Vocal Jazz ensemble concert performed at the UNT College of Music Voertman Hall.

Transcript of an interview with Hardy Haberman, film producer, web designer, and longtime Dallas LGBT activist, for the Dallas LGBT Oral History Project. Haberman discusses his childhood in Dallas, Texas; coming out; LGBT Dallas history; LGBT activism; AIDS crisis in Dallas; current work in web design and marketing; current activism; Cathedral of Hope.

Senior recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Bachelor of Music (BM) in Performance degree.

Wind Ensemble concert performed at the UNT College of Music Winspear Hall.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Master of Music (MM) degree.

Contemporary classical music ensemble concert performed at the UNT College of Music Voertman Hall.

A percussion concert performed at the UNT College of Music Voertman Hall.

Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Master of Music (MM) degree.

A senior recital presented at the UNT College of Music Kenton Hall.

UNT Flute Choir ensemble concert performed at the UNT College of Music Recital Hall.

Jazz concert performed at the UNT College of Music Kenton Hall.

Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Master of Music (MM) degree.

Global Rhythms concert performed at the UNT College of Music Voertman Hall.

Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Master of Music (MM) degree.

Percussion concert performed at the UNT College of Music Voertman Hall.

Percussion ensemble concert performed at the UNT College of Music Voertman Hall.

Jazz concert performed at the UNT College of Music Winspear Hall

The poems in Circles Where the Head Should Be are full of objects and oddities, bits of news, epic catalogues, and a cast of characters hoping to make sense of it all. Underneath the often whimsical surface, however, lies a search for those connections we long for but so often miss, and a wish for art to bridge the gaps. “Circles Where the Head Should Be has its own distinctive voice, a lively intelligence, insatiable curiosity, and a decided command of form. These qualities play off one another in ways that instruct and delight. An irresistible book.”—J. D. McClatchy, author of Mercury Dressing: Poems, judge

Américo Paredes (1915-1999) was a folklorist, scholar, and professor at the University of Texas at Austin who is widely acknowledged as one of the founding scholars of Chicano Studies. Born in Brownsville, Texas, along the southern U.S.-Mexico Border, Paredes grew up between two worlds—one written about in books, the other sung about in ballads and narrated in folktales. After service in World War II, Paredes entered the University of Texas at Austin, where he completed his Ph.D. in 1956. With the publication of his dissertation, “With His Pistol in His Hand”: A Border Ballad and Its Hero in 1958, Paredes soon emerged as a challenger to the status quo. His book questioned the mythic nature of the Texas Rangers and provided an alternative counter-cultural narrative to the existing traditional narratives of Walter Prescott Webb and J. Frank Dobie. For the next forty years Paredes was a brilliant teacher and prolific writer who championed the preservation of border culture and history. He was a soft-spoken, at times temperamental, yet fearless professor. In 1970 he co-founded the Center for Mexican American Studies at the University of Texas at Austin and is credited with introducing the concept of Greater Mexico, decades before its …

What common baking ingredient can conceal white rings on furniture? (Crushed pecans.) How do you detect a repair in a pottery vase you want to buy? (Look at it under a black light.) What’s the best way to remove water damage from your great-grandfather’s Bible? (Put it in your freezer.) Answers to these questions and many more are included in this convenient handbook by long-time antiques expert Dr. Georgia Kemp Caraway. Organized alphabetically, Tips, Tools, and Techniques is easy to consult about the cleaning and maintenance of common antique and collectible objects, including metal advertising signs, glassware, clothing, and jewelry. Addenda provide information such as how to get a good deal at auction, the dates of Chinese dynasties, and U.S. patent numbers. An especially handy pronunciation guide helps the monolingual among us speak with confidence about the provenance of Gallé ware and Schlegelmilch porcelain. Compact yet authoritative, this handbook will appeal to both dealers and buyers, as well as everyone with something from Grandma in the attic.

Texas singer/songwriter Vince Bell’s story begins in the 1970s. Following the likes of Townes Van Zandt and Guy Clark, Bell and his contemporaries Lyle Lovett, Nanci Griffith, and Lucinda Williams were on the rise. In December of 1982, Bell was on his way home from the studio (where he and hired guns Stevie Ray Vaughan and Eric Johnson had just recorded three of Bell’s songs) when a drunk driver broadsided him at 65 mph. Thrown over 60 feet from his car, Bell suffered multiple lacerations to his liver, embedded glass, broken ribs, a mangled right forearm, and a severe traumatic brain injury. Not only was his debut album waylaid for a dozen years, life as he’d known it would never be the same. In detailing his recovery from the accident and his roundabout climb back onstage, Bell shines a light in those dark corners of the music business that, for the lone musician whose success is measured not by the Top 40 but by nightly victories, usually fall outside of the spotlight. Bell’s prose is not unlike his lyrics: spare, beautiful, evocative, and often sneak-up-on-you funny. His chronicle of his own life and near death on the road reveals what …

Spare yet evocative, the poems in Mister Martini pair explorations of a father-son relationship with haiku-like martini recipes. The martini becomes a daring metaphor for this relationship as it moves from the son’s childhood to the father’s death. Each poem is a strong drink in its own right, and together they form a potent narrative of alienation and love between a father and son struggling to communicate. “This is a truly original book. There’s nothing extra: sharp and clear and astonishing. Viva!” —Naomi Shihab Nye, judge and author of 19 Varieties of Gazelle

With muscular language and visceral imagery, Club Icarus bears witness to the pain, the fear, and the flimsy mortality that births our humanity as well as the hope, humor, love, and joy that completes it. This book will appeal to sons and fathers, to parents and children, to those tired of poetry that makes no sense, to those who think lyric poetry is dead, to those who think the narrative poem is stale, to those who think that poetry has sealed itself off from the living world, and to those who appreciate the vernacular as the language of living and the act of living as something worth putting into language.

With poems that combine the self-scrutiny of Philip Larkin with the measure of Elizabeth Bishop, Amy M. Clark burnishes her first collection, Stray Home, with exquisite understatement and formal control. Sweeter than Larkin and more intimate than Bishop, these poems address the suppressed pain and shame of living as a childless woman in a world of mothers, the dissociation attendant on depression and fraught family relationships, and the search for a sense of belonging in the face of dislocation. Stray Home cuts deeply to discover the buried emotions and insights universal to all suffering and compassionate human beings. “Clark is able to imbue our small, usually overlooked moments with unexpected grandeur. A quiet humor is employed in service of her twin gifts, imagination and metaphor. This is an accomplished, deft, and important debut.”—Beth Ann Fennelly, author of Tender Hooks and judge