocking men from the banks, business houses, and professions...

From its Houston beginning, the Klan spread rapidly across the state. In January 1922, when membership reached more than 75,000, Texas was organized as a realm of the "Invisible Empire" under its own grand dragon, A.D. Ellis, an Episcopal priest from Beaumont. That same year women... obtained a Texas charter as the Women of the Invisible Empire of America. In June 1923, 1,500 masked and robed klanswomen held a parade through Fort Worth. Eventually male membership alone stood at approximately 150,000.

Some opposition to the KKK’s growing influence in Texas electoral politics began to develop within Texas white power structure and political establishment circles (who then backed state-wide candidates that were able to defeat some KKK members who ran against them) by 1924. But as Merline Pitre’s In Struggle Against Jim Crow noted:

The Ku Klux Klan in the 1920s was a viable force in Houston and throughout the state. In Texas, this vigilante group occupied a position of power and influence unequaled in any other state, giving Texas the designation of Star Klan State. Houston was dubbed as the Star Klan City...

In 1921, Houston Klansmen, led by Deputy Sheriff George E. Kimbro, attacked and castrated a black dentist and beat a white lawyer who represented him. Several years later, the Klan tarred and feathered a black physician. In 1928, a Houston mob dragged a black man, accused of killing a white police officer, from his bed in a local hospital and hanged him from a bridge -- a murder for which no one was ever convicted. Additionally, a Klan newspaper, Colonel Mayfield’s Weekly, circulated throughout the city.

[In Houston ] in 1920, backed by a city ordinance, the American Legion excluded blacks from the annual Armistice Day parade. Blacks also were prohibited from voting in the municipal elections of February 1921. In 1923 and 1924, respectively, blacks were banned from standing in the same lines as whites to purchase stamps at the post office and to pay property taxes at the Harris County Courthouse. In 1925, the Electric Company excluded blacks from riding its buses, while in 1926, the Majestic Theater refused to admit blacks on weekends.

In 1921, Houston ’s Democratic Party also passed a resolution "allowing only whites to vote in the upcoming Democratic primary;” and in 1923 the Texas state legislature passed a law stating that “only white Democrats and none other” could vote in primary elections, according to the same book.

Between 1920 and 1930, the KKK was also visibly active on the streets of Austin, Texas . In 1921, for example, “500 white-robed and hooded Ku Klux Klansmen from Austin and San Antonio marched single file in silence up and down Congress Avenue, while thousands of spectators looked on,” according to David Humphrey’s Austin: An Illustrated History. The same book also observed:

Capital City Klan No. 81 was organized in 1921 and a year later had 1,500 members including the sheriff of Travis County and apparently other highly placed city and county police officials. The Klan thrived in Austin in the early and mid-1920s... In the mid-1920s the Klan even purchased a sizable piece of property off South Congress Avenue and erected a hall or "Klan haven"…

So, not surprisingly, Austin’s “1928 city plan recommended that East Austin be designated a `Negro district’ and that municipal services for blacks, such as schools and parks, be confined to this district” and so “thirteen-acre Rosewood Park in East Austin provided recreational facilities for blacks, but other city parks were closed to them,” according to Austin: An Illustrated History.

[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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Ivan Koop Kuper : The Maharishi's Bad Houston Karma

The Guru Maharishi Mahesh Yogi: The late Houston real estate mogul.
The Heaven on Earth Inn:
Bad Karma in Houston

The Guru’s utopian vision somehow took a turn in the wrong direction.

By Ivan Koop Kuper / The Rag Blog / May 2, 2012

HOUSTON -- The 1970s were a time in Houston’s history when the population began to boom and employment opportunities in the petrochemical arena saw no limits as a result of the Arab Oil Embargo.

To accommodate this influx of mostly northerners to the “Bayou City,” developers borrowed large sums of venture capital from lending institutions hoping to cash in on the new-found prosperity, and new construction could be seen rising from the barren landscape from the suburbs to the inner city. In addition, several mid-rise hotels were erected in the immediate downtown area.

By the mid-1980s, as oil prices fell, Houston experienced its first major recession which put a halt to job growth and adversely affected the city's real estate market. It was a time when businesses closed and a significant portion of the population left town in mass for job opportunities elsewhere. It was also a time when investors simply walked away from their mortgage commitments and their real property holdings.


Heaven on Earth

An abandoned hotel on the southern fringe of downtown Houston with the physical address of 801 St. Joseph Parkway began its life as a Holiday Inn in 1971. By 1984 the Holiday Inn was sold to the Days Inn, a hotel chain created by eccentric real estate mogul and Christian philanthropist, Cecil B. Day. It was sold again 1992 to the Maharishi Global Development Fund for a price tag of $2 million and reincarnated into the Heaven on Earth Inn.

The Maharishi Global Development Fund is a nonprofit, 501(c)(3) organization owned by the 1960s Indian mystic and former spiritual guide to the Beatles, the Guru Maharishi Mahesh Yogi. The 600-room hotel was purchased with the intent of having a spiritual sanctuary and a learning center for members of the Transcendental Meditation movement, complete with an upscale vegetarian restaurant, in downtown Houston.

The Guru’s utopian vision somehow took a turn in the wrong direction over the next three years, and by 1995, and in need of extensive renovation, the HOE evolved into an extended-stay residential shelter for Houston’s homeless and the underemployed. It also became a magnet for individuals with backgrounds in petty crime and drug abuse.

By 1998, the city of Houston forced the hotel to close its doors for safety reasons and building code violations. The hotel has been vacant and for sale for the 14 years since it ceased operating. Due to the need for extensive renovation, including asbestos abatement, the sale of this 33-story mid-rise edifice has become cost prohibitive and the building remains an eyesore on Houston’s skyline.

Maharishi's legacy : Heaven on Earth no more.

Beirut Hilton

Timothy Bleakie, a former resident of the Heaven on Earth in the mid-1990s, remembers what life was like living in this unusual extended-stay hotel where the elevators seldom worked and room break-ins were a frequent occurrence.

“Seven to eight of us bicycle messengers occupied the entire 14th floor back in 1995,” said the former HOE resident and well-known downtown Houston bicycle courier. “We paid $275 per month with double occupancy and our utilities were included. We mainly kept to ourselves because, believe it or not, there was a lot of crack and heroin use among the tenants back then and there was a lot of crime as a result.”

“The owners thought they would attract a higher caliber of resident by offering on-site lessons in Transcendental Meditation, but that wasn’t the case. Very few of the tenants took them up on the offer. It was an ill-conceived business project. The average stay was about one month but I ended up living there for six. I became a model tenant and I even ended up maintaining the swimming pool on the 7th floor.”

The Heaven on Earth was one of several investment properties purchased by the MGDF throughout the United States in the 1990s that included other vacant hotels in Chicago, Tulsa, Detroit, Hartford, and Avon Lake, Ohio. Like the one in Houston, these spiritual sanctuaries and learning centers were christened “peace palaces” whose mission was to “improve humanities’ global consciousness” as well as realize a substantial profit.

Ironically, near the end of its demise, the HOE became known as the “Beirut Hilton” by its residents and downtown neighbors because of its rundown appearance and its resemblance to the infamous, bullet-riddled hotel in war-torn Lebanon. According to Houston Police Department records, by 1998, the HOE had been the scene of multiple drug busts, assaults, and one homicide.

“It got rougher toward the end of my six month stay,” Bleakie said. “Most of the tenants didn’t have any money and were substance abusers. By the time I moved in, the vegan restaurant had already closed. They were still offering classes in TM on the top floor but very few tenants took them up on the offer.”

“There was a lot of paranoia among the residents regarding break-ins. The room keys were very easy to duplicate and you could easily enter a room with a credit card or driver’s license. There was a man who lived there with his daughter and he was a junkie. The man used to trick out his daughter just to pay the rent.”

Because of the Maharishi’s strict eastern religious beliefs and the fact that he subscribed to the principles of Vedic architecture, the residents were not allowed to use the actual entrance to the building. These architectural principles govern the orientation of a building and designate from what direction one may enter. “The residents were forbidden from using the main entrance on the building’s south side,” Bleakie explained, “so we used a small service entrance facing west on Milam Street instead.”

“My biggest fear was that one day there would be a fire and we wouldn’t be able to get out. I remember that all the elevators quit working for two weeks one time and there weren’t any phones in the rooms, only in the lobby. There was also a woman in a wheel chair that lived on the 25th floor. She had to have her food brought to her until they were fixed. I remember that the cops and the fire department were there quite often.”


Spiritual default

In 2004, the Houston Business Journal reported that the hotel was sold to LandCo Investments, LLC, for $8.5 million. However, by 2005, the Colorado-based investment group defaulted on its promissory note to the MGDF, thereby reverting ownership of the hotel back to the Maharishi.

On February 5, 2008 the Guru Maharishi Mahesh Yogi died leaving his investments and his spiritual movement in the hands of his multiple family members and business associates. The Maharishi Global Development Fund reported that at the time of his death, the Guru’s United States real estate assets alone were valued at more that $300 million.

According to the Harris County Appraisal District, effective October 4, 2011, the Heaven on Earth Inn changed hands once again, and has been renamed the Beanmont Medical Center Hotel, LLC. It is still vacant and in need of extensive renovation.

[Ivan Koop Kuper is a real estate broker and a graduate student at the University of St. Thomas in Houston, and maintains a healthy diet of music, media, and popular culture. He can be reached at kuperi@stthom.edu. Find more articles by Ivan Koop Kuper on The Rag Blog.]

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Ivan Koop Kuper : Huey P. Meaux Was the Crazy Cajun

Huey P. Meaux was the Crazy Cajun

By Ivan Koop Kuper / The Rag Blog / September 22, 2011

One Friday evening in 1973, a burly looking biker entered the control room of community radio station KPFT FM, the Pacifica station that broadcast from the second floor of the since demolished Atlanta Life building in downtown Houston.

He was there to visit "The Crazy Cajun Radio Show," and to ask host Huey P. Meaux to play a track from an old Eddy Arnold album that he brought with him. The biker told Meaux the record was the only possession of his late father's that he owned, and that it was also the anniversary of his father's death.

In his thick Cajun-French accent, Meaux dedicated a selection from the album to the memory of the biker's father, and as the scratchy vinyl record spun on the turntable, the biker stood in the corner of the room and wept. It was from personal experiences like this one that Meaux developed his keen sense of reading people and knowing how music can trigger an emotional response.


Huey Purvis Meaux made his living as an independent record producer. It was a talent he honed in the 1950s while working as both a barber in Winnie, Texas, and a disc jockey at KPAC-AM in Port Arthur. It was there the naïve Meaux was first introduced to the magic of magnetic recording tape and analog reel-to-reel tape recorders.

Meaux's mission in life was to discover local musical talents, take them into the recording studio, manufacture phonograph records from the master sound recordings, and promote the records to regional radio stations in hopes of receiving the much-coveted radio exposure necessary to make a record into a hit.

Similar to the East Texas "wildcatters" of days-gone-by who drilled oil wells on speculation of striking it rich, Meaux would also speculate on the abundance of homegrown talent, of all musical genres, he found in the night clubs and road houses of East Texas and Louisiana.

Raised "dirt poor" with barely a high school education, Meaux would leave his mark on the music industry and become a significant contributor to popular American culture.

Meaux followed a specific business model that he perfected over 30 years. He learned that after first breaking a single regionally, and with the right amount of radio exposure and sales from independent record distributors, he could then have the leverage necessary to license both the master sound recording and the copyright of the composition to the larger independents and the once prevalent major labels.

Meaux was no novice to this process or to the business of music. Between 1959 and 1985, his name would be associated with 55 gold singles and albums, and eight platinum albums that were produced in recording studios primarily in New Orleans, Houston, and Pasadena, Texas.


"I was so nervous and my hands were shaking as I was fading out that song," Meaux would always recall when discussing "I'm Leaving It Up To You," a track he produced from the Louisiana singing duo known as Dale and Grace, "because in my heart I just knew I had a hit on my hands."

Meaux's intuition was on target because by October 1963, the remake of the composition originally penned and recorded by California's Don "Sugarcane" Harris and Dewey Terry, reached the No. 1 position on Billboard Magazine's Hot 100 chart, and remained on the chart for 12 weeks. The selection that Meaux chose for the Louisiana duo to record resurfaced nine years later when it charted again when it was recorded by America's "squeaky-clean" brother and sister singing duo, Donny and Marie Osmond.

"My records are so bad that the only reason people buy so many is to keep them off the market," Meaux would always boast to those held captive by his bravado and flamboyant personality. With his gift for gab, Meaux could charm both his small town radio audience and the most jaded of big city music industry veterans. If you were to ask Huey Meaux how he was doing or how he was feeling at any given time, his stock comeback would be, "If I felt any betta' bruddah, I'd run for gouvna,' you betta' sho' believe it."

Huey P. Meaux and Doug Sahm at Sugar Hill Studios in Houston, 1974. Photo by Hank Lam.
Meaux would become close friends and business associates with many of the music industry's power brokers of the era, including the late Shelby Singleton of Mercury Records, the late Jerry Wexler of Atlantic Records, and Aaron Schechter, the low-profile New York-based CPA who Meaux affectionately referred to as "Junior." The unlikely team of Schecter and Meaux, reminiscent of Felix Ungar and Oscar Madison from the Neil Simon stage play, The Odd Couple, maintained a successful professional relationship and a personal bond that endured for more than 25 years.

"I saved his neck many times from the IRS and on many other occasions and there was never any appreciation shown from him," said the 85-year-old Schechter who has made a career of keeping the books for a who's-who of rock royalty.

I quit Huey twice but he chose to ignore me.

I first met Huey way back in 1969 after he got out of jail. He came to New York to visit his lawyer Paul Marshall and he asked Paul to find him a "Jewish New York accountant." Marshall referred him to me and he came by the office and I began doing business for him. Our first order of business was an audit of Scepter Records owned by Florence Greenberg who owed Huey back royalties.

Huey was a real character. He was fascinating, yet he could also be repulsive at times. The last time I saw him was in 1996, right before he went away to prison again.

Born March 10, 1929, in Wright, Louisiana, and raised in Kaplan in the heart of "Acadiana," Meaux always recalled a time growing up when only French was spoken at home and English was his second language." My teachers used to whip your ass if they caught you speaking French in public school," Meaux would say about his grade school days.

Meaux's family settled in East Texas in the town of Winnie, 23 miles south of Beaumont, in 1940, when he was 12. Winnie was in the rich, culturally fertile region of East Texas near the Louisiana border known as "The Golden Triangle." This region incubated the musical talents of Aubrey "Moon" Mullican, George Jones, Johnny Winter, Edgar Winter, "Barbara Lynn" Ozen, Janis Joplin, Johnny Preston, Barbara Mauritz, and J.P. Richardson aka "The Big Bopper."

Meaux came of age at a time when commercial "terrestrial" radio stations were still independently owned and music programming decisions were made based on local sales figures. It was also a time in history when the frequency of a particular record's radio airplay could be monetarily manipulated by independent record producers and radio promoters.

"Is it true that payola is dead?" a young man asked Meaux in the lobby of the former Marriott Hotel in downtown Austin after he delivered a colorful keynote address at the South by Southwest Music and Media Conference in 1987. A puzzled-looking Meaux stared at the young man and replied, "Dead? I didn't even know it was sick, little bruddah."


Meaux's special talent in the music business was mastery over the discipline of A & R, or "artist and repertoire" as it was originally known. He had an uncanny knack for selecting the right musical material for the right recording artist to elicit the right vocal interpretation in the recording process.

The objective of this equation was to maximize the greatest profit potential for the master tape owner, the music publisher, the distributing label, the artist manager, and the booking agent. Then as now, it is to one's financial benefit to wear as many of these "hats" as legally possible, a business philosophy that Meaux subscribed to and practiced throughout his professional career.

Not all of the musical groups Meaux had under contract always agreed with or trusted Meaux's choice of material. A young, unknown singer from Rosenberg, Texas named Billy Joe Thomas who fronted a band called the Triumphs can still be heard complaining on the eight-track master recording to the studio engineer one evening: "Let's get this over with and record that damn song just to get Huey off my ass."

The selection he was referring to was "I'm So Lonesome I Could Cry," a song penned and originally recorded by Hank Williams. The B.J. Thomas version, released on Meaux's Pacemaker label and then licensed to New York's Scepter Records, reached the No. 8 position on Billboard's Hot 100 by March 1966, and stayed on the chart for 10 weeks before its demise.


Although Meaux was the proud father of an adopted son, he was known to brag about all the musicians and singers he nurtured throughout the years -- whom he also referred to as his sons. He especially spoke highly of Douglas Wayne Sahm and August "Augie" Meyers of San Antonio, and would always say, "I raised those boys."

Meaux would often recall the story of the hyperactive, multi-talented teenage Sahm who was always "pestering" Meaux to record his compositions. This relationship ultimately produced Texas' contribution to the "British Invasion" in the early 1960s with the creation of the Sir Douglas Quintet and the release of the single, "She's About a Mover." It was originally titled "She's a Body Mover," but Meaux believed the title sounded too sexually suggestive and made Sahm change it.

The Tribe/London release of this single reached the No. 13 position nationally by April 1965, and remained on Billboard's Hot 100 chart for nine weeks. "I love Doug like my own son," Meaux would always say about the late Doug Sahm, "but he was so mean to Augie. Doug used to make Augie carry all the equipment to the gigs and with his bad leg too," referring to Quintet collaborator and organist Meyers who was afflicted with polio as a child.

Left to right: Huey P.Meaux, Joe Nick Patoski, and The Rag Blog's Ivan Koop Kuper at KUT-FM in Austin, 1975. Photo by Kirby McDaniel.
Life and business were good for Meaux during the 1960s and many of the records he produced became hits. However, in October 1966, the winning streak was interrupted after Meaux and his then business partner, Charlie Booth, attended a disc jockey convention in Nashville accompanied by a 15-year-old girl. Their underage passenger was brought on the trip for the purpose of entertaining the conventioneers with whom they intended to network.

One year later, Meaux and Booth found themselves charged in federal court with conspiracy to transport a minor across state lines for the purpose of prostitution in violation of the Mann Act. Meaux and Booth appealed their case, and although they were represented by high-profile Houston attorney Percy Foreman, their rehearing was denied by the United States Court of Appeals, Fifth Circuit.

In February 1968, Meaux was sentenced to three years in prison. He would only serve eight months at the low security Federal Correctional Institution in Seagoville, Texas, near Dallas, before being released for good behavior.

In January 1981, at the end of his term as 39th President of the United States, Jimmy Carter granted Meaux a full pardon for his transgression. "That's when I went away to college," Meaux would always tell those who asked him about the time he spent in prison during this period.


Not all the hit records that Meaux is associated with were a direct result of his personal production efforts. Sometimes he acted as middleman and brokered the licensing deal to larger labels on behalf of other independent producers, as in the case of a track called "Tighten Up" by Archie Bell and the Drells.

Produced by legendary Houston DJ "Skipper" Lee Frazier, this track was licensed to Atlantic Records with Meaux's help after first being released in Houston on Frazier's Ovid label. Frazier, like most independent producers, would first sell his records on consignment to retailers "out of the trunk" before they were picked up for distribution by a larger label.

However, with the help of Atlantic Records, while Meaux was serving time in prison, this R&B crossover hit simultaneously reached the No. 1 position on both the Billboard Hot 100 and the Billboard R&B charts for two weeks by April 1968, and remained on the charts for 13 weeks.

"I first met Huey when I was a disc jockey with KCOH-AM radio in Houston," Frazier recalled.

He had a relationship with most the DJs in Houston and throughout the country for that matter, and Huey was always promoting his records to all the DJs. He was a very personable man and he would bring his records around to the station and ask me to play them.

We had a personal relationship, so when I recorded a record by a band I was managing and it started selling locally, Huey came to me and said, I think can get that record placed with Atlantic Records but I want a piece of the action. I told Huey I wouldn't mind that because I knew Huey had a good relationship with Atlantic because he recorded "You'll Lose a Good Thing" by Barbara Lynn, and I also knew that he knew everybody in that New York office.

So Atlantic took the record and boom, it went to number one on the R&B charts and then, boom, it became a million-seller. I found out years later that Huey knew how many records I was selling locally when he contacted me because he kept up with how many records I was ordering from the local record presser.

After Meaux was released from prison in 1968, the magic of producing another hit record eluded him for several years. Music industry insiders told him that he was "beating a dead horse" when he informed them he was thinking of recording "El Be Bop Kid," Baldemar Huerta from San Benito, Texas -- aka Freddy Fender.

"Before The Next Teardrop Falls," written by the Nashville songwriting team of Vivian Keith and Ben Peters, had been recorded more than a dozen times throughout the years, but had never struck gold. By the mid-1970s, Meaux's intuitive A&R talent was on target once again with his production of the sentimental bilingual ballad with its Tex-Mex flavor. Originally released on Meaux's Crazy Cajun label and then licensed to ABC/Dot, "Before the Next Teardrop Falls" would become a No. 1 crossover single on both the Pop and Country charts by March 1975, and would remain on the Billboard Hot 100 chart for another 15 weeks.

The single not only revived Fender's career, but it also won "Single of the Year" at the 9th Annual Country Music Association Awards in 1975. In addition, the composition also earned nominations for "Best Country Song" and "Best Country Vocal Performance" at the 18th Annual Grammy Awards in 1976.

In 1985, Meaux brokered his last major licensing deal for long-time friend and business associate Floyd Soileau of Ville Platte, Louisiana. Meaux had produced sessions for Soileau with artists Soileau had under contract beginning in the 1950s. In 1984, Soileau brought Meaux the single, "(Don't Mess With) My Toot Toot" that had broken out in New Orleans when recorded by Zydeco/R & B artist Rockin' Sydney Simien on Soileau's label, Maison de Soul.

Meaux arranged a licensing deal for Soileau that year with multinational Epic Records. Although never breaking into Billboard's Hot 100 Pop chart, the single did reach platinum status and peaked in the No. 19 position on Billboard's Country chart. "My Toot Toot" would also win a Grammy Award for Soileau and the late Sydney Simien for "Best Ethnic and Traditional Folk Record," in 1986.

1986 was also the year Meaux surprised friends and industry associates when he appeared on the big screen in the David Byrne feature-length movie True Stories. Meaux made a brief cameo appearance during the "Wild Wild Life" segment of the film, playing the role of a patois-speaking "Crazy Cajun" disc jockey.

Always generous with his time and advice, Meaux was also known to mentor aspiring young music producers because he believed his good deeds would be reciprocated and the relationships he developed would prove to be mutually beneficial. That was not the case however with ZZ Top personal manager and producer, Bill Ham.

Meaux was disappointed that Ham never booked studio time at his Sugar Hill Studios in Houston, choosing to record in Tyler, Texas, and Memphis instead. He would repay the snub in 1986 by suing Ham and ZZ Top for copyright infringement on behalf of Houston songwriter and former rock DJ, Linden Hudson.

Hudson's composition, "Thug," found its way onto the multi-platinum ZZ Top album, Eliminator, without the proper writer credit or music publisher credit which, coincidentally, was Crazy Cajun Music. With the assistance of Houston attorney David W. Showalter, Meaux and Hudson (and Showalter) were awarded a $600,000 out-of-court settlement in compensatory damages from Ham and that "Little Ol' Band from Texas."

Huey Meaux, Winnie, Texas, April 2011. Photo courtesy of Nick de la Torre.
In 1996, Meaux experienced his second major brush with the law. No one expected what a January 29 raid by Houston police on a backroom of Sugar Hill Studios, which Meaux now leased from its new owners, would reveal. There, HPD found incriminating evidence, including a gynecological examination table, illicit drugs, and photos and videotapes of underage girls in compromising positions.

Meaux would plead guilty to five felony charges including possession of cocaine, possession of child pornography, sexual assault, and jumping bail. The Honorable Judge Michael McSpadden of the 209th District Court of Harris County would assess his punishment at 15 years for cocaine possession and sexual assault, and 10 years for possession of child pornography and bail jumping, to be served concurrently.

However, before Meaux's criminal trial would begin, the two daughters of Meaux's former girlfriend filed a civil lawsuit for alleged sexual abuse and emotional distress they were subjected to during the seven years Meaux lived with them and their mother. In mid-February, the now adult McDowell Sisters, represented by attorney Dick Deguerin, brought a suit against Meaux in Harris County's 61st Civil District Court for the sum of 10 million dollars in punitive damages in their request for relief.

By October, the plaintiffs agreed on a final judgment of $900,000, and to dismiss all further claims against defendant Meaux.

In June 1996, Meaux was sent to prison for his criminal offenses and would remain incarcerated for the next six years. Meaux served time at both the privately owned Lockhart Work Facility near Austin, and the Texas Department of Criminal Justice's Ellis Unit in Huntsville.

In September 2002, he was paroled to the Beaumont Center Halfway House, and was then placed on "house arrest" with his mobility restricted and was electronically monitored by the Texas Department of Criminal Justice (TDCJ). Meaux was looking forward to freedom after four years of enforced detention on the rural property he owned on the outskirts of Winnie -- where he had been living in his double-wide mobile home.

"I go to Beaumont every month now to see my probation officer and go shopping, but I'll be getting my ankle bracelet off March 4th," Meaux said during our last telephone conversation in January 2011. "The first thing I'm gonna do is go to New Orleans and get me some gumbo, and after that, I'm going to Austin to see some friends."


Meaux never made it to New Orleans or to Austin, and on April 23, 2011, at 82, after four months of poor health, Meaux died from multiple organ failure. Meaux was found in his double-wide trailer and scattered about the floor in no particular order were old boxes of magnetic recording tape and photographs that chronicled his 40-plus years in the music business.

Many friends and music industry associates chose to distance themselves from the controversial Meaux, and his funeral service at Broussard's Funeral Home was attended mainly by immediate family members.

However, even after death, the defiant self-proclaimed "producer extraordinaire" still had the ability to surprise and even shock those in attendance at Winnie's Fairview Cemetery. Inscribed on the back side of his "supersized" tombstone was a list of underwriters that Meaux had solicited during the time of his incarceration to help defray the cost of his funeral.

On the front side was inscribed an epitaph of Meaux's personal life philosophy: "Did It My Way - No Regrets - Love Ya - Bye Now - Huey." Once more Meaux was able to get in the last word, prove he was still an innovator and a proponent of crass commercialism who to the very end never showed any sign of remorse.

[Ivan Koop Kuper is a graduate student at the University of St. Thomas, Houston, Texas, and maintains a healthy diet of music, media, and popular culture. From 1973-1975, Ivan worked with Huey P. Meaux at KPFT-FM in Houston. He can be reached at kuperi@stthom.edu. Find more articles by Ivan Koop Kuper on The Rag Blog.]

Photos courtesy of Hank Lam.
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