“Tumbleweed Smith,” born Bob Lewis in Waco in 1935, has made a name for himself in broadcasting throughout the state of Texas. Inspired by a tumbleweed that rolled across his West Texas lawn and his mother’s maiden name, he adopted the persona of “Tumbleweed Smith” as a radio host in 1970. Lewis’s big break came in August 1969, when he started his own radio show, The Sound of Texas. Amassing a collection of over 14,000 interviews during his long career, Lewis became the owner of the largest private collection of oral histories in the United States.

In 1944, the Lewis family moved from Waco to Fort Worth, where he spent the rest of his adolescence. He returned to Waco in 1953 to attend Baylor University, graduating in 1957 with a Bachelor of Arts in English. During his time at Baylor, Lewis joined the theater department and performed in a stage play of Shakespeare’s Hamlet, which later won an award for cinematography at the Brussels World’s Fair in 1958.

After receiving his BA, Lewis joined the United States Army as an Army Security Agent and was stationed in Germany from 1958–1960. While in Germany, Lewis listened to the American Forces Network with his fellow soldiers. Noticing how nostalgic listening to the American radio made him and other soldiers feel inspired Lewis to find a career in broadcasting. Upon returning from Germany, Lewis settled in Waco and started his career in radio and advertising. Early on, he worked as an ad agent for William George “Dub” King, Baylor’s Sports Information Director, and worked on advertising the Heart O’Texas Fair and Rodeo. In the fall of 1960, Lewis picked up and moved to Big Spring and joined the KBST Radio team. Then in 1962 Lewis would start working for KPRC Radio and Television. 

Smith married his wife Susan Zack in August of 1963 and had his first son, Robert Kevin Lewis in August of 1964. Later that year, Smith enrolled in graduate school at the University of Missouri, where he earned an MA in Journalism. After graduation, he moved to Iowa and worked for WHO Radio and Television in Des Moines. He also began working as a freelance feature reporter for NBC Radio’s Monitor. The pieces he developed in that position shaped the style of Smith’s future radio show.

Returning to Big Spring in 1967, Smith resumed his role at KBST. His second son, Brian Zack Lewis was born in 1968. Smith taught broadcasting courses at Howard College for two years. Two of his most notable students there were Alan Doelp, writer for Shocktown, one of the first prime-time emergency room television shows, and Jim Ryerson, a reporter for ABC Television’s West Coast division. After Smith was fired from his position at KBST in 1969, he began to write for Texas Parade Magazine. It was then that Smith made the biggest decision of his career and started his self-produced radio show.

The show was originally titled Tumbleweed, but in April of 1970 Lewis would change the name to  The Sound of Texas and took up the radio persona of Tumbleweed Smith. By the end of the year, The Sound of Texas could be heard on ten radio stations throughout the state. The Sound of Texas would garner a decent following after being on the air for a year, with hundreds of listers tuning in to hear Tumbleweed’s interviews with eccentric characters. Episode topics ranged from conversations about high school football, women-led businesses, military history, law, politics, technology, and many other matters. Tumbleweed’s show grew in popularity throughout Texas, and in recognition of his success, he was invited to become a professor at the University of Texas-Permian Basin in 1974, where he taught until 2008. During his thirty-four years at UTPB, he taught broadcasting to thousands of students, many of whom became award-winning journalists. His students won 120 awards during his tenure, most notably the Texas Intercollegiate Press Association Award in Broadcasting. After leaving UTPB in 2008, he took up a professorship at Western Texas College in Snyder, a position he stayed at until 2010.

Being a radio personality was not all Tumbleweed was known for. He was also a marketing expert, starting his own advertising company, Multimedia Advertising Company, in 1981. The company won two national awards in 1986. Tumbleweed’s production company, Orange House Productions, also garnered national recognition. The production company won six Communicators Awards, the Governor’s Tourism Award State of Texas, the 2018 W3 Award and two Telly Awards for “The Texas Torera” and “The T & P”. In addition to precuring quality interviews for his show, Tumbleweed also travels to cities all over the state, giving speeches at various academic and professional conferences and entertaining local community groups with stories.

A mentor to prominent radio personalities and television hosts and an innovator in his programming, Tumbleweed Smith earned a favorable reputation in Texas broadcasting circles. His passion for radio and interest in preserving Texas's stories pushed Tumbleweed to local stardom. His legacy persists, and his broadcasting style continues influencing radio show hosts across the state. The show highlights unique aspects of Texas culture and the people, providing a platform for underrepresented communities to connect to a wider audience. The Sound of Texas not only displays the versatility of Texans but embodies the essence of Texans. In addition to precuring quality interviews for his show, Tumbleweed travels to cities all over the state, giving speeches at various academic and professional conferences and entertaining local community groups with stories.

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With a bellowing voice and masterful piano playing, Mercy Dee Walton emerged as an early influence in rhythm and blues not only in Waco but across the country. Towering figures such as Ma Rainey and Fats Domino are rightfully remembered as foundational for the blues and later rock n’ roll, but artists with less recording opportunities, like Walton, also shaped the country’s music scene in the early twentieth century.

Walton grew up on the water. His parents, Fred and Bessie Walton, worked on a small farm on the banks of Brazos in Waco and welcomed their son on August 30, 1915. Though a young Mercy Dee Walton worked the corn and cotton fields, he found himself captivated by local music. Aspiring musicians traversed Texas, performing on stages and in homes for little to nothing. Thirteen-year-old Walton listened, soaking in soulful vocals and rhythmic instrumentals. The blues artists he heard told stories of hardship and of love to steel guitar and striking barrelhouse piano arrangements. Searching for his own voice, Walton began to play piano and sing the blues at ten-cent house parties, where locals could pay a dime to hear the young artist hone his skills.

Waco’s own musicians influenced Walton’s sound. Unrecorded artists, such as Pete the Grey Ghost and Delois Maxey, impacted his style and song. Though many blues artists of the early twentieth century never recorded albums, their artistry formed other musicians. When Walton witnessed Maxey’s piano expertise at house parties, for example, he modeled his own playing after him. Others also influenced his sound, including Waco and Marlin piano players Son Brewster and Bob Jackson. Though labels never captured their talents, their inflections remained present in the work of later blues musicians.

Audiences certainly understood the talent of these rising artists. As Walton grew in popularity, he moved from intimate venues to larger crowds in Fort Worth. In the early 1930s, he took the stage at the Dixie and Bryson Taverns. Other emerging musicians, such as Pinetop Shorty, joined him. After playing the Texas circuit, Walton decided to move westward to an up-and-coming music metropolis, Los Angeles, in the late 1930s.

While playing around Fresno, Chester Lu, an executive at a smaller recording label called Spire Company, heard Walton’s talent. Walton recorded his first song “Lonesome Cabin Blues” with Spire. Though the song rose to the top ten on R&B charts, Walton’s performances and albums did not result in financial prosperity. As he sang about his troubles on stage, they persisted in his life as he continued to labor for little pay. For instance, at one venue, Walton performed for a few dollars and a hot meal. Agricultural work provided supplemental income as Walton continued to pursue his musical career, and he often performed at bars where Black farmworkers gathered to listen to lyrics that illustrated their experiences. 

After reaching number seven on the charts with “Lonesome Cabin Blues,” Walton cut a record with Imperial Records. The songs never charted, and Walton did not record any more songs with Imperial. Things changed when Walton joined Specialty Records. He recorded his hit song “One Room Country Shack” in May 1952, and garnered national attention. He briefly toured with the popular Jay McNeely Band, whose smooth saxophone sound skyrocketed the group to the top of the Billboard charts. A long way from the Texas circuit, Walton traveled across the country, singing popular tracks, such as “Roamin’ Blues” and “Romp & Stomp Blues,” in auditoriums for large crowds. One song that captured fans’ attention was “Rent Man Blues,” which featured Walton’s wife, Thelma Walton, who received the pseudonym Lady Fox on the record.

Walton cut more records with Specialty, but none accumulated extensive recognition. Notably, payola, the practice of bribing radio hosts to play certain songs to increase an artist’s popularity and a label’s success, ran rampant throughout Walton’s career. Though he recorded with two small labels, Rhythm and Flair, in the mid-1950s, his albums did not reach previous heights on the charts. He moved to Stockton, California, where he continued agricultural work and played music on a smaller scale.

Though Walton’s recording opportunities seemed to decline over time, in 1961, record producer and blues fan Chris Strachwitz began to record with Walton on his newly founded label, Arhoolie. With his remarkable barrelhouse piano style, Walton put down multiple tracks with Strachwitz. Tragically, as his career seemed to be resurging in the recording studio, Walton died suddenly in December 1962. Though his recordings remain few, his conceptions of rhythm and blues live on, shaping artists in Waco and beyond.

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Without the construction of Waco Hall, Baylor University might reside in Dallas, Texas. In the early 1900s, some Baylor representatives pushed for the university to relocate and had already placed parts of the institution in Dallas, including the newly established medical school. Resisting such a transition, Wacoans banded together to keep the university in the city. Under the auspices of the Waco-Baylor Campaign, community and university leaders introduced a plan titled “Greater Baylor University” in May 1928. Wacoans pledged to raise $350,000 in support of the university, with the agreement that no additional gifts would be required over the next three years. Texas Baptists committed to matching Waco’s donations. Local leaders believed these efforts to be favorable for both Waco and Baylor. Committing to an investment in the expansion of the university meant potential growth and flourishing in Waco.

Early on, city and university leaders decided that funds would support the construction of a new building on Baylor’s campus. Seeking to visually represent the connections between Waco and Baylor, leaders of the Waco-Baylor Campaign decided to name the new building Waco Hall. Embodying the relationship between the local community and the university, Waco Hall would serve as a performance and gathering space for Wacoans and Baylor students, faculty, and staff. Eager citizens quickly raised the recommended $350,000, and Wacoans, showing broad support for Waco Hall, went above the original amount, donating a total of $416,000 by June 1928.

Once the campaign met fundraising goals, trustees of Baylor University contemplated the building’s potential location. They decided on Seventh Street and Speight Avenue and completed plans for construction by March 13, 1929. Architects Lang and Mitchell of Dallas finalized structural decisions soon after, and on June 25, 1929, Baylor officials poured Atlas Portland Cement into the foundation. Soon after, O. K. Johnson Construction of Waco began to lay the foundation for the 200-by-200-foot building and finished the project in early 1930. On May twenty-seventh of that year, Baylor University held a dedication ceremony for the newly completed Waco Hall.

From the start of the project, city and Baylor leaders envisioned a structure that would serve as an auditorium for both the community and university. Though university leaders initially expected to only host graduation ceremonies in Waco Hall, the building expanded as a venue for Waco Symphony Orchestra concerts and as the location for Baylor’s School of Music and Department of Art.

At the time of its opening, Waco Hall’s 41,985 square feet contained nine classrooms, six offices, and an auditorium with a capacity of 2,400. The building also featured the Brooks Memorial Organ and a recital hall. Over time, Waco Hall expanded and experienced multiple renovation efforts. In 1957, university leaders added a west annex named Roxy Grove Hall in honor of the previous dean of the School of Music. The facility expanded and improved once more in 1965, when leaders constructed an east annex and installed new auditorium seats. In 1978, Baylor funded another renovation project, adding entry and exit ramps, first-floor restrooms, a custom lighting panel, and additional parking. The community and university funded the placement of acoustic panels in 1997, which debuted on October sixteenth at a Waco Symphony Orchestra concert.

Home to the Waco Symphony Orchestra since 1965, scores of other well-known artists and speakers have performed in front of local audiences at Waco Hall. Hollywood icons Katharine Hepburn, Dorothy Lamour, and Claude Rains graced the stage. Opera stars Marian Anderson and Waco’s own Jules Bledsoe dazzled audiences in 1939, and two years later, Bob Hope presented his comedic variety act to Waco audiences. In 1951, Billy Graham preached at Waco Hall, becoming an honorary Noze Brother during his campus visit. Prominent political figures also spoke in Waco Hall, including Presidents Harry Truman, Gerald Ford, and Lyndon B. Johnson, First Lady Eleanor Roosevelt, activist Ralph Nader, and Mark Felt, the notorious “Deep Throat” in the Watergate scandal. Renowned musical acts Bachman-Turner Overdrive, John Denver, Amy Grant, and Texas native Waylon Jennings performed there, too.

Waco Hall continues to host community-wide and university events. As at its beginning, the hall hosts University Chapel for students across Baylor’s campus. The auditorium also remains the location for important all-university events, such as Freshman Mass Meeting, Founders Day, All University Sing, Pigskin Revue, and other community and university pageants and ceremonies.

The stage, orchestra pit, and now 2,200-person auditorium in Waco Hall continue to provide a performance and gathering space for the community and university. More than just a building, Waco Hall exemplifies the relationship between Baylor University and the City of Waco—one that spans back before 1930 and continues into the present.

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During the early 1970s, the rhythms of Austin's much-acclaimed music scene reverberated through McLennan County from Bellmead's Abraxas Club.

Until the club's founding, Waco had remained relatively closed off to the music culture that thrived ninety miles to the south in Texas's live-music capital. That changed, however, when Roy Delgado, Steve Espinoza, Jesse "Jay" Ortiz, Arthur Ramos, and Pete Saiz set out to open a nightclub of their own, one which would bring some of Austin's best blues, rock, and Tejano performers to McLennan County listeners. The co-owners dubbed the new venue Abraxas, a nod to Carlos Santana's 1970 album of the same name.

As news of the up-and-coming venue spread, the Abraxas Club succeeded in attracting a growing number of talented artists. With help from Austin-based booking agent Charlie Goodnight and musician Jimmie Vaughan (older brother of the famed Stevie Ray Vaughan), the venue went on to book such performers as the Allman Brothers Band, Freddie King, Ruben Ramos, Paul Ray, Stevie Ray Vaughan, Wet Willie, and David Zychek. While the weekly lineup at the Abraxas featured musicians from a variety of genres ranging from blues to boogie to Texas rock, the club's Tejano flavor quickly emerged as one of its most defining qualities.

In addition to cultivating a space for Tejano music to thrive in Central Texas, the Abraxas Club played a part in the growing Chicano movement of the early 1970s. The club's owners were eager to lend resources and support to their fellow Mexican Americans in the struggle for social, political, and economic empowerment. The founders worked to solidify the movement in the Waco area by offering their club as an organizing space to activist groups such as the Chicanos Unidos, Mexican American Youth Organization, and the political party La Raza Unida. During its four-year lifespan, the Abraxas Club also served as a center for community discussion groups on the Chicano experience. In this way, the club's impact extended far beyond its weekly audiences, contributing to a much broader revival of Mexican-American consciousness in the early 1970s.

Although many were drawn to Abraxas's countercultural, activist vibe, the venue's association with drug use kept many in the area from patronizing the establishment. Several of the club's owners and patrons recalled frequent police raids, in which officials searched the premises for illicit substances, underage drinkers, and AWOL military personnel fleeing the draft in the closing days of the Vietnam War. Financial setbacks associated with these raids and steep booking-agent fees ultimately took their toll on Abraxas. The club often could not afford to entice would-be musicians with competitive compensation, and eventually ceased operation in 1974 following a drug raid led by local police.

For some, the club's closing was a victory in the fight against societal vices. For others, it proved an ill-fated end to a beloved musical and cultural community. Despite the Abraxas's checkered legacy, the club's life provides an illuminating glimpse into several significant cultural, social, and political impulses in 1970s Texas, and as such remains a valued piece of Waco history.

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