Interview by Paul Heckmann
Edited by Tex Collins & Paul Heckmann
Paul Heckmann: How you doing, man?
Steve Brooks: Oh, they’re tearing up our street, replacing all the gas lines. I had to go out there and see what the damage was.
Paul: Oh man, that’s not good. Is that the result of the snow and everything?
Steve: No, it’s something they’ve been planning. It’s part of – they’re replacing all the old gas lines. They’ll probably get to your neighborhood soon.
Paul: Yeah. Well, that’s an interesting neighborhood over there, man. How close are you to Kessler Parkway?
Steve: Less than three blocks.
Paul: All right, okay. Did you know that John Wayne used to stay at a house there?
Steve: Rumor had it, yeah.
Paul: I’ve got photos of it.
Steve: Oh, really?
Paul: A fella named Benny Bickers lived there. He was with Warren Diamond and those guys at the turn of the century – early 1900s – and, the Three Bennies, Bennie Bickers, Benny Binion, and there’s one Ben Whitaker
Warren Diamond had some cancer and killed himself, and he had everything set up, and basically, these three guys took over part of the numbers scene in Dallas – not all of it, but no matter what Benny Binion says he did – he was full of it. And, Bennie Bickers was also a big boxer. He had part of his arm shot off when he was a kid, and he couldn’t go into pro boxing, but he became a promoter and fight-fixer and stuff like that, so I got pictures with him and Bugsy Siegel and people like that.
Later on, he bought a place there in Kessler Parkway. Well, Benny also ran the club on top of the Santa Fe Building – the University Club – and in that club, they had everybody from John Wayne to Bing Crosby to Alice Faye, you name it – all these people come through there. John Wayne would come up and stay at Bennie Bickers’s house there when he was shooting The Alamo, that was there at Kessler Parkway.
Steve: That’s great. That’s a good story. I don’t have any of my older relatives around anymore that grew up over here. They’ve passed on.
Paul: Let’s get to Steve Brooks.
Steve: If you want to.
Paul: Ha! Of course. You are a legend around Dallas. Folks may not recognize your full name as you signed S Brooks, but most everyone knows your work.
Steve: Yeah, they just have “S. Brooks.”
Paul: I love the fact you’ve got a collection up there at UNT. Let’s talk Steve Brooks there. Were you born in Dallas?
Steve: Right down the street in Methodist.
Paul: So, where’d you go to elementary school?
Steve: It was called George Peabody over on Westmoreland and Jefferson, kind of far west Oak Cliff.
Steve: It’s less than a half a mile east of Cockrell Hill.
Paul: Oh, wow. So, that’s a pretty good little drive for you.
Steve: Right away, the area was called Beverly Hills because it was – up the street from us was Sivils Drive-In. You heard of Sivils Drive-In?
Paul: You bet. Okay, where’d you go to junior high school at?
Steve: It was off of – it was between Hampton and Westmoreland, just north of Illinois.
Paul: So, you still had to drive. None of these were in your neighborhood.
Steve: I had to walk or take the bus. Back then, I had a bus card, so I would take the bus.
Paul: So, then you went to Sunset, right? When did you graduate from there?
Steve: That would have been in 1967.
Paul: Ouch! Vietnam! That short period for HS grads when you’re trying to figure out what to do next, huh? “Man, if I can figure out how to go to college, maybe I don’t get drafted.”
Steve: That’s exactly what it was. I had a low draft number. Well, my brother – he had a low draft number, and he went ahead and enlisted. He never saw any action.
Paul: Yeah. A lot of people did that – they signed up and got to either stay in the States, or – my roommate went to Saigon, but he never saw any action other than grenades going off outside his building.
Steve: Do you also have memories of the Dallas/Fort Worth music scene?
Paul: Some. I grew up in Waco but came up here for concerts. Moved here in late 76.
We started Memories of Texas Music. So, you’re gonna be our first one, really, for that page because yours really ties into the music scene quite a bit.
You graduated from Sunset. Did you decide to go to UNT at that time?
Steve: No, I went to Texas Tech. I thought I wanted to be an architect. My dad was pretty…well, not terribly well-known Dallas architect, but he did a lot of recognizable buildings in Dallas. I thought I wanted to be an architect, and I was pretty good at it in high school, but luckily, at Tech, there was a degree program called dual course requirement – you could do commercial art and architecture combined. I realized the architecture part was just a little too much for me.
Paul: Too much math?
Steve: The math and whatever that involved. So, I ended up transferring to Dallas Baptist College and went in the art program there and became the art student of the year in ’68. I loved it. It was really nice.
Paul: It didn’t hurt that you were good at it. A lot of people love art, and they’re not good at it.
Steve: It was okay. I just liked producing art.
Paul: So, how did you go from Dallas Baptist up to North Texas?
Steve: My professors at Dallas Baptist said, “You should try a bigger school,” and I actually was interested in North Texas because I knew they had a great art department, so I said, “Yeah, that’s what I’m gonna do, I’m definitely gonna go there.” So, I commuted there for two years.
Paul: You were at North Texas when you started working for The Iconoclast?
Steve: Well, I met Stoney Burns in ’69 while I was at North Texas.
Paul: Oh, really? What was he doing there?
Steve: Well, Stoney had Dallas Notes from the Underground.
Paul: I remember that, yeah.
Steve: A little three-story house over on Live Oak. Wow, what a hippie crash pad that was.
Paul: So, you knew Jesus Carrillo, and Stoney, and all those guys. So, you knew Kirby Warnock too, then.
Steve: Good friends with Kirby, yeah. We still do some things together.
Paul: I’ve known Kirby for a long time. We keep crossing paths. Did an interview with him last year.
Steve: I read that. It was a good one.
Paul: Thanks. Let’s get back.
Steve: In ’70…I started hanging out at the original Gas Pipe at 3910 Maple. Jerry Shults was the original owner. I started doing little cartoons and ads, flyers and stuff for him, and then, I think you might have read it in the blurb about people from Treehouse Productions were in there, and they saw some of my stuff, and they wanted me to do a concert handbill for them for a Delaney and Bonnie show at the state fair band shell. That was early ‘70s.
Paul: So, was that Delaney and Bonnie and Friends?
Steve: Exactly – with Clapton and Allman
Paul: Duane Allman. Wow.
Steve: Duane Allman and…the saxophone player from Lubbock – I forgot his name.
Paul: I can’t remember that right now, but I knew those three are the ones I could think of because they did Derek and the Dominoes right after that.
Steve: Exactly, Derek and the Dominoes.
Paul: What another great tie-in. I love it! Wow. So, you were doing Delaney and Bonnie, and that started your concert production, didn’t it – at that point?
Steve: Okay, so, I did that handbill, probably didn’t charge much. Now, Frank – actually, what they followed – I did a poster called the Lee Park Massacre. There were very few of them printed. The owners of a head shop on Henderson called Through the Looking Glass called me.
They were in the Gas Pipe and they saw my stuff. You know the Lee Park Massacre, which was April of ’70. And, Cliff Sugarman, and he started an agency and started promoting concerts.
And, we did Sly and the Family Stone, I did a handbill – they said, “Come work for us.” I said, “Sure, okay…freelance.” So, we did Sly and the Family Stone and riot and some other concerts, and then, they finally just started forming an agency and said, “Come be our art director.” I was still in school. I said, “Okay, I want to still go to school. Can I come in two days a week?” They said, “Yeah.”
Paul: So, you’ve already started your career in your chosen field while you’re still studying for your career.
Steve: Still a college student. Well, I did one more semester at North Texas, and I said, “I’ve got a good thing going for me, I’m just gonna go ahead and drop out.” So, anyway, for several months there, we were doing really good, doing a lot of shows. We did Ten Years After, we did Three Dog Night – a lot of Three Dog Night shows, quite a few – and then, Concerts West – I’m sure you’re familiar with them.
Paul: I’ve seen – I’ve had their posters on the page there.
Steve: They were big. They were really big. Concerts West was run by…I wish I could remember his name. He was a big-time promoter and film producer. I can’t remember his name. Anyway, we started jobbing work after them, so I was designing handbills for Concerts West. Then, our agency kind of folded, and Concerts West just did freelancing for us – we started designing stuff for them a whole lot from 1970 through ’75 or so.
Paul: Okay. So, were you – now, you said something about they saw your work at Gas Pipe. Had you started drawing for Gas Pipe then, or was that through Iconoclast that they saw?
Steve: Yeah, I was still doing the Gas Pipe advertising.
Paul: What year did you start with them?
Steve: Well, that would have been the Lubbock Peace Festival, which was in April of 1970. But, everything was freelance. None of them paid a salary.
Paul: “Yeah, we’ll work out a trade, don’t worry about. We got our new bongs in this week, Steve!” I remember those days pretty well.
Steve: Well anyway, yeah, Jerry Shults up at the Gas Pipe – fantastic friend of mine, and still is.
Paul: All right. So, you are doing posters – let’s see here. So, you’re about ’75 now. Now, which came first, the tennis shoes for Whiskey River or the Willie posters?
Steve: So, I ran into a promoter named Gene McLaughlin. There was another shifty character. And, he actually booked talent at The Western Place. So, Gene was also freelancing for Iconoclast, which was a stepson of Notes from the Underground. That’s how Iconoclast came along.
Steve: I’ve still got a few old Iconoclasts.
Paul: Do you really? I remember when I saw your stuff in Buddy magazine, I’m like, “I know this look, I know this artwork. Where do I know this artwork? Oh yeah, now I know.” Tell me more about Willie.
Steve: Buddy came after Iconoclast. So, Gene McLaughlin had seen my work in Iconoclast, and he says, “I’ve got a concert coming up in Abbott, Texas. It’s Abbott Homecoming, and it’s got Willie, Waylon, a bunch of people – good people.” So, I designed that particular advertising – handbills, posters.
Paul: Was that the original Farm Aid?
Steve: No, no. It was all for profit. So, that’s how I ended up designing the logo for Willie with these spurs on them, and Willie really liked it. I actually went to Willie myself and sold it to him. I met him down at his place in Austin.
Paul: What year would that have been, ’73?
Steve: Yeah, that was fall of ’73.
Paul: Okay. So, you’d done this poster for Willie, and you’ve got a tie-in to him because he likes your stuff, so what happens after that?
Steve: I just started doing a lot of stuff for him, not right away, but beginning around ’76. I did a lot of stuff for him on and off going ’73 up until ’76, and then, around ’76, they got their in-house promotion called Me and Paul Productions.
Paul: Yeah, I saw that one up there at UNT. Now, you must have done Whiskey River in ’75, though.
Steve: Well, yeah, those crooks… [Laughs] I didn’t get paid for them to use the logo because it was already Willie’s and Willie was a so-called silent partner in that operation, so they just borrowed the logo for Whiskey River. Willie had paid for the logo. It was not copyrighted for anything. It could be used for anything.
Paul: Yeah. Well, we’re still gonna make this your logo from Whiskey River. You know that, right? We will give you credit, even if they didn’t.
Steve: Well, it’s true, and I did do a couple of designs for them, and I don’t know if I got paid for them or not.
Paul: Well, it was really interesting because Willie, of course, although he was a third owner, he didn’t actually play there until Phil talked him into doing a three-night set, and the first night he was there, they had to pull him offstage because he threw his guitar at his sister, who was playing piano. I asked Phil about it, I says, “Why’d he do that?” He says, “Because we’d just done some PCP, whatever makes you angry? He said, “We’d just done that before we went onstage.” I said, “Phil, what the hell were you thinking?” He laughed and says ‘It was the 70s”
Steve: Yeah, at that time, there was quite a bit of that going on.
Paul: There was a lot of craziness, yeah. I got you, man. So, at this point, you’re probably just about to start working on Buddy magazine, right?
Steve: Well, Buddy started in ’75 if I’m remembering correctly.
Paul: So, you knew – obviously, you already talked about Kirby. You knew Ron McKeown over there too?
Steve: Ron’s a good friend.
Paul: Yeah, we’ve worked together on a couple little things. And, you became an editor there too, huh?
Steve: I was a senior editor, right.
Paul: Oh, wow. Well, that’s something very different from artwork.
Steve: Well, all I did was edit my own artwork.
Paul: Oh, okay. So, you were the art editor, not the interview editor or anything like that.
Steve: No, Paul. This is basically a title to get on the masthead. Somebody might write an article and say, “Well, why don’t you read this and tell us what you think?”
Paul: Yeah, make sure there’s not anything misspelled in it or anything like that. That’s actually an art, and I don’t have it. That’s why I send mine out to – we’ve got about four people that edit my stuff because I’m so bad at it.
Steve: Me too.
Paul: So, this was about ’76 or ’77. So, you’re doing a ton of posters, and concerts, and handbills, and matchbooks, and all sorts of stuff.
Steve: I’ve got it on a hard drive – a portable hard drive. I could burn you CDs. (FYI – we got all 600 plus of his projects)
Paul: You have so much visual items, that might be really interesting to do.
Steve: I suppose you’ve heard about the Wittliff Collection down at Texas State University.
Steve: Well, I interviewed with them a few years back. The guy came up here – drove up – and he was really interested because he saw all the stuff that I’d done for Willie, and without bragging too much, it’s substantial. But, all he did was wanna talk about himself.
He was in some band out of San Antonio. Well, anyway, I didn’t hear back from him, and I went, “Well, I guess he just forgot.” So, I knew that at University of North Texas, there was a library that did collections. I don’t know how I came across it, but I just called them, and they said, “Yeah, we’d like to see what you have.” I brought everything up there, and they just – “Wow. We want this now.” He understood exactly what was there.
Paul: There’s two places to go. One is UNT – well, actually, three. The other is DeGolyer at SMU, and also UTA. Those are the three places. But, DeGolyer or UNT are the two places, and you chose one very well.
Steve: Yeah, being an alumni, I really wanted to go with UNT. I thought about SMU. I’ve seen some of their stuff, and they’ve got a great collection.
Paul: I wish that UNT would put more of your stuff online.
Steve: Well, that was gonna… Because there’s so much of it, to digitize it and put it out there where you can actually see the digital catalog…
Paul: It’d be overwhelming.
Steve: It took so much time for them to do all that. I’ve already got it all, and I gave them the CDs.
Paul: I will try to see if we can figure out a way to show this online for you.
Steve: They’ve offered to actually do a showing. We talked about putting something together, then the pandemic happened. We haven’t really spoke about it since then.
Paul: So, let’s go back to your movie career. Honeysuckle Rose – tell me about that.
Steve: Okay, now we’re gonna jump out up to ’79. Well, the Me and Paul Productions – that’s the key factor here – I was doing it from ’76 up until this point of ’79. Paul English – great guy. Loved him to death. Well, I did some of the artwork for the ’75 picnic in Liberty Hill. So, Paul gave me permission to do Willie Nelson’s T-shirts. I didn’t print up enough. I only printed up 300. I said, “What do you want for this, Paul?” He said, “I’ll give you a dollar a shirt.” Next day, I went to the hotel and gave him $300.00 cash, and we remained really good friends. Then, Willie had me come up to Colorado – actually, had me paint a tepee for him at his place.
Steve: It was actually on the Barbara Walters special with Willie. If you look in the background, you’ll see a tepee. So, I was there painting the tepee. Then, we did the picnic in ’79. Willie had just bought the country club down there – Pedernales Country Club. So, we did that picnic – well, it was right after the picnic. So then, he wanted me to come up to Colorado to his house. He’d bought another tepee that he wanted me to paint. This thing was huge. It was in Life magazine. You should see that.
Paul: Willie’s tepee, okay. I’ve gotta look these up. This sounds interesting.
Steve: Yeah, the Life magazine it came out in was a couple years later. So, I painted that tepee. Then, after I finished that tepee, I was finishing up, and he said, “Steve, we want you to come down to Austin. We’re getting ready to start a movie. I want you to hear these two songs.” So, he played me “On the Road Again” and “Angel Flying Too Close to the Ground.” He’d just recorded these.
Paul: Oh, God – and they hadn’t been released yet?
Steve: They hadn’t been because they were gonna be in the movie. When I heard “Angel Flying Too Close to the Ground,” I just started crying. “God, Willie, that is a beautiful song.”
Paul: Both of them. I love them both, man.
Steve: He said, “Well, you gotta go on to Austin, we’re starting a movie and they need your artwork.” “Sure, I’ll do it. I’m out of here.” He gave me a wad of hundred-dollar bills – $1,600.00. I remember that well. He just reached in his pocket and started peeling them off.
Paul: Oh my God, man.
Steve: So then, I started in. “Okay, here we go – the movie, Honeysuckle Rose.” They wanted me to do this artwork and switch all the rope lettering that said “Willie” to read “Buck Bonham.” That was the character in the movie – Willie. He was Buck Bonham. So, I started doing all that work and turning in the invoices to Paul. I was freelancing for Me and Paul Productions still. And, the first invoice I gave to Paul, he said, “That’s not enough. Double it.”
Paul: Oh, my God.
Steve: They were paying Paul back for what he was doing them for. Rock and roll business – don’t you love it?
Paul: When it’s good, it’s good. When it’s not good – ugh.
Steve: When I started freelancing in the ‘70s and particular artists would say, “Can you do some artwork for me?”, I’d say, “Well, I’ll tell you what. Normally, everyone else, I want 50%, but since you’re a musician, that’ll be 100%.” I’ve been burned by far too many musicians. And, I can give you some really popular names.
Paul: I know a few myself. I’m with you. But, boy, if you do them wrong on a gig, holy cow. It’s kind of like the whole scene is screwed up.
Steve: Plus, Willie’s group – they were all packing heat back then. You did not mess with them.
Paul: Wow, guns?
Paul: So, this is about 1979. So, you’re still working on the movie. Did you work on the movie while it was being filmed, too?
Steve: Yeah, I got to be an extra in a couple of scenes, but mostly, I was doing a lot of – I could tell you about all the things that I did in the movie.
Paul: So, you did some set work.
Steve: Yeah, we – one huge set work for Slim Pickens that was called Garland’s Day. I did the big banner in front of the stage for the last scene of the movie. I rented an apartment in Austin and painted it in the room overhead.
Paul: Wow. I’ll see if I can find that.
Steve: It’s at the very end. It’s Garland’s Day. It’s in green, and it’s a picture of Slim Pickens. He was Garland. When I met Garland – well, Slim Pickens – accused me of breaking his nose again, and that’s another story. We had a big laugh about that – I had an old press photo of him that I used. Nice guy.
Paul: That’s what Burton said, man. He said he had the best time doing Blazing Saddles.
Steve: Sure, that’s right. Yeah, they did work together.
Paul: So, what happens after ’79?
Steve: Well, gosh. Still doing stuff for Willie, but kind of winding down. I did his personal logo for stationery, just the flying tennis shoe – you’ve seen that with Willie.
Paul: At this time, were you still working with Alice Cooper in Chicago and all those guys?
Steve: No, no, not so much. Concert handbills, still doing – mostly just doing stuff for Buddy and the Gas Pipe. The Gas Pipe then started doing a lot of advertising.
Paul: I saw that. You’ve been doing their calendar since about day one, right?
Steve: Well, I think the first calendar came out in ’73. Yeah, that’s my calendar – it’s almost 50 years of calendars coming up soon.
Paul: That’s amazing. One artist doing it, all but – so, I saw there was one year you didn’t do it.
Steve: One year I didn’t do it, right.
Paul: Were they pissed off at you or something that year?
Steve: We never talked about that.
Paul: Ah, okay. We won’t bring that up, then.
Steve: They came to me and said, “We need you to do them from now on.” But, I did move to Taos, New Mexico in ’83. I was gonna take my shot at being a so-called Western artist, quote unquote. I started painting a lot, and man, did I start painting. I painted and painted every morning I got up and I was painting.
Paul: So, you’ve embarked on your second career that usually doesn’t pay a lot of money after your first one, logos, which usually doesn’t pay too many people a lot of money. You decided to become a painter in Taos, which nobody gets paid for.
Steve: I was okay. You know why? I had a gallery that – I produced a poster for the Willie Lewis guys, and it benefited the Taos Pueblo, so I wanted to just go ahead, move to Taos, paint, and sell my paintings to a gallery who’d represent me, and I was doing okay. I was eking out a living, paying bills. That’s what it is, it’s struggling artists. I could still be there, but some circumstances came up, and I had to come back to Dallas.
Steve: Well, that would have been mid-‘80s. Mostly, that’s off of something – the Gas Pipe took off. They really took off, started opening up a lot more locations. They expanded to Austin, and I went down there and painted a couple murals on their stores down there. They opened two locations in Albuquerque, so I went up there, did some murals for those locations. All in all, just – they were the main client.
Paul: So, are you working other kinds of jobs at this point to make a living?
Steve: Not until around…let’s see, around 1995. I can’t remember what year. I went to work with George Toomer. He was probably one of the best commercial graphics artists in Dallas at the time. He did all of Razzoo’s, Dick’s Last Resort.
Paul: Oh, yeah.
Steve: He almost – I tell you, Dick’s Last Resort was – basically, the visual was his creation, and all their menus… I spent four years with George.
Paul: So, you had a regular paycheck.
Steve: Oh, it was a regular paycheck. I made so much money I had to pay quarterly taxes for the first time ever.
Paul: All right, so you got a little Social Security coming in.
Steve: I do, yeah! That $500.00-a-month check – wow!
Paul: So, you worked for George there until about, what, late ‘90s?
Steve: Four years. I can’t remember the exact years, but it seems about right.
Paul: Okay. So, you get more or less to the year 2000. What goes on after that?
Steve: I’m still banging out Gas Pipe.
Paul: Okay. You have some nice connections, I would imagine, from the retail industry there with Razzoo’s and other things like that. Were you doing anything like menus or anything like that for anybody else?
Steve: No, those are the only accounts, Razzoo’s and Dick’s.
Paul: Okay. Were you doing any business advertising in these days or anything like that?
Steve: Yeah, a few things here and there, little jobs.
Paul: Sure, gotcha. So, let me ask you this. You’re in the 2000s there, and you’re kind of looking toward do I wanna retire, does an artist ever get to retire, that kind of – I imagine it’s going on in your head. So, you’re still getting a little bit of income coming from Mr. Shults and the Gas Pipe. Is that what’s going on today with you?
Steve: I’m pretty much laid back now. I lost sight in my right eye.
Paul: Oh, you’re blind.
Steve: Not totally blind. I had several operations, and they couldn’t fix it, so all I’ve got is my left eye. So, I would say from 2010 up until now, eBay. I’ve sold a lot of my extra handbills, posters, stuff I’ve collected over the years, and the supplemental income is really good.
Paul: Well, what I’ll do is – do you have your own store there on eBay?
Steve: I list as Cosmic Cow Pie.
Paul: Cosmic Cow Pie. Before the story goes – I’m gonna send it out to transcription, then it goes to my editor, so it’s still a couple of weeks away, maybe three weeks away, and then I’ll get all that information from you before we finish it up. But, let me ask you this: If you had your favorite, top five Steve Brooks artworks, what would they be?
Steve: Oh gosh, I really couldn’t say.
Paul: What was your favorite? What’s the one that you just keep – “Man, I can’t believe I did that”?
Steve: That I’ve produced? Well, gee. Nothing really that I could… You’ve probably never seen it; I’ve probably never shown it to anybody. Does it really exist? I am fond of the Willie Blue Skies lithograph, the thing that brought me to Taos.
Paul: Willie Blue Skies?
Steve: It’s a big lithograph. I’ll give you one. Yes, I will.
Paul: We will put that – whenever we open up our office, whenever we get this thing set up with the Meadows Foundation, we’ll make sure it’s there. How big is it?
Steve: Oh, I’d be happy for you to own one. Willie Nelson himself bound me to do so much work for him, and to meet the people in his circle – still friends with roadies and band members all these years. God, what wonderful, great people they are. Nobody can put down Willie Nelson’s family, not while I’m around.
Paul: And, they’re tight, too, I’ll bet.
Steve: They are.
Paul: Nobody gets in unless it goes through the whole family, I would imagine.
Steve: Well, back then – it was years ago. Nowadays, we’ve lost so many members.
Paul: Oh, yeah. Well, Willie must be, what, in the late 70s, something like that.
Steve: He’ll be 88 in May.
Paul: Eighty-eight? Holy cow. I didn’t realize he was that old.
Steve: When I was doing that tepee for him in Irving, he had me call Jerry Jeff Walker. “Who?” “Jerry Jeff Walker.” “What?”
Paul: I was a huge fan of his, man.
Steve: No, seriously, I did some artwork for Jerry Jeff. Susan, his wife, is a wonderful lady. (Jerry Jeff passed away in late 2020) Anyway, Jerry Shults has the Ridglea Theater in Fort Worth.
Paul: Oh, Jerry Shults does.
Paul: Ridglea Theater – I’ve heard of that.
Steve: It’s a prime – in fact, the venue for Fort Worth besides Billy Bob’s. It’s where you’d wanna book a show. Anyway, he’ll tell you more about it.
Steve: The Dallas people like Larry Hagman, he was a good guy. I remember being around him. Do you remember Wendy Moss? She was the party planner in Dallas. She had a big party one night, and Larry was there, and he was going around with a little portable fan. If you were smoking, he’d put this fan at you.
I did some work for the Walker, Texas Ranger people, and for Rob Edelson, one of the major set designers.
Paul: Did you do the logo for them?
Steve: No, no, I just did a few things for some background scenes, just a couple episodes.
Paul: Thanks so much for your time Steve. I’ve give you a call to set up a time to pick up those CD.
Steve: Thanks for doing this.
Paul: You are fondly remembered Steve, even though folks may not know your name!
The Video starts about 1 minute in with over 600 examples of his various works including calendars, handbills, hand and line drawings and posters
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