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Artful Living




is our


Hall Music


LOVE MUSIC? TAKE LESSONS. REGISTER NOW FOR FALL LESSONS (817) 703-3205 // HallMusicProductions.com

VOL. 1 / ISSUE 10 / AUGUST 2014




08 Publisher’s Letter

22 Word of the Twentieth Century 41 Kids in the Arts

10 Events Calendar

30 Carroll Fine Arts Coalition


14 Lamberto™ Solo Art Show VISUAL ARTS

16 Jazz at Amon Carter FILM

18 Begin Again




45 The Medianoche FOOD

32 Arts Chat with David Lown 48 Southlake Arts Beer Picks DANCE

36 Dallas DanceFest DANCE

39 So You Think You Can Dance? This month’s cover artwork is by Archibald Motley, courtesy the Amon Carter Museum


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Summer is over - can you believe it’s already gone? Jazz is our prevailing theme this month. We sat down with Carroll Senior High Teacher of the Year David Lown (and fellow UNT alumnus) and went in depth about the jazz program, teaching philosophies and plans for the program in the upcoming school year an important read for music lovers. The Amon Carter Museum has a wonderful exhibit of Archibald Motley: Jazz Age Modernist, while contributing writer Jim Lafferty brought us a great essay on the word of the 20th century. DSOD hosted So You Think You Can Dance?, and the Dallas DanceFest is happening this month. For lovers of the arts in general, we have a section about kids in the arts. But it’s not just for the kids: everyone should have some form of creative outlet. We had experts from our area chime in on it: the arts are for everyone. Enjoy the issue!

DAVID HALL David@SouthlakeArts.com


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EVENTS CALENDAR MUSIC REVOLVING DOOR August 14th Austin Street Plaza NASHER 'TIL MIDNIGHT: WHISKEY FOLK RAMBLERS August 15th Nasher Sculpture Center CHRIS ISAAK August 15th Billy Bob's JOSH WEATHERS BAND August 17th Bear Creek Park NINE INCH NAILS & SOUNDGARDEN August 19th Gexa Energy Pavilion AEROSMITH August 22nd American Airlines Center MINGO FISHTRAP August 22nd Gas Monkey Bar & Grill BRAHMS & DVORAK : FWSO August 22nd-24th Bass Hall ONE DIRECTION August 24th ATT Stadium ONE REPUBLIC August 26th Gexa Energy Pavilion CROSBY, STILLS & NASH August 26th Gexa Energy Pavilion


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CHICAGO August 31st Gexa Energy Pavilion TIM MCGRAW August 8th Gexa Energy Pavilion CONCERT IN THE PARK ZACK KING August 9th Rustin Family Park LORETTA LYNN August 9th Bass Hall BEETHOVEN'S TRIPLE CONCERTO September 12th-14th Bass Hall JASON MRAZ September 2nd & 3rd Windspear Opera House BRAD PAISLEY September 5th Gexa Energy Pavilion



September 7th Southlake Town Hall SHEN WEI June 18th - September 29th Crow Collection RICHARD PHILLIPS/JULIAN SCHNABEL Through August 10th Dallas Contemporary

STAR WARS & BEYOND : FWSO September 5th-7th Bass Hall


LINKIN PARK, 30 SECONDS TO MARS, AFI September 6th Gexa Energy Pavilion

SIGHTINGS: BETTINA POUSTTCHI Through August 17th Nasher Sculpture Center


MARK GROTJAHN SCULPTURE Through August 17th Nasher Sculpture Center

JAZZ IN THE ATRIUM Thursdays Dallas Museum of Art

SAMURAI Through August 31st Kimbell Art Museum

THE SPANISH GESTURE Through August 31st Meadows Museum SATURATED: DYEDECORATED CLOTHS FROM NORTH & WEST AFRICA Through October 12th Dallas Museum of Art MIND'S EYE: ASTERWORKS ON PAPER FROM DAVID TO CÉZANNE Through October 29th Dallas Museum of Art FROM THE VILLAGE TO VOGUE: THE JEWELRY OF ART SMITH Through December 7th Dallas Museum of Art ISA GENZKEN: RETROSPECTIVE Through 2015 Dallas Museum of Art SEEING AND BELIEVING: KRISHNA IN THE ART OF B. G. SHARMA Through Jan 19th Crow Collection BENITO HUERTA: AXIS MUNDI V.2 Through Feb 1st Amon Carter Museum MEET ME AT THE TRINITY: PHOTOGRAPHS BY TERRY EVANS Through March 15th Amon Carter Museum

DANCE DALLAS DANCEFEST August 28th-31st Dallas City Performance Hall

what our SOUTHLAKE ARTS readers told us:

SOUTHLAKE ARTS CREATIVE TEAM Publisher & Creative Director

DAVID HALL Senior Art Consultant

KIDS THE WORLD'S LARGEST DINOSAURS Through September 1st Perot FOOD TRUCKS Daily Klyde Warren Park

SPECIAL EVENTS SUMMERBLAST Through Labor Day Lake Grapevine ROANOKE FARMER'S MARKET Saturdays Austin Street Plaza RINGLING BROS. AND BARNUM & Bailey Circus Through August 10th American Airlines Center

THEATRE LES MISÉRABLES June 27th-August 10th Wyly Theater THE PHANTOM OF THE OPERA August 6th-24th Winspear Opera House


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Big Mike


Strangle Love


Time Warp

8/9 Stoneleighs



Buddy Whittington Band


Big Mike


Mr. Inez Petty Theft





Sam Baker


Nick McCord

8/16 Coppertones


Phil Johnson


Dylan Bishop and Matt Parrott


Buddy Whittington Band


Nick McCord


Claire Hebert


Box of Rock


Emma Hinkley


Dylan Bishop and Matt Parrott


Mike and Chris


Emma Hinkley


Sullivan Junction

8/21 Zuma


Nick McCord


Sam Baker


Electric church


Phil Johnson


Sullivan Junction


Fossil Rock


Emma Hinkley


Nick McCord


Blind James


Carol Sullivan & Vic Pepe


Erin Kinsey


Big Mike


Phil Johnson


Ashleigh E. Smith


Party Monkeys


Phil Johnson


Dylan Bishop and Matt Parrott

8/29 Fastlane


Nick McCord


Claire Hebert

8/30 Nightbird


Emma Hinkley


Dylan Bishop and Matt Parrott


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Buddy Whittington Band

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LAMBERTO™ SOLO ART SHOW DRAWS HUNDREDS OF ART LOVERS AND RANGERS FANS There is something magical about a summer art show, especially when it’s well attended and the weather is unusually cool for a mid-July evening. The reception for Lamberto’s Solo Art Show, hosted July 16 by the City of Keller Public Arts Program at Keller Town Hall, drew over 500 people, including Mayor Mark Mathews, all members of the Keller Public Arts Board, the Keller City Council, the Keller Chamber of Commerce, and many other dignitaries in the media and sports world. Those attending the reception were treated to an exhibition of 47 medium- and large-scale paintings entitled “Moments at the Ballpark and Texas Legends.” Keller Town Hall, which features a different art show each month, was a beautiful venue for the large crowd that milled around, greeting friends, viewing the artwork that hung on two levels and along several hallways, and filling Town Hall with laughter and excited chatter. Music by “One Man Band” Harold Huertas added a special energy to the festivities, and a host of wonderful local sponsors provided hors d’oeuvres, desserts, wine, beer, and margaritas: Trio New American Cafe, Buttercup Bake Shoppe, DeVivo Brothers Eatery, Captain Dave’s Party Rentals, Bear Creek Spirits & Wine, and Rahr & Sons Brewing Co. Legacy Event Productions provided the lighting and sound system, and Steadfast Creative designed a collectable poster for the event. Lamberto’s art exhibition will tour throughout Texas for the next two years and is made possible, in part, through the support of sponsors Ken Kendall Financial, Realtors Wynne & Perry Moore, and TX Office Suites Custom Builders. The next exhibition will be September 7 at Southlake Town Hall. Check out the Southlake ARTS Events Calendar for details.


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JA Z Z AT A MO N C A R TE R THIS SUMMER, the Amon Carter Museum of American Art presents the traveling exhibition Archibald Motley: Jazz Age Modernist, the first retrospective of the artist’s paintings in two decades. Organized by the Nasher Museum of Art at Duke University, this 40-year survey includes works from each period of Archibald John Motley Jr.’s (1891—1981) career. The exhibition is on view at the Amon Carter from June 14 through September 7, 2014; admission is free.

and leisure and are infused with the rhythms and colors of jazz. His portraits are voyeuristic examinations of race, gender and sexuality. The artist was born in New Orleans and lived and worked in the first half of the 20th century in a predominately white neighborhood on Chicago’s Southwest side, a few miles from the city’s growing black community known as “Bronzeville.” At the onset of the Harlem Renaissance—a time of cultural efflorescence for African-Americans in the 1920s—Motley reveled in painting Chicago’s black community during the city’s own cultural renaissance. Motley carefully constructed portraits that depict Chicago’s African-American elites, but he also incorporated scenes of recently disembarked migrants from the South and other communities commonly overlooked.

“Despite the broad appeal of his paintings and the significance of his work, Archibald Motley is not a well-known twentieth-century artist,” says Sarah Schroth, Mary D.B.T. and James H. Semans Director of the Nasher Museum. ”We are delighted that this exhibition will introduce his dazzling, colorful canvases to a wider audience... [They] are as vibrant today as they were 70 years ago.” Motley’s scenes of life in the African-American community, often The artist’s incisive portraits and energetic genre scenes garnered in his hometown of Chicago, depict a parallel universe of labor accolades from art critics, launching a productive career. In 1929, after


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studying at the prestigious Art Institute of Chicago, Motley received a Guggenheim Fellowship, funding a year of study in France. During this time, he created Blues, a colorful, rhythm-inflected painting of Jazz Age Paris and several canvases that vividly capture the pulse and tempo of “la vie bohème.” Similar in spirit to his Chicago paintings, these Parisian canvases thematically and pictorially extended the geographical boundaries of the Harlem Renaissance, depicting an African diaspora in Paris’s meandering streets and congested cabarets. His bold approach to painting also marked his visits to Mexico in the 1950s. Motley’s work from this period includes satirical, embellished scenes of country life. “Motley was a master colorist and radical interpreter of urban culture,” says Andrew J. Walker, director of the Amon Carter. “The narrative-based paintings in this exhibition feature the artist’s experiences in three countries—Mexico, France and the United

States; and, they are all bold, dynamic and captivating. We are delighted that our audiences will get to know the work of this expressive and transformative artist.” After closing in Fort Worth, Archibald Motley: Jazz Age Modernist travels to the Los Angeles Museum of Contemporary Art; the Chicago Cultural Center and the Whitney Museum of American Art, New York. The exhibition is curated by Richard J. Powell, the John Spencer Bassett Professor of Art and Art History at Duke and recipient of the Smithsonian’s Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History. A catalogue accompanies the exhibition, featuring critical texts by scholars Davarian L. Baldwin, David C. Driskell, Olivier Meslay, Amy M. Mooney, Richard J. Powell and poet/essayist/novelist Ishmael Reed. (Amon Carter Museum Store, $39.95) southlake ARTS

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story by Blair Croce


SEVEN YEARS AGO, WRITER/DIRECTOR John Carney gained a world of exposure due to the release of his now critically acclaimed film, Once. Centralizing on a pair of charismatic and talented musicians, Once impressed the critics and swept the independent film community. In Carney’s new film, Begin Again, he tries to recreate the magic of Once in another musically driven film.

The film follows Gretta and Dan around New York as they work on the project with an eclectic mix of musicians in the streets of the city. Though various subplots challenge the characters, the experience ultimately gives Gretta confidence and Dan inspiration while strengthening the bond of friendship between them. In the film’s 105 minutes, Gretta and Dan conquer their demons and in the end, resolve their qualms with the world through music.

Begin Again centers on Gretta (Keira Knightley) as she attempts to adapt to New York after moving because of her boyfriend Dave’s (Adam Levine) newly acquired fame. Their relationship quickly disintegrates under the pressure and temptation of the limelight, however, and Gretta soon finds herself living on her friend Steve’s (James Corden) couch. The film opens in a tiny bar crowded with displeased hipsters. With her solemn tune and authenticity, Gretta captivates Dan (Mark Ruffalo), a washed out record executive, and convinced they can create musical magic together, Dan persuades Gretta to record an album.

Carney meshed music and film with excellence in Once but failed to reach the same distinction of music in Begin Again. The music crippled Carney’s latest venture contrary to capturing the emotions of the characters and supporting the ambiguous premise of starting a new life. The songs lacked steam to begin with, and Knightley’s vocals failed to support Carney’s cause. Even seasoned musicians like Levine could not compensate for the lack of memorable melodies and heartfelt lyrics that made Once famous. When the characters find their answers in music, the songs require a tour de force to share them, and Begin Again lacked exquisite musical intensity and talent.

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Although the music stunted the emotional aspect of Carney’s story, certain high points helped to redeem Begin Again. Ruffalo and Corden imbued their characters with irresistible likeability and gave the film a refreshing comedic edge. Carney’s natural implementation of comedy in the script and the actors’ dry delivery broke up the musical numbers with ease and entertainment. Though Knightley’s musical abilities minimized Gretta’s emotional believability, her piercing features and polished acting chops shined in the moments of dialogue. In the end, Begin Again felt like a forced pseudo-sequel to Once, but in this case, the latter far outshined its successor. Begin Again lacked the musical and emotional depth to carry a film about a run-down musician trying to find her “new beginning.” Audiences in search of a lighthearted drama supplemented with bits of comedy will enjoy this film, but those looking for a Once-caliber independent film will surely be left wanting more.

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The Word of the Twentieth Century AN ESSAY BY JIM LAFFERTY, APRIL 1, 2014

FINDING THE WORD The American Dialect Society was formed in 1889. The group of several hundred scholars that make up the society’s membership are “dedicated to the study of the English language in North America, and of other languages, or dialects of other languages, influencing it or influenced by it.” The society publishes the academic journal American Speech. In 1991, they began the annual tradition of announcing the word, or succinct phrase, of the year. Some of the more ubiquitous words chosen as the word of the year include 1994’s “cyber”, 1999’s “Y2K”, 2000’s “chad”, 2001’s “9-11”, and 2009’s “tweet”. The society also announces the word of the decade. The word chosen for the decade of the 1990’s was “web”, and the word of the 2000’s decade was “google”, a generic form of the corporate name “Google”, meaning “to search the internet”. As fascinating as the word of the year is, I am personally captivated – even excited - with the one word chosen to represent the entire twentieth century. Before the unveiling of this word, perhaps a short reflection on words that could have easily been nominated as the word of the twentieth century is appropriate. Profound historical events during the last century included two world wars, the evils of Hitler’s Nazi party, Mussolini’s fascism and the brutality of Stalin and Hirohito. The rise of Mao Tse- tung and the communist party in China, the holocaust, the rise and fall of the Soviet Union, assassinations of historic leaders including U.S. presidents McKinley and Kennedy as well as Senator and presidential

candidate Robert Kennedy. The Berlin Wall was built and later fell, and there was an historic depression that impacted the world economy as never before. We experienced the rise of the Beat and Hippy movements, the power of the civil rights movement that swept the nation during the 1960s - and then we witnessed the assassination of Martin Luther King Jr., the figurehead of that movement. The U.S. government issued its war on poverty; we then lived through the nuclear arms race, and the beginning and end of the cold war. The moving picture was created and the entire entertainment industry was transformed and forever expanded to be an integral part of our culture. Advancements in technology led to the inventions of the radio and the television, man’s first flight and the birth of the entire aviation industry. The first assembly line, conceived of by Henry Ford, profoundly changed industry and made an automobile available to everyone in the middle class. Mid-century, we witnessed

Life is a lot like jazz... it's best when you improvise... GEORGE GERSHWIN the impact of the Manhattan Project and the atomic bomb, nuclear power as a key source of energy, the discovery of penicillin, the first organ transplant, the test tube baby and the discovery of the human genetic code. Manned rockets orbited the earth and men walked on the surface of the moon. The computer was developed and the industry expanded exponentially under Moore’s Law. The pager

and then the mobile telephone Jazz washes became available making away the dust communication instantaneous – whether we wanted it to be or of everyday not. And of course, the end of life. the century brought us access ART BLAKEY to the entire world in seconds as the internet was invented and connectivity to the world’s developed nations started to become part of our lives for the very first time in history. The advent of this technology permanently altered the way we absorb current events, conduct research, transact business, store records, shop for products and services, listen to music, and generally communicate. All of these were historic and transformational for our society. As such, there were certainly many words that would have been considered as the word of the twentieth century. So what words might you nominate if you had been a member of the American Dialect Society back in January of 2000? Perhaps in no particular order one could consider words like: ‘radio’, ‘television’, ‘flight’, ‘democracy’, ‘communism’, ‘atomic’, ‘electronic’, ‘internet’, ‘cell phone’, ‘civil rights’, or ‘space’ – and how about ‘DNA’? None of these words were on the ballot in the final vote except for ‘DNA’ which finished a distant second. The word that was chosen has taken an interesting path in its lifespan which began in the first few years of the century. The word started out as describing illicit activity as only practiced by depraved lower class citizens. It was looked down upon by those of society. It was believed to be a derivation of sexual southlake ARTS

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MUSIC slang. In fact the word of the century started out with several different spellings and not even considered printable by editors of newspapers and magazines until nearly a decade after its use began. It took a spelling change and a slight change in pronunciation in order to overcome its negative connotations. The word of the century has important historical context in terms of societal class, race and people’s quest for independence and freedom. Initially it was only used by the black race, by people in the South struggling for independence, their identity and place in modern society. It was instrumental in describing a rebellious movement, yet it was associated with the underworld, depravity and sensuality, and the word was deeply rooted in class warfare.

I'll play it first and tell you what it is later. MILES DAVIS

There were over 1,025,000 words in the English language for the American Dialect Society to choose from. The word chosen by a landslide vote was “jazz”.

HOW JAZZ BEGAN I will not attempt to provide a history of jazz in this essay but rather a short overview of its origins and my simple perspective on how it is differentiated from certain other types of music. More importantly, I will discuss why that matters to musicians and to listeners and how jazz music is so unique to any other art form. The word ‘jazz’ originated as ‘jasm’, or ‘jass’ and didn’t originally apply to music at all. It was a word that implied speed or spunk and was sometimes associated with sexual slang. To some, the word was a synonym of “fornication”. It was an appropriate name for a scandalous new form of music. To say that jazz music was considered radical in the early part of the century would be a huge understatement. There was an article published in 1921 in the Ladies Home Journal


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by Anne Shaw Faulkner entitled “Does Jazz Put the Sin in Syncopation?”. Ms. Faulkner was the Head of the Music Department of the General Federation of Women’s Clubs when she wrote: “...never in the history of our land have there been such immoral conditions among our young people, and in the surveys made by many organizations regarding these conditions, the blame is laid on jazz music and its evil influence on the young people of today. Never before have such outrageous dances been permitted in private as well as public ballrooms... Jazz originally was the accompaniment of the voodoo dancer, stimulating the half-crazed barbarian to the vilest deeds. The weird chant, accompanied by the syncopated rhythm of the voodoo invokers, has also been employed by other barbaric people to stimulate brutality and sensuality... With this evil influence surrounding our coming generation, it is not to be wondered at that degeneracy should be developing so rapidly in America. That it has a demoralizing effect upon the human brain has been demonstrated by many scientists.” In the television series aired in 2000 entitled “The Devil’s Music: 1920s Jazz”, it was noted that Thomas Edison, the inventor of the phonograph ridiculed jazz to the point of saying that it sounded better played backwards. Love it (like me), hate it (like many), or just put up with it (like most), jazz is much more than a form of music.

Jazz is improvisation a nd syncopation... with true democracy in action. GREG THOMAS JAZZ IS FREEDOM The word has evolved to such a degree that scholar, writer, professor and American culture critic Gerald Early was quoted as saying; “I think there are only three things that America will be known for 2,000 years from now when

they study this civilization: the Constitution, jazz music and baseball. They're the three most beautifully designed things this culture has ever produced.” Clint Eastwood has been quoted as saying “Americans don’t have any original art except western movies and jazz”. But even with those words being said, why would “jazz” be representative of the entire twentieth century? I believe the great Duke Ellington helped shed light on the society’s debate when he said: “Put it this way: Jazz is a good barometer of freedom... in its beginnings, the United States of America spawned certain ideals of freedom and independence through which eventually, jazz was evolved, and the music is so free that many people say it is the only unhampered, unhindered expression of complete freedom yet produced in this country.” Freedom is one word that most of us would agree truly represents America. Is this perhaps how this four-letter word came to be chosen as the word of the twentieth century? THE JAZZ SOUND The roots of jazz were anchored in the Blues, an African-American musical form that evolved after the Civil War and came from slaves working in the fields of the Deep South. Blues is a form of music that is simple in its structure, moving and passionate. One of the fundamental elements of blues features a ‘call and response’ in the musical form. Jazz rhythms evolved from ragtime music. Ragtime was popular in the late 1800s and it evolved out of the African-American culture as modification to marches that were popular at the time. A song is considered ‘ragged’ based on a syncopation of its traditional rhythm. Ragtime was played fast and the early days of jazz music employed fast, syncopated rhythms providing a swing feel. However, jazz music is more complex than Blues and Ragtime. Jazz musicians use all of the twelve semi-tones available but in

complex combinations to get unique sounds within the music.

of western music and uses syncopated triplet notes instead of typical quarter notes.

Jazz voicings - various notes added to root chords - add complexity and body to the music. Diminished and half-diminished chords, multiple key changes within the same song, intervals, harmonic phrases, and particular chord progressions are some of the many tools of the jazz musician. “Modes” allow for the arrangement of tones and semitones that can be played at any pitch, giving the jazz musician an entirely new alphabet for building solos within a jazz tune.

JAZZ AS A VOICE So why is jazz music credited with providing people with freedom of expression? Why was music convention upset in those early days as black musicians incited new sounds that had never been heard before? That answer lies at the heart of what makes jazz music so unique. At the risk of oversimplification, the answer in one word is ‘improvisation’. Improvisation gave early black artists a voice they hadn’t had before giving them a new freedom to step outside the bounds of traditional western music.

Jazz is a feeling, more than anything else. It isn't music, it's language... ENOS PAYNE

Giving it its fundamental swing feel, Jazz emphasizes the second and fourth beats of a measure instead of the traditional first and third beats common in most forms

Jazz tunes are rarely played the same way twice – even by the same musician. Let’s compare that concept to classical music. The classical composer documented every note, every phrase, the quality of individual notes,

There’s a way of playing safe, there’s a way of using tricks and there’s the way I like to play, which is dangerously, where you’re going to take a chance on making mistakes in order to create something you haven’t created before. DAVE BRUBECK the exact rhythm and exact syncopation within each and every measure of the music. Classical musicians are evaluated based on how accurately they play the music as it was originally composed. In competitions, the seasoned listeners and certainly the


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stounded. That’s probably the word that comes the closest. These kids are all of 17 years old, was the refrain in my mind upon watching the Carroll Jazz Band streaming live from their performance at the Essentially Ellington competition in New York City. They were fantastic, and I had the same thoughts in November at the Carroll production of Les Misérables. Broadway, look out! These kids are amazing, and the faculty and administration of Carroll have clearly worked hard to build world-class programs. The arts are thriving in our schools! But maybe that’s a problem. Complacency is a dormant beast. It’s easy to rally support when there is an overt threat, but less so when the outcomes are good. Attention is hard to capture when things are going well. I’ve been on a journey to start an organization in support of the fine arts in Carroll schools. Why fine arts when there are so many other worthy priorities like STEM and Spanish in elementary and intermediate schools? Here’s why… I recently had the honor of serving on the scholarship committee for Carroll Education Foundation, a task that involved reading applications from 33 impressive Carroll seniors. They had diverse interests, and they demonstrated depth in academics and extracurricular activities. They are leaders, and they are across-the-board impressive. I was exhausted just reading about their activities. Our kids live in hyper-competitive environment. Everything is weighed in terms of its impact on a résumé.


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For some, the arts will be a career path, for many a life-long hobby, but for all it is a release. Just as athletics are important components of fostering healthy, resilient kids, so are the arts. The arts nurture creativity, problem-solving, innovative thinking, and personal expression. Arts education stimulates the part of the brain responsible for higher-order thinking in science and math. The arts are a place for many to find a peer group or niche and perhaps discover a passion or hone a talent. Moreover, arts touches every student in CISD from pre-K through high school. How could I not fight for that? I may have been a little guilty of expecting all unicorns and rainbows when I started. Everyone supports the arts, right? The reactions I got were mostly enthusiastic, sometimes skeptical, and a few defensive. But they were all uniformly passionate, and passion is a viable currency. Having only young children with artistic inclinations, I had no idea what Carroll had to offer beyond elementary school music and art. The conversations I’ve had with parents, teachers, administrators, arts professionals, and community leaders have been enlightening. Carroll offers an amazing array of arts electives in high school, such as AP Music Theory, Ceramics, and Printmaking. We have excellent booster organizations for Band, Choir, and Theater Arts at the high school level. We have a multitude of performance and exhibition opportunities for our creative talents. There is clearly much to be proud of, but there is still an opportunity to build on that success, and the mission of the Carroll Fine Arts Coalition is just that – advocacy for and support of fine arts programming across CISD campuses and inclusive of all fine arts disciplines.

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In our initial meetings this spring, with parents and faculty, some themes became clear:


• Parents, teachers, and the administration are passionate about quality arts programming

• Parents would like to see arts programming expanded to include things like an orchestra program and more time/resources devoted to arts in the early school years to build sustained interest/ participation in the later years

The places where the coalition can fill the holes are in working with teachers, administrators, parents, and the community to support coordination across campuses and art forms, focus on early childhood arts programming, and as a unified voice for the elevation of arts in CISD.

• Teachers are resource-constrained and worry about supporting current programs, much less new ones

• Teachers’ wish lists include physical items, requiring budget but also more teachers to accommodate and grow existing programs effectively

• Teachers also value a fine arts coordination point and planning/ development time together as colleagues

• Band, Theater Arts, and Choir have very active booster clubs, but there is a gap in support below high school and for the visual arts

Some might think this is an organization for the performing or visual arts prodigy. It’s much more than that. This is an organization for the art-health of all CISD students, all ages and all ranges of experience. The coalition members have been hard at work planning for a kick-off membership campaign in the fall. Next year, we will feature programming and enrichment opportunities for parents and students. We’ll celebrate our teachers and students with grants and scholarships and ensure that Carroll continues to be an arts-rich environment.

• Administrators and teachers are bound by standards, and it’s difficult to fit everything into a school day

• Inconsistency in arts programming across campuses is a concern for all stakeholders

You have a passion for the arts, otherwise you wouldn’t be reading this magazine, so put it to good use and join us… Carroll Fine Arts Coalition - coming to a school near you Fall 2014.

• More could be done to celebrate, promote, and educate around the fine arts offerings and successes



We sat down with Carroll Senior High’s Teacher of the Year, David Lown to get a deeper perspective on the award-winning program that he has been running at the senior high.


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can see it every time that he plays, that profound influence and impact that Coltrane had on him. DH: That certainly would help! So when did you come back from NYC? DL: My wife and I moved back in 2006. DH: Is your wife a musician as well? DL: She is a band director in Keller. She plays sax as well. DH: What brought you to CISD? DL: When Josh Fox was offered the job at the Jazz Ambassadors, they hired me as a long-term sub at Carroll, and that gradually turned into what it is today.

Lown is from Harrisonburg, VA which has a very good jazz program at James Madison University. While in high school, he was involved in JMU’s jazz ensemble playing tenor sax. Then he went directly from high school to UNT enrolling in their prestigious jazz program. Lown studied at UNT from ‘95 - ‘02 where he played in the 1 o’clock jazz band (the highest band at the school) for three years, directed the 4 o’clock lab band, and taught an improvisation class. After finishing his master’s, he made his way as many musicians do, to Brooklyn, playing as much as he could with various ensembles such as the David Liebman Band, wedding bands and original projects.

DAVID LOWN: Recording with the Dave Liebman big band was the highlight of my time in NYC. DAVID HALL: Dave Liebman did a clinic when we were at UNT! Those were awesome clinics! DL: Yeah he did, and did you know that I had mono when those clinics went on? DH: You were sick when he was there? DL: Neil (Slater) had told me I could pick him up from the airport, and the week before that I came down with mono. I was in bed for a month and had to miss the whole thing! DH: He was mind-blowing, really really inspiring. You could tell when he played that every single note he was playing was the most important thing that he could possibly be doing at that time, and it was so sincere. But you know that since you played with him. DL: Yes, and he does a master class every summer, which is where I really got to meet him. He got to see John Coltrane perform at a young age in the 60s and that had a deep effect on him. You

DH: How long have you been directing the jazz program? DL: 6 years now, starting my 7th year this month. DH: Do you teach anything else at Carroll? DL: I do. I also teach the AP Music Theory class, which is a very important class for any students that want to take music in college. DH: A lot of freshman at college are shocked at the amount of knowledge that is required. DL: There really is. If you go into college with sight-singing and part writing knowledge, it is a tremendous help. DH: It’s fun to watch a student that is preparing for college. You take on more of coaching role, more of a philosophical approach. Because those students that are practicing 40-hours a week…it’s more like guidance than instruction. DL: It’s funny you mention that because that underpins my entire teaching philosophy. Inspire and lead the kids to the point that they become their own teachers. The highest thing that I can aspire to is to help a student be their own best teacher. DH: That is how it was at UNT. You had to teach yourself or change majors. DL: And you and I see students that we don’t even have to try and put on the right path, nothing will stop them from learning. With the other students who are less proactive, my biggest goal is helping them to seek out their own answers. DH: What music have you seen that has worked best with the high school students? DL: It’s always easy to bring them in with music that relates right now. And there are upsides and downsides to that music. For instance, Snarky Puppy is really popular right now. It’s easy to sell a teenager on Snarky Puppy. It’s not the entire meal though. What I’ve found is that my job is to bring an era of jazz to these students. Louis Armstrong, Duke Ellington, Charlie Parker, Miles Davis, John Coltrane - any of those southlake ARTS

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can be presented to students in a way that will resonate with them, if it’s done the right way. I see it as an annual challenge to get better with the presentation of that history. It’s not a 15-year old’s job to know what’s so interesting about a Duke Ellington recording from 1939. It’s my job to present why it’s important and make them feel why it’s so important. And that’s what’s happening here: you can hear it in the way these kids play, this music is important to them. DH: How many different bands are there? DL: There are 3 bands, with about 18 kids in each group. DH: How many times a week do they rehearse? DL: Either twice or three times a week for 90 minutes. DH: Do you feel that is enough time? DL: Yes, but when we are in competition time we rehearse more. We have 20-25 performances a year. We’re very fortunate to be in a community where people want us to come play for the events.


DH: And what are transcriptions? DL: That’s when they learn improvised solos off of a recording, and I like them to do it without writing it down first. DH: So that means that they learn it by listening to the record and playing it. DL: It’s difficult. We start with easier solos for the younger students. DH: It’s easier now, though, with YouTube, yes? DL: A lot easier than using a record or a tape! DH: The tape was nice to use because you could slow it down to learn and hear all of the middle notes. DL: Which is great to hear the nuances in a Charlie Parker or Coltrane solo. DH: So what happens after small groups? DL: We will transition into Jazz Ensemble in the Spring. You know, in my research, I discovered that most schools only do Jazz Band in the Spring, so we have an advantage at Carroll to teach our kids [for both semesters]!

DH: What’s the plan for the 2014-2015 school year that you can share with us.

DH: Now for the fun questions! Who is your favorite current jazz artist?

DL: We are going to focus a bit more on small groups and improvisation in the fall semester. A small group is comprised of drums, bass, piano, guitar plus a few horn players. It’s a group that is focused more on improvisation and less on ensemble playing skills. The reason we are making the shift in the fall is to increase our students improvisation experience and abilities.

DL: Kurt Rosenwinkel, I love his unique melodic concept when he improvises.

DH: Will they be doing transcriptions, perhaps?

DH: What is your favorite part about teaching?

DL: They are!

DL: Seeing students transformed, from one

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DH: If you didn’t play sax, what would you play? DL: Piano! I kind of wish I’d taken piano lessons. DH: You wish you had taken piano lessons? DL: I do, I really do.

state to another. It’s a different transformation for each kid but that’s my favorite. DH: What’s your favorite part about music? DL: Whatever it is that is different from language. We play music because our language doesn’t say it all emotionally and artistically. It is that extra part that music has that language doesn’t. DH: Where are you happiest? DL: With my family, my wife, my 6-year-old daughter and my daughter that will be born in a few weeks! DH: Who is your inspiration? DL: A teacher I had named Marlon Foster. He was a jazz drummer and my middle school director, and he started me on the path by handing me a stack of LP’s when I was in 7th grade. He said ‘go home and listen to these!’ DH: What is your most treasured possession? DL: My saxophone mouthpiece - a handmade mouthpiece made by Francois Louis, and he doesn’t make them any more. DH: What is your idea of a perfect food? DL: The cheeseburger. DH: What are you most proud of? DL: My daughter, everything about her, what she’s turning into. Out of my whole life, my daughter is what I’m most proud of. DH: What would you bring to a desert island? DL: Excluding people, I’d bring my saxophone, my tablet (if we have the internet), and food.

Dallas DanceFest story by Rachel Meador


The Dallas DanceFest picks up where it left off, elevating every aspect for it's reincarnation.


egun in 1985 as an outdoor event called The Dallas Morning News Dance Festival, the showcase enjoyed a 20-year run, and for Dallas-area dancers, became a Labor Day weekend tradition. Ten years have passed since the last festival, but with a recent surge of new, small companies producing interesting and evocative work, now is the time to push the Dallas dance scene toward national recognition. Starting the festival up again is just the beginning.

The biggest and furthest reaching difference between Dallas DanceFest and its past counterparts is the move to indoors (and not just any indoors) at the two-year-old, state-of-the-art Dallas Performing Arts Center. The timing for Dallas dance to being to emerge as a serious force seems to have coincided perfectly with the opening of the new theater. During the festival’s initial 20 years, the dancers performed outside at Annette Strauss Square. The casual, picnic-style venue tempted audience members to only watch the pieces they came to see and chat and mill around the rest of the time. The move to City Performance Hall is sophisticated and sends a clear message from the Dallas dance scene of intention and dedication. The inaugural Dallas DanceFest is budgeted at $80,000 excluding in-kind donations. Dance patron Gayle Halperin along with some of the most influential dancers, teachers and choreographers in the area have selected 16 groups from the 47 applications to perform works no longer than 10 minutes during one of the two evening performances on August 29 and 30. The festival culminates with the annual Dance Council Honors and a final performance by selected troupes and scholarship winners. The big three - Texas Ballet Theater, Dallas Black Dance Theatre, and the Bruce Wood Dance Project - will perform as invited guests. Up-and-coming local companies like Avant Chamber Ballet, Dark Circles Contemporary Dance, student ensembles from Booker

T. Washington High School for the Performing and Visual Arts, and Southern Methodist University, along with a few out of town delegates like Chado Danse from Kansas City and BODYART of New York round out the bill. The move from an outdoor picnic- style performance to such a large and pristine arena makes the new Dallas DanceFest that much more significant than ever before. Space rental and production costs for Dallas City Performance Hall can add up to around $100,000, an impossible price tag for even the most popular small Dallas-area companies. While the spirit of the festival has always been to offer small and mid-size companies exposure next to the big ones, the move inside forces audience members to take them more seriously while the dancers have the opportunity to perform in an almost unbeatable space, a seasoned theater crew, and in this case, lighting by the incomparable Tony Tucci.

"I'm excited to see such a mainstay of Dallas dance community return,” said Avant Chamber Ballet’s artistic director Katie Puder. “There is more great quality dance in Dallas than ever before and I think the changes in the festival reflect that.” Avant Chamber Ballet is one of the many new and promising companies on the Dallas circuit. Only in their third season, ACB’s popularity has soared as the only local company to provide original classical and contemporary ballet works always to the live accompaniment of worldclass musicians. For the Fest, ACB’s Michele Gifford and Shea Johnson will perform Christopher Wheeldon's “There Where She Loved” pas de deux to Kurt Weill's song "Je Ne T'aime Pas.” For ACB and the other popularyet-small DFW companies, festivals like this can be a catapult to greater prominence, and with the way the new Dallas DanceFest is shaping up, up-and-coming companies couldn’t ask for a better platform. southlake ARTS

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DANCE Dancers at Dana's Studio of Dance were treated to a little Hollywood when Ade, Will, Comfort, Noelle and IV REAL MVMNT came to town. Chances are you are one of the millions that watch the hit TV dance competition So You Think You Can Dance? and these are household names. If not, you've surely seen their work. They dance and choreograph for the show as well as for stars like Robin Thicke, Usher, Lady Gaga, Nicky Minaj, and Jennifer Lopez. IV REAL MVMNT came to put on a workshop on dance fundamentals, technique and choreography for students. The weekend intensive incorporated styles ranging from ballet to hip hop and contemporary to ballroom.



But it wasn't just another workshop. The idea is to impart life lessons of discipline, respect, mentorship, and inspiration to kids. The faculty hosts a pizza party and Q&A session designed to break down walls between "celebrity" teacher and student and establish a working relationship. Ultimately, they want the students to walk away with something they can take with them and apply to the rest of their lives. Choreography comes and goes, but inspiration and determination are enduring. At the end of the weekend workshop, the kids put on a showcase to demonstrate what they have learned, and then comes the big reveal: an ulterior motive. Founded by members of SYTYCD Season 4, IV REAL MVMNT started as a hand gesture a sign of solidarity for Season 4 contestants. Though at its root a competition, the dancers found themselves friends and supporters of one another. Co-founder Will Wingfield says, "We started throwing the sign, and pretty soon judges and crowds were throwing it back. We realized we had something, and we needed to put something real behind it."

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DANCE What they put behind that cohesion is a commitment to leverage their celebrity to bring the arts to every community based on four pillars: talent, focus, energy, and togetherness. They believe everyone has talent that is grown and developed through focus, positive energy and community. By putting on workshops at studios like Dana's, IV REAL is able to host a workshop in a nearby underserved or low-access area, providing opportunities to kids who wouldn't have them otherwise. The instructors donated their time and put on a workshop at Christ Haven Keller, helping kids escape hardship and experience pure fun for a few hours. After a warm-up, the faculty led the kids through a game where they introduced themselves and showed-off their best dance moves. Those moves were then incorporated into the choreography for the music video they produced. "Ultimately, we plant seeds of inspiration and try to uplift these kids. The smiles and level of engagement we get let us know that we've started something in them," says co-founder Monique. Eventually IV REAL sees the potential in establishing long-term relationships with the not-for-profit organizations they visit and even hosting exchanges between kids of both communities. After all, art transcends barriers. At the end of the workshop when Monique and Will share with parents at the studio workshops how they have helped support arts in the community through their registration fee, "That's when we hear about the real value their kids have gotten." Now that's a lead we can all follow.


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in the arts

s the new school year is about to start, we parents start to plan all of the extra-curricular activities our children will participate in throughout the school year. Although some of us consider arts education a luxury, or something only for children if they are ‘passionate’ about a certain field, in fact the opposite is true. All kids should participate in some form of arts studies as part of their formal education. Learning to create and appreciate visual and aural aesthetics are building blocks of a child’s education, and statistics show that children who have formal arts education perform higher on the SAT, get into better colleges and plan ahead on a career after college. We asked a few of the directors of different arts programs in our community to give us their insight into the importance of students participating in the arts.

Music lessons make you smarter. Students that take music lessons show increased math, reading, memorization, expression and problem-solving skills. Music makes you healthier. A deeper appreciation of music also makes the health benefits of music more pronounced. Music reduces anxiety (don’t worry, be happy), reduces stress (everything’s gonna be alright), boosts your heart’s health, soothes pain, helps memory, and protects the aging brain (for us mature students).


Music lessons in a band or ensemble environment teach you coordination, team-building skills and are a physical and emotional outlet. Music is for everyone - children and adults. We can all benefit from more music lessons. DAVID HALL - HALL MUSIC PRODUCTIONS

Today’s education does not always challenge the student to be the finest he or she can be. Public or private education must often be supplemented. The art of dance taught under correct circumstances, with the proper discipline, the best instructors and the best and safest facilities, can provide the ingredients in the student’s life that create confidence. Dance builds self-esteem in even the most timid and reluctant child as well as develops interactions between students for the purpose of accomplishing a common goal. Top 5 benefits of dance: 1. Confidence 2. Coordination 3. Teamwork 4. Discipline 5. Allowing Your to Express Creativity Through Movement DANA BAILEY - DANA’S SCHOOL OF DANCE & DFW PAC

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Always on the cutting-edge, the Muller Film and Television Education Foundation was the first to offer programs and workshops in a real-world filmmaking environment to aspiring new filmmakers in North Texas. Each program and workshop is unique and offers the student an inspiring experience in filmmaking and television production. Students benefit from improved writing skills, the ability to work as part of a team, a real professional knowledge of filmmaking, and a large group of networking friends. Our programs and workshops are the most advanced in the Dallas-Fort Worth area preparing you to enter the industry.



Fine Art Classes are beneficial in a number of important aspects:

• • • • •

increasing problem solving skills supporting fine motor skills developing eye and hand coordination building self esteem promoting creative thinking


fine art "Acting is the ability to live truthfully under imaginary circumstances. Who better than kids? The Acting Studio focuses on truth, being YOU truthfully. No competition, just excellence. Being your best, most excellent YOU at that moment whether a singer, actor or dancer. As an artist and a person, no one will ever be able to do what YOU do…nor can you do what they do. The self confidence and work ethic that comes from this is what will drive your art, and the life skills that come from this journey are amazing!

theatre 42

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Learning and finding who YOU are is quite simply one of the most beautiful gifts that an acting technique, or any true artistic technique, can give back to you and your community. Make it about the work…make it about finding YOU." SHANE PETERMAN - THE ACTING STUDIO

Kids in the arts


Anyone ready to move beyond the point-and-shoot approach to photography will soon discover that capturing better images involves much more than pressing a button. The camera’s manual will cover basic mechanics, but a good teacher will guide students in learning how to think critically, evaluate and solve problems, consider different perspectives, be patient, and to use creativity and imagination to make high quality and interesting photographs. These are life skills as well and well worth practicing at any age!

• • • •

Critical Thinking Problem Solving Patience Perspective, Creativity & Imagination


photography Have a Happier Birthday.

FREE Bundtlet when you purchase a bundtlet Southlake Town Square 339 N. Carroll Ave. (817) 416-6228 Limit one coupon per customer. Cannot be combined with any other offer. Redeemable only at the bakery listed. Must be claimed in-store during normal business hours. No cash value.


The Word of the Twentieth Century CONTINUED. THIS STORY BEGINS ON PAGE 22

judges look for every one of those particular notes and how that note is phrased. The skills required to become an accomplished classical musician takes most students many, many years of hard work and dedication to their instrument. A piece of music can take months to perfect. Jazz musicians say “to hell with that, I’m going to play what I hear in my mind and then I’m going to have a conversation with myself, with the other musicians in my band and with my audience” – that is, if there is one! Jazz music is typically made up of “the head” - the main portion of the jazz composer’s song WYNTON MARSALIS that is the foundation of the tune - followed by improvised solos from one or more members of the band followed by a repeat of the head to end the song. The head is usually played several times at the beginning of the song to set the groove and melody of the arrangement, and then the magic of jazz kicks in. The improvised sections are then played by the musician right then, without written notes, sometimes played for the very first time. The musician’s temperament, emotion, energy, mood and artistry are evident.

Jazz music is the power of now. There is no script. It's conversation. The emotion is given to you by musicians as they make split-second decisions to fulfill what they feel the moment requires.

As the great documentarian Ken Burns said in his series entitled Jazz, “The genius of our country is improvisation, and jazz reflects that. It’s our great contribution to the arts.” Improvisation is the heart and soul of jazz music and what makes the art form so unique. Sometimes frenetic energy and ‘the chops’ of the musician are on display – a chance


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to observe ego being flaunted. However, the melancholy sounds, the times the pain and suffering come through the musician’s instrument can be the most moving and emotional to me. Sometimes I like to think of those musical phrases as a heated debate, with a particular argument in play with different points of view and an agreement reached in the end that brings harmony to the relationship as the musical resolution is realized. At other times, great happiness and exuberance will be conveyed to the listener. As a musical genre, jazz doesn’t appeal to the masses. In my opinion, jazz music is the thinking man’s music, but jazz musicians clearly understand their place in the hierarchy of popular music in our society. There is a great saying among them that goes like this: “Jazz musicians play 1,000 chords for 3 people, but rock musicians play 3 chords for 1,000 people!”. My impression of music lovers that say they hate jazz is that they don’t understand this fundamental concept. If they did, they would hear what I hear - a conversation taking place on stage between people that are, themselves, in the process of listening, interpreting what they hear and then expressing themselves using the vast alphabet

available to them in the jazz language. If someone is new to jazz music and is interested in really understanding the magic of this genre, I recommend listening to it in a live setting. If a listener wants to own jazz music, I recommend investing in at least a few albums that were recorded with a live audience. There is no canned formula for success within the jazz genre. I believe many people that enjoy listening to music are impatient, and they are driven to certain types of music that offer predictability. That predictability may be in the form of a particular rhythm, a melody within a chorus or a particular lyrical phrase. I appreciate all of these attributes of popular music as well. But give me a strong gin and tonic with a lemon twist, a dark room and four jazz musicians having a conversation - called a jazz set - and I will have experienced 45 minutes of history that will never be repeated. And I was there; I heard what they were saying to each other – to themselves – that one time, that one night at that one place. In the words of the immortal jazz pianist Thelonius Monk: “Jazz is freedom.”

Man, if you have to ask what it is, you'll never know. LOUIS ARMSTRONG




In Havana, when people get hungry late in the evening, they make a snack or a little Cuban sandwich. It’s called the medianoche, or midnight snack. In Cuba, the sandwich is similar to the daytime cousin the Cuban, a sandwich popular to everyone in Cuba. Thin slices of warmed roast pork cooked in citrus spices and oregano, mixed with a succulent pit ham, covered with a piquant yellow mustard and salty pickle slices, slices of smoked provolone or Havarti Swiss cheese and served on a freshly baked Cuban bread. The sandwich is pressed in a plancha or panini to give a crispy crust, warm the meats, and melt the cheeses. For late night dining, there is this smaller and sweeter version of the sandwich. Just the right amount of savory, salt, and sweet to help bring on pleasant dreams. We have Weinberger-ized our own version of the medianoche. Still looking for that combination of savory, salt, and sweet, we start with a brioche roll, sliced and toasted to bring out its rich, eggy flavor. The meats - Genoa salami, roast pork and ham - are heated until the oils and seasonings of the meats mix and are hot and juicy. The meat is placed on the bottom half of the brioche roll. We cover the meats with our own Butter-chip Jalapeno Chow Chow and drizzle on our own Honey Sriracha Mustard. Baby Swiss covers the top of the sandwich. Placing the top half of the brioche roll on the Swiss, the sandwich is placed back on the panini and covered in a butter sauce and allowed to toast until the brioche is pressed and crisped and the cheese is melted. Savory, sweet, salty and just a bit of spice at the same time. Just to give those pleasant dreams a little more color! southlake ARTS

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The Evolving Universe: A Smithsonian Exhibition


The universe and galaxies have been growing, expanding and exploding since the dawn of time. The images are breath-taking and mind-bending. Experience the visual spectacle of our ever Evolving Universe.

Human ingenuity and creativity can allow us to devise engineering marvels that substantially better our everyday lives. This engaging exhibition invites visitors to explore how design and engineering help build body replacement devices, brain-machine interfaces and tools that help us push the limits of human potential.

Tower Gallery • Now through September 30, 2014

Grand Gallery • Now through September 14, 2014

The Evolving Universe is organized and traveled by the Smithsonian. The original exhibition was made possible by The Windland Smith Rice Nature’s Best Photography Fund.

HUMAN PLUS was created by the New York Hall of Science in partnership with the Oregon Museum of Science and Industry and the Quality of Life Technology Center with funding from the National Science Foundation.

Tower Gallery & Grand Gallery • 636 S. Main St. • Grapevine, TX • www.GrapevineMuseums.com • FREE Admission • Open Daily 20295_GCVB_Southlake_Arts_EU_HP_Aug_2014_ad_v3.indd 1

7/7/14 3:03 PM



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Profile for Southlake Arts

Southlake Arts - August 2014  

Southlake Arts - August 2014