Senior editor Jason Cohen has written for Texas Monthly since 1995 (and texasmonthly.com since its very first iteration). His 1997 story “The Ice Bats Cometh,” about minor league hockey in Texas, was the basis of his book Zamboni Rodeo (Greystone Press, 2001). He also penned the magazine’s first-ever Matthew McConaughey story, in August 1996. The co-author of Generation Ecch! (Fireside Books, 1994) and co-editor of SXSW Scrapbook (Essex/University of Texas Press, 2011), he has also written for such publications as Rolling Stone, SPIN, Details, the Austin Chronicle, the Austin American-Statesman, Portland Monthly, and Cincinnati magazine. His 1995 Rolling Stone cover story on the band Hole prompted Courtney Love to yell at him from the stage at Lollapalooza in Austin, while his 2007 profile of the Portland strip club Mary’s won a Sex-Positive Journalism Award. As one of the two primary writers for the TM Daily Post, Cohen wrote approximately 500 stories for Texas Monthly in 2012. He has been a blogger since 2002 and been known to maintain as many as five Twitter accounts.
Even when they’re not winning games, minor league hockey teams like Austin’s are winning fans by the thousands. Who’d have thought skaters would score in Texas?
Few Austin musicians have been as close to stardom, and unable to reach it, as Alejandro Escovedo. But for him, fame has never really been the point.
Rock, don’t run, to the Rock and Roll Hall of Fame and Museum, where Texas greats from T-Bone Walker to Sly Stone get their due.
Fourteen-year-old country prodigy LeAnn Rimes is singing a Blue streak. But she’s not the only Texas teen tearing up the music scene.
He shone in Lone Star; now he’s thrilling ’em in A Time to Kill. How talent and timing made native Texan Matthew McConaughey Hollywood’s hottest leading man.
Austin’s Butthole Surfers have always been very strange. But these days, the strangest thing about them is their mainstream respectability.
Leaving the popular sitcom Wings for his own show on the Fox network seemed like a risky move, but it’s paying off for native Texan Thomas Haden Church—so far.
Sorry, Bob Dole. Austin director Robert Rodriguez’s follow-up to El Mariachi may be violent, but it’s also art.