THE SHIRT

This classic unisex jersey short sleeve tee fits like a well-loved favorite. Soft heather blend and quality print make users fall in love with it over and over again. These t-shirts have-ribbed knit collars to bolster shaping. The shoulders have taping for better fit over time. Dual side seams hold the garment’s shape for longer.

100% Airlume combed and ringspun cotton (fiber content may vary for different colors)
Light fabric (4.2 oz/yd² (142 g/m²))
Retail fit
Tear away label
Runs true to size

This tee is offered with permission by, and thru a licensing agreement with, the logo artist Danny Garrett.

THE VENUE

Willie Nelson bought the 1700-capacity (or 1500-seated) Opera House in 1977, and his business partner Tim O’Connor ran it. It was originally the ballroom of the Terrace Motel complex, which included little apartment houses, which were dubbed the Willie Hilton. The 200 Academy Drive building was 9,000-square feet, so Willie also put in a recording studio, Arlyn, where Stevie Ray Vaughan did much of his recording.

Actually, before Willie bought the property it was owned by three guys who opened the Texas Opry House in April 1974. That first night’s lineup was Doug Sahm, Augie Meyers and Freda and the Firedogs. It was open only about eight months, but Waylon Jennings recorded his biggest live album there, with its famous version of “(No Matter What Goes Down In Austin) Bob Wills Is Still the King” a shot at pal Willie Nelson.

Neil Young, Patti Smith, George Jones, James Brown, Lou Reed, Sam & Dave, (and the best I saw there, Terrence Trent D’Arby), all played Willie’s joint, which stayed in his hands for about 10 years. The old ballroom has not been a club since the ‘90s, then it was The Terrace.

O’Connor modeled the Opera House after the Armadillo, which was going strong until 1980.

– Michael Corcoran

THE ARTIST

After a tour in Viet Nam Danny moved to Austin in the spring of 1970. Looking up Jim Franklin at Armadillo World Headquarters, Danny was given his first poster assignment, John Sebastian. From that spring until New Year’s Eve, 1979, Danny executed over a dozen AWHQ titles. He also did work for Castle Creek, Soap Creek Saloon, The Texas Opry House, The Austin Opera House, and many other Austin music venues. In 1976, Danny also began work for Antone’s, Austin’s Home of the Blues.

It is probably for his work at Antone’s, 1976 – 2005, for which Danny is best known in music art and ephemera. Danny had the privilege of meeting and promoting some of the greats of the Chicago blues scene – Muddy Waters, John Lee Hooker, B. B. King, Albert King, Albert Collins, Buddy Guy and James Cotton – just to name a few. Danny completed promotional artwork for such young Texas artists as Jimmie Vaughan, Derek O’Brien, Denny Freeman, Paul Ray and Stevie Ray Vaughan.

Besides the music industry, Danny also worked in film and video, including various gigs such as courtroom artist for local TV stations, art directing Scary Movie, the indie preceding the Hollywood brand by the same name, and computer game work for Origin Systems, the 1990’s premier Austin game company. He has also taught art at Austin Community College and Auckland University of Technology in Auckland, New Zealand, where he worked for five years and was one of the founding faculty members of it’s digital degree plan — one of the finest in the Southern Hemisphere. He continues to work in the Austin art market, whatever the creative parameter.