Absolutely Stunning the 24' "Kerbey" - MODERN LUXURY! for sale in Austin, Texas
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Verify: Are there more tigers in Texas than in the wild? - Duration: 6:22.
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Man stops 94-year-old wrong-way driver on Texas highway - Duration: 1:50.
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Tater Time | Texas Potatoes - Duration: 2:14.
My favorite thing about potatoes?
I guess just the pride of growing a crop
that people are going to use and enjoy.
My grandparents came here in 1939 - 1940.
They got in the potato business in Idaho.
Some people from Texas actually came to visit him.
They were trying to get farmers to move down here.
So he came down here and he thought
it made sense to be down here growing potatoes.
Some of the sons, they started potato sheds in different areas.
My father was one of them.
Well usually we start planting around the first of March.
It takes about 70 to 80 days depending on the variety.
A Russet potato is your basic baking potato.
The lighter skins are the red varieties.
They yellows are the really light-skinned.
Cool nights, warm days, long days, sandy soil.
All that plays a big role
in growing a nice, round-shaped potato.
The fact that we can cool off at night, the plant likes that.
And then heat up during the day it really loves that, too.
My dad came down with Frank Barrett in 1973.
He came down to the sand hills to help Frank Barrett break out the ground.
And in 1986 I started working in the summer time.
And as soon as I graduated, became a full-time employee.
And I've been here ever since.
My favorite thing about growing potatoes
is seeing the quality, the end result.
Quality is number one for us.
Seeing a beautiful crop come out of our soil,
and know that it's being shipped all over the United States
is also a very proud moment.
This is where we bring all the potatoes
to get them ready to go to retail.
We wash them, grade them, size them
and put them in whatever packaging the order calls for.
We ship out big tote bags that go to repackers
that pack potatoes for retail.
We ship out individual cartons
that go to a lot of food service.
And then poly-bags that go to retail
which are your grocery stores.
We have to be really careful on how we handle the potatoes.
It's not a processed potato,
it's what they're going to put out on the shelves
in the grocery store, and you want it to look good.
Millions of pounds of potatoes go through the shed.
About 400,000 hundred-weight
is what we're going to produce every year.
After 32 years of growing potatoes,
I'm really proud of going into a grocery store
and seeing our product on the shelves
and knowing that people are liking our product.
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Six Flags Over Texas Building "World's Largest Loop Coaster" - Duration: 0:37.
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Chris Trevino: Melding Texas Traditional and Western Japanese - Duration: 6:23.
♪
So, do you want me to write out a card?
You want to take a picture of this?
I mean, I just saved it to my phone.
Oh, you got it? Okay.
I'll remind you the day before.
- Yeah, cool. - Yeah, I'll call you up.
When I was about 15,
I got a Spaulding and Rogers catalogue.
When I saw that stuff, especially the Japanese stuff,
I was blown away; that's kind of what did it.
And then, the fellow who taught me, named Bob Moreau,
opened Perfection Tattoo in San Antonio.
I guess it was about '86.
I'd never really seen a tattoo,
like these like screaming neon green colors.
He loved to use it.
It's what attracted me to tattooing at first.
And of course, Dave Lum.
Dave Lum was taught by my teacher Bob Moreau.
And Dave was doing the most outrageous
full-color beautiful, heavy duty tattoos.
Doing all the whacked out, crazy dicks and pussies,
and any crazy thing you could think of,
you know, he's putting on people.
Titties all over the place and...
And he put pee in the mouth of mine.
He's like, you know-- I was like, "What is that yellow?"
He's like, "He's got a mouth full of pee," you know.
(Laughs)
Chris bought Dave Lum's shop when he moved,
so that's how Chris ended up in Austin.
I guess it could be Texas traditional or Texas trad.
It was this take on American traditional tattooing and
they always added their Texas flavour,
so you could tell where Chris Trevino did something.
People in Austin were totally open to just getting
the craziest tattoos that you can imagine.
I mean, no tattoos could look like this.
I'd never seen anything like it:
so big, so bright, so crisp.
This stuff looked like spray paint.
When I started working with him in the late 90s,
it had shifted.
And then there was more and more Japanese elements
brought into the tattooing, and then,
he completely broke off into Japanese and
it was almost an overnight thing.
That was fun. It was part of a body suit.
Jidai - that was another back piece that was fun.
It's whatever I need to stencil. The rest I'll--
like most of the stuff has a lot more going on.
Money frogs, these are fun. I did these in Japan.
When I first went to Japan, was in '96.
That's when it really hit me,
going to see Horiyoshi, getting tattooed by Horiyoshi,
I always knew it was the best,
but watching him work one piece after another just
going through the methodical steps every day,
I was like, this is how it's done.
I went to the first Tokyo Tattoo Convention in 1999.
My buddy Matt Rollins I did a body suit on,
I'd sent him to Horiyoshi to get a rib piece.
Horiyoshi insisted that Three Tides invite me
after seeing what I'd done on Matt.
Three Tides is an American style tattoo studio in Osaka,
so I ended up there, you know, somehow.
By fate, I think.
From then on, I didn't stop going for eleven years.
♪
This is the first copy Horiyoshi sent me of my name.
This is the fax he sent me.
This is Horimana, showing me how it looked and
what it was gonna be and what it meant.
This is a skateboard.
I cut my ankle and I was dipping the brush in my ankle,
and the butterfly...
I made a blood butterfly. Horiyoshi did it first.
It wasn't my idea; I copied him.
No, I'd already been tattooing a long time.
I wasn't gonna be good as an apprentice anyway.
He's like more of a friend and he would help me a little bit.
He did something that no other American did.
He tried to almost invade Japan.
I was working six days a week,
12 hours a day.
I love that about Japanese stuff.
You know, you don't do anything that takes you
away from your main craft or your focus.
You become part of a bigger thing.
Everything's already kind of-- it's all decided.
How do you do a leaf? This is how you do a leaf.
Make it four or five different ways.
You can't just do this stuff without knowing what
you're doing and what it means and understand it.
For a long time, I wouldn't even read any books other
than something pertaining to Japanese tattooing
or tradition or history or culture.
He's a sorcerer-warrior. I love doing these things.
Most of it's all from stories.
It's all, you know, based in history and tradition.
If you don't understand what they mean,
you can't do it.
You have to-- that's a big part of it, yeah, so...
You could read all you want, but being there in person
makes a huge difference.
Drawing on the vomit bag from JL on the way home
one time from Japan.
He took what he learned from copying Horiyoshi's tattoos,
and then, incorporated his own personality,
his own flavour.
And that's when I decided to get a back piece from him.
I was super influenced by him.
Five trips, ten sessions...
70 hours.
You look, look at it, and it's...
it's beautiful.
It's fucking sick.
I had been looking and looking because
I'm part Japanese, so...
I wanted Japanese art.
I called him and the first thing I said,
"Do you still do Japanese tattoos?"
And he goes, "Yes."
He goes, "What are you looking for?"
I forgot what I said.
You wanted a koi and a tiger--
Koi and a tiger, yeah.
A koi and a tiger or something together, you know,
'cause I seen his work and the kois were beautiful.
And then the tigers. He said,
"That combination don't work."
When I talk to somebody about their first arm,
they're like, "Well, I want to get a tiger and a koi."
And it's like, no, because it doesn't make sense.
You can get, you know,
if you want a tiger on one arm, that's fine.
But you're gonna get a dragon on the other arm,
otherwise it's gonna not fit.
So I'll start to name options before we even do
anything to make sure we're not painting into a corner.
I had to wait 'til my mother died 'cause she's Japanese,
so obviously, when I came home with the snake on my leg,
"Oh my God! (Japanese) Oh!"
(Laughs)
(Tattoo machine buzzing)
And then she passed, and that's when
I started back up again.
After this one, we're gonna do the full back one.
I may be 64 years old, but I feel young.
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Taste of Texas Shrimp and Pasta Salad - Duration: 1:55.
hello everyone it's stephanie manley with copykat.com today i'm going to show
you how to make the taste of Texas shrimp and pasta salad if you've never
tried it it is a great late refreshing salad it's served at the taste of Texas
restaurant you're going to begin by boiling the six ounce box of vermicelli
noodles this talent takes no time at all to make so go ahead and cook these they
only take five or six minutes to make and then you are going to put them in a
bowl after you drain them you can add one cup of light mayonnaise and then
four teaspoons a Pickapeppa sauce this is a kind of e chili sauce a
little bit of heat and a lot of sweet and a lot of great flavor you're gonna
find it your steak sauces in your rotary store so you're gonna go ahead and add
in those four teaspoons of the pick of pepper sauce and then you were going to
add in some chopped eggs I'm added about three hard-cooked eggs
in here so go ahead and add those in then you're gonna add in a half a cup
put chopped green onions for a little bit of flavor and you're gonna go ahead
and add in cooked shrimp then you can add about a pound of the cooked shrimp
it's really a great salad to make you're gonna stir this together and you're
gonna refrigerate it for probably about 24 hours before serving so this is a
great make-ahead dish just get it all stirred up together store it in an
airtight container and then you are ready to serve your shrimp and pasta
salad I hope you enjoyed this video be sure to subscribe and let me know what
you'd like to see next thanks for watching
you
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Major ICE raid in north Texas sees 160 undocumented immigrants arrested - Duration: 0:30.
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Comanche Motion: The Art of Eric Tippeconnic | Bullock Texas State History Museum - Duration: 4:40.
When I was a child I lived on numerous reservations across the United States.
I would always go to dances and I would always watch, would catch like a glimpse
here and a glimpse there, and as soon as they danced I would go home and I would
draw them.
The vibrant colors and the sudden movements and the
pace and the flow of the materials.
I would try to capture the motion.
What Indigenous people have to do is
they have to operate in two worlds from birth.
They obviously have to operate in their world but then obviously in the
mainstream America as well.
My name is Eric Tippeconnic
I'm a professor of history at California State University Fullerton and I'm also
a professional artist.
The overwhelming majority of the subject matter in my paintings is
predominantly Comanche themed.
I use a lot of red and I like the bright yellow,
and the blooms of those colors figure predominantly into many
of my pieces.
Movement, color, all of these things are metaphor for me for a very
rich, vibrant, living, and breathing culture.
[music]
Horses were extremely important to Comanche people.
We procured them from the Spanish
and then we ended up
breeding them and then we controlled the entire trade through the southern plains
all the way up through the
northern plains.
Comanche children were taught to
ride the horse beginning at age three.
Comanche women were just as proficient
as the men on horseback.
I like to feature parts of traditional Comanche culture
mixed in with contemporary imagery.
You'll see Comanche men with headdresses wearing
suits and ties. And once again the whole idea here is that we're not a
remnant of the past, we're not from some bygone historical era.
We're doctors, we're lawyers, we're professionals.
We're professors as well.
Painting to me is just another form of storytelling.
It's another form of teaching.
Eagle feathers were awarded and given to an individual for accomplishing
something great.
This one, for example,
was given to me when I earned my doctorate in history.
I want people outside to use my work as a way to
step off into a story
about who the Comanche people were,
and who we currently are.
So that was the same as this suit
over here on this modern day Comanche.
That is more Comanche than anything else.
Taking things outside of the culture, making it our own,
while retaining our language and our songs.
The story that a museum can tell, the story
that I can tell in class,
the story that my paintings can tell just by sitting there,
I think they all serve a similar purpose.
And they all start conversations.
People are essentially the same.
They want the same things.
They want a good life for themselves and their children.
I think something like art
is just in a way to attract people
to begin that conversation.
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