Many other artists contributed to the torrent of posters that flowed from the Armadillo World Headquarters during the ten years it rocked and rolled with the cultural tide. Among these were Jim Harter and John Shelton from the Vulcan days, Clark Bradley, John Rogers, Michael Arth, and Coy Featherston, Ken’s bother. Also contributing were Cindy Weberdorfer, Gary McElhaney, Jose Carlos Campos, Dale Wilkins, Henry Gonzales, B. Attwell, Monica White (who also created the cover art for Willie Nelson’s celebrated “Red Headed Stranger” LP), and Jimmy Downey, whose name is spelled incorrectly on page 386 of “The Art of Rock” under a reproduction of his 1970 New Year’s Eve poster.

Though the Armadillo dominated the Austin music scene for many years, scores of other clubs also contributed to the plethora of music available to the public during the Seventies and to the richness of the Austin poster bonanza. Some of these venues have outlived the Armadillo, and since its closing, many more clubs have come and gone. Part Two of this article will tie up any loose ends from the Seventies and then focus on the Eighties and Nineties. Poster artists like Dale Wilkins, Mike Nott, Edd Patton, me as “Jagmo,” and the Art Maggots (including Frank Kozik) will be covered, plus the dozens of other provocateurs like Jason Austin, Lyman Hardy, Robert Schneider, Richard Mather, and Roy Tompkins. Nightspots such as Raul’s, Club Foot, Liberty Lunch, and the Cannibal Club and poster patrons such as the Austin Chronicle and SXSW will be introduced, plus the important printers from the Vulcan era and succeeding periods will be credited for their contributions. The Vulcan and the Armadillo are gone, but the spirit that created and enlivened them survived throughout the Eighties and thrives in Austin, Texas today.