the Austin City Limits Music Festival

St. Vincent performs at the first weekend of the 2014 Austin City Limits Music Festival on Friday.

Photo Credit: Jenna VonHofe | Daily Texan Staff

Clad in Converse tennis shoes, shady hats and countless metallic temporary tattoos, festival-goers welcomed the first weekend of the Austin City Limits Music Festival with open arms. With a lineup just as up-to-the-minute as the fashion trends, the weekend was packed with must-see shows. Here is a recap of The Daily Texan’s most memorable ACL


The Scottish synth-pop trio woke up Friday’s drowsy crowds with a lively performance. While their stage presence could have been filled with the typical flashiness of an electronic show, the band opted for a more understated setup, letting front woman Lauren Mayberry’s energetic vocals stand out on hits like “Recover” and “The Mother
We Share.”

St. Vincent

St. Vincent’s live performances define her as an artist: calculated but with room for improvisation. Annie Clark took to the stage Friday evening looking ethereal, delivering a dreamy performance grounded with sharp choreography and heated guitar riffs. “The reason you’re here and the reason we’re here is because we never gave up hope,” Clark said to the cheering, fan-filled audience.

Foster the People

Foster the People sounded better live at the Samsung Galaxy Stage on Friday evening than it does on its albums. Lead vocalist Mark Foster was calm and relaxed while his bandmates brought energy to the performance. Dedicated fans sang the words to every song, helping those who only knew the band’s smash hit, “Pumped Up Kicks,” to stay upbeat throughout the show.


The majority of Beck’s set came from his upbeat, late ’90s and early 2000s albums. Straying from the expected, the rocker played his most well-known hit, “Loser,” early on in the set. Beck commented on the audience’s lackluster energy and proceeded to slow down the pace by playing music from his 2014 release, Morning Phase

Mac DeMarco

“Hey, I’m Mac. I’m here to play some music,” the Canadian singer-songwriter said as he entered the RetailMeNot stage, a cigarette in hand. DeMarco took to ACL in his typical slacker style, performing a laid-back set from his latest album, Salad Days, punctuated with lewd jokes, conversations with audience members and dreamy guitar melodies.

Iggy Azalea

The Australian rapper’s crowd Saturday afternoon was so huge that it could easily have been a headlining audience. While most of her songs were her originals, Azalea also incorporated feature tracks, such as Ariana Grande’s “Problem.” When she sang her signature “Who dat? Who dat?,” a screaming crowd replied with an enthusiastic “I.G.G.Y.” 


An hour before Eminem was scheduled to appear on stage, the crowd had already started chanting. “Marshall! Marshall!” and “Shady! Shady!” Marshall Mathers did not disappoint, performing songs from each of his albums, such as “The Real Slim Shady” and “Without Me.” After finishing his set list, Eminem returned with an encore of “Lose Yourself” as the crowd jumped along to a spectacular finale to end the night.

Miniature Tigers

Brooklyn-based Miniature Tigers walked the line between teenybopper and electronic ’80s pop with their Sunday performance, showcasing their signature breezy
harmonies. Charlie Brand, lead singer and guitarist, took a break to lead the noticeably younger crowd in a cheer, shouting, “Fuck school. No, I’m just joking. Stay in school.”


Outfitted in all black despite the afternoon heat, the alternative punk rockers performed a heavy set on the Honda Stage. The unshakable fans defined AFI’s performance, supporting a stage dive from lead singer Davey Havok within the first two songs of the set.

Jenny Lewis 

Just as the sun was beginning to set Sunday evening, Jenny Lewis took the Austin Ventures Stage dressed in her trademark pastel blazer. Opening with Rilo Kiley’s “Silver Lining,” Lewis paid homage to her former band and followed with tracks from her latest solo album, The Voyager


To see more photos from Weekend one of Austin City Limits, check them out here -

Local electronic-pop band Sphynx is performing its first show at the Austin City Limits Music Festival on Friday. Sphynx, known for its energetic live shows and its mix of modern electronic and retro styles, is quickly becoming known in Austin’s music scene. The band will release its first full-length album in 2015 after the release of two EPs. The Daily Texan sat down with the three members of Sphynx — keyboardist and singer Cory Dennis, guitarist and singer Aaron Miller and drummer and bassist Todd Harris — before their debut ACL performance.

The Daily Texan: How did you guys form Sphynx?

Aaron Miller: We came up with the idea during [Cory’s] bachelor party in, like, 2009 to start writing music together again.

Todd Harris: Cause we had been in a band with three or four people called The El Guapos in high school, and we did that for four years. Before that, we’d jam together for a little while, and even before that, [Corey and Aaron] had been playing together since they were two-years old. So it was kind of like a progression of musical projects.

AM: We just decided that we would start writing music together again, just the three of us, because it seemed like we were the only three around out of our group of friends that really wanted to keep doing music. That was obvious to us at that point in our lives. Then, I guess, just by virtue [and] being fans of pop music and always growing up with that ‘60s and ‘70s stuff, we wanted to start pop music and writing music.


DT: For those who haven’t heard you before, how would you describe your sound?

Cory Dennis: Glam rock/desert noise to sum it all up. But to actually describe it, I don’t know.

TH: It’s throwback, which is in right now. A lot of people are doing retro stuff, and we really enjoy that. We’re hopefully throwing our own twist on it. A lot of modern production mixed with an older David Bowie, Prince influences.


DT: What are some of the influences on your work?

AM: I think kind of like a meld of some more, like, modern dance production influenced us, and we’re all big fans of, obviously, David Bowie, Talking Heads, Michael Jackson. We also really like ‘70s prog, hair metal stuff like Asia, and Yes and stuff like that. More so at later in the Sphynx history, I guess, we’ve gotten more influenced by that stuff. And as far as like production, Cory’s a producer, so he’s interested in a lot of different dance and sub sounds and melding the technique of retro influences with modern technology.


DT: How many albums do you have out?

TH: We actually don’t have a full album out right now. We have two EPs, at least a couple of singles too.

AM: We’re working on a full album right now.


DT: You have an album coming out, “Golden Garden,” in 2015. How would you describe it?

AM: You know, it’s the first full Sphynx album, so I feel like it’s kind of us settling in and identifying what our sound is as a band. When you make a full album, it’s kind of like a statement of experimenting with the other singles and be settled on this sound.

CD: The first two EPs were more development.

TH: This one is definitely more theatrical, a little more complex than the other ones. It’s still pop-y and dance-y, but it has a little more vibe to it. Not as party-dance vibe, but it’s still rowdy and fun.


DT: How did you get booked?

AM: Kind of just through a lot of years of gigging in town and getting to know people. It was something that had been a goal of ours since basically we started playing music. Growing up in town, it’s been the benchmark. It was just like, ‘Oh, if we could play ACL one of these days.’ We started doing shows with C3, who’s a company that puts on ACL because they book a lot of venues here in town, like Lamberts, Parish, stuff like that. Just kind of started a relationship with them and doing shows with them, and, basically, we asked really nicely if we could play ACL this year. Weren’t sure what’d they say, but we were, like, we have this new music coming out; 2014 has been the year that we’ve gone into doing the band full time, so we could do it this year.

TH: Didn’t expect the response we got by any means.


DT: How often do you tour and where do you go?

AM: Northwest, Midwest, Utah, Colorado

TH: We’ve done it two times now — up to Portland and back. It’s always been good to go through mountain towns and hitting up the different ski resorts and the different weird towns. We played Spokane for the first time, close to Canada. We played Whitefish, Montana. We’re going to go up to New York in a couple of weeks.

CD: We’re gone a little over a hundred days a year.


DT: You’re touring with Stepdad in the next couple of months. How did that get set up?

AM: We made friends with those guys about a year ago. We’ve opened for them in Austin, and we’ve been fans of theirs, so when we saw that they were coming through, playing at Empire, we sent a email about opening for them. Ended up becoming really good friends with the band, which is not that common actually, but we just hit it off with those guys. We kept in fairly regular contact with them. They set up doing their fall tour with them, which we’re excited about that. It’s a bunch of new cities for us.

TH: It’s the first support tour that we’ve actually been able to go on, with a band that actually has tour history.


DT: Overall, what’s it like being part of Austin’s music scene?

TH: It’s a mixed feeling. Right now, it’s especially really good. Just from being from Austin — it’s kind of rough seeing how many people are coming here and how big it’s gotten. But being a band in Austin, it’s awesome because Austin is on everyone’s mind across the world; everyone is looking at Austin. To be able to be a band that was born and raised in Austin, it’s actually helped us a lot. People will be like, ‘Oh, you’re from Austin’ and then they’ll check us out in different towns because they know the rep that Austin has.

AM: It seems like the spirit of the city is really full of bands right now because Austin has become more of a big deal than it used to be. On the other hand, the thing with the Austin music scene is that it’s also super saturated. There’s 30 really good bands, instead of three good bands, so it takes a while for people to know about you.


During ACL, Austin resident Jack Armstrong converts his backyard into parking spaces for paying patrons. Armstong can fit about 12 cars in his yard and offers one-day spaces as well as full-weekend spots.

Photo Credit: Rachel Zein | Daily Texan Staff

Just as New York City residents know to leave their homes by New Year’s Eve to avoid the hectic holiday, Austin residents know that driving or parking anywhere in the city during the Austin City Limits Music Festival is nearly impossible — especially around Zilker Park. 

Local businesses and surrounding residents, however, are finding innovative ways to accommodate the crowds and, along the way, pocket some extra cash.

One example is local food trailer park, The Picnic. During ACL The Picnic will not just cater to hungry mouths, as its Barton Springs Road parking lot will be open to people looking for a place to leave their cars.

“We have a managing company that handles the collection of money, but the parking lot is built,” said Alastair Jenkin, co-owner of The Picnic. “It’s just going to operate like a normal, paid parking lot — you just pay the guy.”

Drivers will be able to get one of The Picnic’s 80 parking spots on a first-come-first-serve basis, with each spot costing $30.

“The demand for parking has always been high for ACL,” Jenkin said. “There are just not many places to park.”

UT alumnus Jack Armstrong is a real estate broker who has lived in Austin for over 20 years. When ACL started, he saw the demand for parking spaces. Since then, he has been renting out his backyard and driveway for people to park in.

“I’m usually filled, but I probably won’t try to max it out this year,” Armstrong said. “I get people from years past that find me, and they come back. [They] always email me like a week or two before.”

Armstrong said about 12 cars can fit in his backyard and driveway, and he gives everyone a reserved spot.

“I print the people’s names, and they have their own spots,” Armstrong said. “They can come and go, and their spot will be there the next day.”

As far as pricing goes, Armstrong will charge $40 or $45 per day if a person decides to rent a spot for two or more days.

“It is hard for people to get access to my house because roads are shut down, so that’s always the hard part,” Armstrong said.

For Austin resident Sabrina Sklar, ACL became a chance to make money by renting out her condominium parking space.

“I saw a friend posting on Facebook, so I just said, ‘Eh, I’ll post [an advertisement] on Craigslist,’” Sklar said. “There are thousands of people that walk into the city with limited parking, and I figured I’d make some money.”

Photo Credit: The Associated Press

Many Texas twenty-somethings grew up on fiddle and banjo, and the Austin City Limits Music Festival has plenty to satisfy their love of twang.

Country-flavored acts Asleep At The Wheel, Randy Rogers Band and Trampled By Turtles help the mostly rock and pop festival harken back to its Texas music roots, Jason Mellard, a history lecturer at Texas State University, said.

“The festival is based on Austin’s close connection with country music,” Mellard, who specializes in Texas and country music history, said. “That’s how Austin first got on the map of music — with progressive country in the ‘70s.”

ACL owes its prestige to the television program of the same name that began in 1976 with acts like Willie Nelson and Jerry Jeff Walker to showcase the Texas take on blues and country. The show featured Asleep At The Wheel on its second episode, and the western swing band has been an opening act at the festival every year.

“It’s a great time to see a band. People are raring to hear music because they haven’t heard anything yet,” Ray Benson, the Philadelphia native who started Asleep At The Wheel in 1969, said.

“There are people who come every year because to them it’s a tradition.”

Benson said ACL always features country artists, but not mainstream acts like Taylor Swift. Instead, the festival showcases bands that bring something creative to country, western and bluegrass music. Asleep At The Wheel blends country, blues, Americana and more.

“ACL always has country acts that are not down the middle Nashville acts,” Benson said. “Country music has so many facets.”

Just ask Ryan Young, the fiddle player in Minnesota-based bluegrass band Trampled By Turtles. The band doesn’t identify with the country genre but counts Hank Williams as an influence. Members’ tastes range from fellow Minnesotan Bob Dylan to eclectic punk rock and world music.

“Maybe something I heard in a group from Ghana will relate to something we’re playing and I’ll steal from it a little bit. Timmy [Saxhaug], our bass player, might bring in some sort of Motown flavor,” Young said.

He looks forward to being back in Austin and said Trampled By Turtles gained a following in Austin more quickly than most cities. The band appeals to an audience that might not normally gravitate to country and bluegrass, he said.

“We get a lot of people that come up to us after a show and say ‘I don’t really like the kind of music you play or the genre you are in, but I love your band.’ And then they’ll buy all the CDs,” Young said.

Previous ACL country acts include Lyle Lovett, Alison Krauss and Texas superstar Pat Green. The country and bluegrass acts at ACL tend to have elements of Americana, said Mellard, which helps them appeal to a wider audience.

“There are people who are drawn for the indie elements that are at the core of ACL, and they probably won’t know Randy Rogers,” Mellard said, but any large crowd in Texas will have its country music fans.

Those fans will likely be front and center when Texas country power house Randy Rogers Band takes the stage Sunday. On a phone call from New York City, Rogers said the band members love to play stages in their home state.

They’ve matured musically and exploded on the country scene since they last played ACL in 2006. The festival provides a great chance to see other musicians in action and play for a different type of audience, Rogers said. The band is a “left of center country artist,” he said.

“I like the fact that our fiddle player Brady [Black] will be jammin’ his ass off at a predominately rap, pop and rock festival,” Rogers said. “I’m thankful to ACL for inviting us and realizing there is a large fan base that does like their country music.”

The happiest ACL goers enjoy a wide range of genres. Like a lot of folks, Rogers can’t wait to catch the Red Hot Chili Peppers on the main stage Sunday night right after his band’s set.

Printed on Friday, October 12, 2012 as: Country music remains strong

Hump Day

Photo Credit: Alyssa Creagh | Daily Texan Staff

“You know, music is sex. It’s a sensual driving mode that affects people if it’s played a certain way,” surf music guitarist Dick Dale said.

From the first caveman gatherings and ancient Greek debates about music as a gateway to a person’s soul to today’s festivals, such as the Austin City Limits Music Festival, music has continually held an intoxicating power in society. As Victor Hugo said, “Music expresses that which cannot be said and on which it is impossible to be silent.” 

Sex, just like music, has healing, educational and pleasure-inducing elements that can be enhanced by music’s erotic capabilities.

In an article for Cosmos, biologist Rob Brooks said that music is largely a primeval tool to gain access to mates. He quotes Steven Pinker from “How the Mind Works,” saying music is not really an adaptation but instead like cheesecake.

“Cheesecake packs a sensual wallop unlike anything in the natural world ... music is auditory cheesecake, an exquisite confection crafted to tickle the sensitive spots of ... our mental faculties,” Pinker said.

He goes on to discuss how musicians overcome two of the biggest evolutionary conflicts we all face when searching for potential mates: being noticed by potential mates and then succeeding to court or seduce them.

This is perhaps why “I play the guitar” may be considered one of the sexiest phrases in the English language. 

Lyrics of songs can also be used as modern poetry to seduce a partner, whether you want to “do it like on the Discovery Channel” or “move from the bed down to the floor.” As a former Healthy Sexuality Peer Educator for UT-Austin and as a current, self-proclaimed recreational sex educator, I am always ecstatic to see lyrics used to spread safe sex messages. Lil Wayne rocked my sex education world when he rapped how “safe sex is great sex, better wear a latex, cuz you don’t want that late text ... that ‘I think I’m late’ text.”

It is always fine, of course, to not like music during sex. In an interview for Yale Daily News, Ruth Westheimer, a sex therapist and TV personality, once said, “Music during sex? Absolutely no! People should use their brain to concentrate on being with a loved one, and they don’t need to be distracted by music.” She did quickly point out that was only her personal opinion, saying that “some people get aroused by Bolero, and I say fine. If that’s what arouses you, then go have a good time.”

That’s another way to be sex positive: don’t judge your partner if the “Friends” theme song gets them in the mood. Whether you want to shake it to “Laffy Taffy,” sex to Sinatra or grind to Lil Wayne, music can affect our emotions, release feel-good hormones, encourage role-play and create an atmosphere of orgasmic seduction.

And just like I don’t think you can teach condom use without a proper demonstration, below I present to you some sexy songs brought to you by my social media network of enthusiastic music lovers to get you started on your musical sexcapades.

Want to let me know what you think about music and sex in any combination or tell me your favorite bang-a-licious tunes? Tweet me @MillaImpola

Hump Day Playlist:
Anything d’angelo!
Meek Mill – “Face Down”
Robin Thicke – “Make You Love Me, Teach You a Lesson”
Alice Russell – “Hurry On Now”
Nine Inch Nails – “Closer”
Anything by The Xx.
Vaski – “Insane”
Tiësto & Steve Aoki - “Tornado (Kill The Noise Remix)”
Miles Davis – “So What”
Peggy Lee - “Fever”
Deadmau5 – “Sofi Needs a Ladder”
Bad Company - “Feel Like Making Love”
Jimi Hendrix - Catfish Blues
Keith Sweat – “Nobody”
Tim Ismag – “Bam”
Mixes by the DomiDollz, such as “Sparo Sessions & Corsets”
“A Playlist for Women Getting Head” by Chelsea Fagan, featured in Thought Catalog


Smokers attending the Austin City Limits music festival may be constrained for the second year in a row because of a burn ban set for all of Travis County.

The Travis County Commissioners Court approved a ban on all outdoor burning after moisture readings indicated the soil was drying up. In the wake of the Bastrop County complex fire, which destroyed more than 30,000 acres, the county also issued a burn ban last year that restricted smoking at Zilker Park, where ACL is held. Travis County fire marshal Hershel Lee said only those who abide by hot work procedures will be allowed to burn anything.

He did not comment on whether smoking restrictions will be seen at this year’s ACL festival. Last year, a ban restricted smoking and building fires at ACL, forcing patrons to remove themselves from the grounds before lighting up.

“Only those who abide by the hot work procedures of cutting, welding and grinding are the exception,” he said.

Procedures include making sure that the surrounding 25 feet of workspace is free from vegetation, always having a fire extinguisher handy and making sure a fire watch person is nearby at all times.

Biology junior Alex Moore bought tickets for the upcoming festival and said she thinks it is a smart idea to initiate a smoking ban.

“Although personally I don’t smoke cigarettes, I completely understand the seriousness of a burn ban and would understand if a smoking ban was implemented,” Moore said.

She did, however, have other concerns.

“Do you know if the ban includes marijuana? Because if so, I’m going to have to get high beforehand,” Moore said.

The Stars last came to Austin more than two years ago at the Austin City Limits Music Festival. Since then the band has recorded a fifth album, The Five Ghosts, which was released over the summer.

Known for their lush arrangements and storytelling lyrics woven into the sound, Stars doesn’t disappoint with their new album.

As the band makes their way to Austin, bassist and main composer Evan Cranley said he was happy to return to Texas where “the vastness and bigness of everything blows [him] away.”

The Daily Texan had the opportunity to speak with Cranley on Wednesday.

The Daily Texan: I heard the band got caught in a storm yesterday in Colorado. What happened?
Evan Cranley: It was just too snowy to get through and we had to cancel the show. It was
really unfortunate. It was the first time in 10 years we had to cancel a show.

DT: How was composing The Five Ghosts different from composing the previous albums?
Cranley: Every time we go in to write a record, we like to put
ourselves in a situation we haven’t been in before. It’s good to try subject matter you haven’t delved into in the past. The unfamiliar territory adds to the creativity. You go beyond limitations and find stuff you haven’t tapped into before. The band has gone through so much spiritual and personal growth in the past year and a half.

DT: Is there anything in particular that really influenced you in that year in a half?
Cranley: Starting a family and building a home is a huge lead into another world, another life. Committing myself to that has influenced my part on the record.

DT: Wait, I might have missed something. Did you become a father recently?
Cranley: No, but in four months, yes! I’ve always taken music incredibly seriously, but I think preparing for fatherhood has made me recommit to being a musician in a strange way.

DT: Much of the album comes off as ominous and haunting, which I guess makes the album appropriately named. How did the idea of ghosts come about?
Cranley: You get a different answer depending on who you talk to. For me, the idea came from fear of being anonymous. The idea that you’re no longer connected with a person you used to know, but that person still lives. It can be a romantic relationship, a friendship or family. You’re connected to someone for such a long period of time, and then either the person walks away or you walk away. How can you live your life like you never knew them? I actually find the album quite hopeful and uplifting despite the dark content. There’s a sense of loss, but also beginning.

DT: If The Five Ghosts was a movie soundtrack, describe the movie it would go with.
Cranley: It would replace Tangerine Dream’s soundtrack to “Legend,” that fantasy movie with Tom Cruise. I love that movie, and I like the soundtrack as well, but if we could re-do the soundtrack, that’s my choice.

DT: What’s the most interesting quirk about each of your band mates?
Cranley: I’ve been on a bus with them for the last 48 hours and I couldn’t even go there. I can’t. There’s a veil, a sense of mystery. I want to keep that veil up.

DT: Has the band considered doing any new collaborations?
Cranley: There’s actually something in the works that we’re not allowed to talk about. I’m really excited for it. People can expect something to pop up hopefully in the new year.


WHAT: Stars with Geographer
WHERE: La Zona Rosa
WHEN: Thursday; doors open at 8 p.m.
TICKETS: $20 + service charge

A girl in a bohemian dress sways to the rhythm of her favorite song. Shirtless 20-somethings yell and tussle in the August heat. Thousands of music lovers engage in a mutual dance, despite being surrounded by mud. This is not the Austin City Limits Music Festival but rather a painting of Woodstock by Grace Slick, the lead singer of the 1960s rock band Jefferson Airplane.

Slick, who wrote and performed Jefferson Airplane’s hit “White Rabbit,” will display her collection of psychedelic paintings at Art on 5th through April 24.

Slick became interested in the music industry while working as a fashion model in San Francisco, where she represented designers such as Christian Dior and Balenciaga. She said that although the clothes were beautiful, the modeling job wasn’t interesting to her.

After watching the then-local band Jefferson Airplane perform at a small club, Slick decided that it was time for a career change.

“I thought, ‘My mother was a singer, I can be a singer!’” Slick said.

Shortly thereafter, she and her husband, Jerry, formed the band The Great Society and began touring with Jefferson Airplane. In 1966, Jefferson Airplane’s lead singer, Signe Anderson, left to start a family, and Slick was asked to fill the position.

“We were both dark-haired, low-voiced Norwegians, only I was more flamboyant,” Slick said.

After headlining three of the festivals that shaped the ’60s, both musically and culturally — Monterey, Woodstock and Altamont — Slick’s band achieved international fame. Their U.S. Top 10 singles “Somebody to Love” and “White Rabbit” are both listed among Rolling Stone’s “500 Greatest Songs of All Time.”

After nearly three decades of success in the music industry, Slick decided to broaden her artistic horizons. In 1998, she chose to put down her microphone and pick up a paintbrush.

“You’d be surprised how many guitarists can paint, or how many set designers have a knack for, you know, producing interesting smells. We can jump around because it all comes from the same part of the brain,” Slick said. “Painting is like music, but more solitary.”

Slick claims to have always taken some interest in visual arts, designing her family’s Christmas cards at age 3 and creating line drawings for CD inserts. However, her painting career did not truly blossom until her agent suggested that she depict what she is famous for — music.

“I thought, ‘A musician painting musicians? That’s too cutesy!’” Slick said.

Her vibrant, flowing portrayal of Jimi Hendrix proved to be a popular piece, however.

“When I use colors, you know it. Rock ’n’ roll isn’t obscure; it’s blatant, it’s in your face. That’s what my paintings are,” Slick said. “I don’t want to make something so obscure that people don’t know what to think of it.”

Another recurring motif in Slick’s artwork, which she describes as “elaborate cartoons,” is the white rabbit from “Alice in Wonderland.”

Claiming that the rabbit represents curiosity, Slick says that no one should be afraid to follow it wherever it may lead.

“Everyone has fears — they’re a survival mechanism that dates back to when people lived in caves,” Slick said. “But we don’t live with lions outside our doors anymore. If you’re afraid to do something, do it anyway.”

Though the rabbit pieces are popular among fans who enjoy the hit song with a similar message, Slick identifies with the character on a more personal level. Slick was born in the year of the rabbit and grew up next to a rabbit farm. She likens the rabbit in “Alice in Wonderland” to her own experiences in the music industry.

“‘Alice in Wonderland’ was written in Victorian England, and I was born in the ’50s, when women were expected to wear medium heels and wait at home for their husbands. Boring!” Slick said. “The ’60s, sort of like ‘Wonderland,’ were nuts by comparison.”