PREVIEWS JUNE EVENTS

A Mitchell Wilder Retrospective

The Amon Carter Museum in Fort Worth is currently hosting an exhibition of early American art from the Worcester (Massachusetts) Art Museum. Worcester has sent down works by Copley, Stuart, and Benjamin West, along with several important early landscapes and the famous Freake Family portraits, thought to be the earliest examples of American portraiture. The Amon Carter in turn has lent the Worcester museum works from its nineteenth-century American collection, including several of its best Remingtons and Russells and important paintings by Moran, Bierstadt, Bingham, and others. Few Texans have seen the work of the Colonial and Federal masters, and one assumes that the major frontier artists are equally unfamiliar to most residents of the Bay State.

This is the kind of imaginative and ambitious exhibition we’d come to expect from the Carter and its late director, Mitchell Wilder, who died this year after 18 years with the museum. Wilder made the Carter a museum of American art, historic and contemporary, and not just a monument to cowboys and Indians. His idea of the “West” was sophisticated and extended far beyond the boundaries of Fort Worth and Santa Fe. He was fascinated by the entire “westering experience,” Plymouth Rock to the Cascades, and believed that the museum’s function was to document that experience as accurately and completely as possible. Fortunately, his board of trustees agreed; during Wilder’s tenure the Carter grew from a repository for the works of Remington and Russell into one of the premier art institutions in the country.

Those who knew Mitchell Wilder well always comment on his extraordinary eye. The Amon Carter doesn’t own average works by major artists; it owns the best, absolutely superb Morans, Millers, Binghams, and O’Keeffes. Dallas artist Otis Dozier, who worked with Wilder at the Colorado Springs Fine Arts Center, says that he was the most energetic and impassioned art collector he’s ever seen.

“A priest at some poor church in New Mexico might call up to say that he wanted to sell one of his santos and was the museum interested. Before he’d finished the question, Mitch was in his station wagon on his way to wherever to see the piece before the word got out. He crisscrossed New Mexico hundreds of times, buying and trading pots, baskets, rugs, whatever was available that would document the culture of the Southwest. Nobody knew more about the primitive arts of this region than Mitch.”

Or, it could be said, about American painting, Eskimo art, frontier photography, and a number of other fields. Wilder’s interests were as catholic as his energy was boundless. The one label that really fits is frontiersman. He was constantly out ahead of the pack, breaking new ground. While other museums were debating whether or not photography was really art, he was buying the work of Weston, Adams, Dorothea Lange, Laura Gilpin, and dozens of others, so that today the Carter has one of the finest collections of photography in the world. Most museums would be content with a hundredth of its holdings.

He was equally shrewd about paintings, never buying just to plug a hole in the permanent collection. He waited for the best works to turn up, even if he wasn’t sure where they were or what they would cost. His curators would look on in amazement as he calmly shipped back impressive Durands and Cropseys, explaining that while they were good, they weren’t quite good enough. The museum is still without a Durand, but thanks to Wilder’s patience it now owns such masterpieces as Martin Johnson Heade’s “Thunderstorm over Nar-ragansett Bay,” Winslow Homer’s “Crossing the Pasture,” and George Caleb Bingham’s “Pike’s Peak.” Other museums and collectors passed up the Bingham because it lacked the familiar flatboats and boisterous rivermen. It was a puzzling, unconventional picture, which meant that it appealed immediately to Mitchell Wilder. He never looked to others to validate his taste. He had it, he knew he had it, and he was willing to follow it along all sorts of unmarked paths. In addition to assembling major exhibitions of Georgia O’Keeffe, Albert Bierstadt, and Walt Kuhn, he also put together many surprise packages such as “The Bison in Art,” “The Image of America in Cartoon ana Caricature,” and “A Gallery of Dudes.”

One of his most important shows, “The Far North: 2000 years of American Eskimo and Indian Art,” gives an insight into Wilder’s style and attitudes. For nearly four years he traveled throughout Europe, Russia, Canada, and Alaska, putting on more miles than Sergeant Preston in his search for the best totems, masks, and stone carvings. Just as everything seemed to be in place, the Russians balked at opening the show in Fort Worth. They wanted more exposure, and made it clear that if they got it, Wilder could have anything he wanted. If not, he’d have to settle for second best. He promptly went to the National Gallery in Washington and arranged for the show to open there, forfeiting whatever prestige and acclaim comes with being first.

That didn’t bother him. He cared that the exhibitions were good and that the public got to see them, not about feature articles in Time and Newsweek. He shared his ideas freely, collaborating with other scholars and institutions when he could, stepping back if it seemed in the best interest of a project. This lack of pretense permeates the Carter as well. There’s never any doubt that it is a major institution going about important work. Definitive books and monographs appear regularly under its imprimatur. Collecting and conservation are of the highest caliber. At the same time there is an informality about the place that reflects the style of its director.



“Mitch could have intimidated everyone here,” says curator Ron Tyler, “but he didn’t. He just had a knack for making everyone feel important.”



Everyone, including newcomers to the local art community, young journalists with an idea for a story but not enough information, nervous hostesses from whom he invariably extracted recipes and advice. He was gregarious, funny, strong-minded, a firm believer in the principle that a man who couldn’t appreciate the pleasures of the table and the bottle couldn’t be trusted with art. He moved from Bierstadt to Belon oysters without breaking stride.



Even hard-hats had a special affection for Wilder. In the mid-Sixties, he, Martin Friedman (director of the Walker Art Center in Minneapolis), John Entenza, and Rene d’Harnoncourt (late director of the Museum of Modern Art) were hired to advise the Bureau of Reclamation about a piece of art for Glen Canyon dam in Arizona. The nearby mesas were still sacred to the Indians and the government wanted to erect a fit-ting monument, preferably a huge bronze statue of a chief on horseback.

“Mitch was upset enough about the dam,” Friedman recalls, “but this monument idea absolutely horrified him. The four of us rushed out to Arizona, and over a period of days managed to talk the engineers out of the statue idea. The engineers thought the rest of us were only snobbish aesthetes, but they were so charmed by Mitch that pretty soon they were consulting him about how to design transmission towers and what color to paint the power plant at Grand Coulee. He just spoke their language.”



Shortly after Mitchell Wilder’s death, the Amon Carter held a memorial service of its own. There were no eulogies; the doors were opened and friends were invited in to see the collection and reminisce. In a way, reminiscences were unnecessary. Mitchell Wilder was everywhere.

– David Dillon

Jazz from Denton on Record

If you can’t make it to Benny’s jazz club in Denton (1210 W. Hickory), “Benny’s Live” gives you a chance to hear some of the music that’s played there.

The record cover suggests Thirties jazz, but the contents are contemporary. Some of the music may be too uptown for purists, and several solos are a bit long for casual consumption, but all told it’s thoughtful, lively music on a reasonably well-made LP, impressive for a local effort.

Side One begins with Mainstream’s “Alone In A Crowd,” an urban composition by reedman Jerry Pinter. At times it seems tense, but several segments really swing, especially the bright trumpet statement from Rodney Booth.

Then comes Aurora. “Dancing” is about eight minutes long, much of it guitar soloing by Skip SoRelle; his playing stays interesting with only occasional momentum losses. SoRelle and keyboardist John Sharp avoid the electric dissonance that plagues most of their contemporaries.

Breeze is an aptly named combo. Theirs is light, carefree jazz, featuring playing by vibraphonist Larry Hutchinson and saxist Charley Young. Their best cut is the melodic “Tell Me What You See”; not the Beatles’ song but a composition by bassist Andy Chiles:

Bill Tillman once told me that what he dug about East coast mainstream jazz was its intensity. It demands attention, just as do Tillman’s sax and flute playing. He’s with Moment’s Notice, the band that provides this record’s strongest music. Significantly, the solos that this group contributes are the most restrained on the record, and they are by far the most interesting. Both cuts, the simple and excellent “Kaosiku,” written by Claude Johnson, and Earth, Wind & Fire’s “Reasons,” are superior ef-forts. Tillman shines on both numbers, and guitarist Mike DiSimone plays admirably. Also note the percussive, perfectly timed bass work of Bruce Lett.

– Tim Schuller



A New Racing Season in Louisiana

Until the Baptists release their vise-like grip on the morality of the State of Texas, we all must be thankful for Louisiana Downs. In Texas it’s still a sin to bet on the horses; in Louisiana, it’s a way of life. Which is a nice arrangement for Louisiana: Estimates show that at least 50 percent of the betting at Louisiana Downs is done by Texans. The Downs enters its fifth year in June; the first few years were shaky ones, but last year the track made great strides, with a much better racing season, June to November. (The old season ran from January through June.) The better weather has paid off in record numbers of bettors, and that ultimately pays off in better horses and better races.

At the Downs, the grandstand and clubhouse are fully enclosed, though the hardcore stay on the ground and hang around the stable and the tipsters. You pay a dollar for the soft seats and elevated view in the grandstand, but of course, that’s not likely to be all you’ll pay. (Rule of thumb to avoid depression: Don’t expect to win.) The clubhouse is the third level – for $2.50 you get better food, shorter lines at the window, but probably less fun.

The new feature this year is a turf track, the first grass racetrack in this part of the country.

Louisiana Downs is in Bossier City, about a three-hour drive east on Interstate 20 from Dallas. To kill time, try to pick up a Racing Form before you leave (at most city newsstands and several places along the Interstate) to get a jump on the action. Once things get moving at the track, time for choosing the right horse gets short. But then, if you’re just one of those sinful amateurs from Texas, it’s often the last-minute, no-good-reason hunch that wins. – David Bauer

MOVIES



Some of these films haven’t opened in Dallas yet, but they should sometime in May. Commentary and ratings are by Charles Schreger.

★ ★ ★ Must see.

★ ★ Good entertainment.

★ Not a total waste of time.

No stars – don’t bother.

Agatha. Not the mystery of the decade, but certainly an interesting one: What happened to Agatha Christie when she disappeared for 11 days in 1926? Here is a perfectly logical fictional solution, made all the more convincing by two first-rate performances from Vanessa Redgrave as the disappearing writer and Dustin Hoffman as the American journalist who tracks her down. A stylish film.

An Almost Perfect Affair. Michael Ritchie (Smile. Bad News Bears, Semi-Tough) chooses easy targets for his satires, but he consistently handles them with insight. He’s done it again, this time taking a peek at the wheeling and dealing at the Cannes Film Festival. This is a personal film, perhaps too “inside” for many tastes. But besides the film making and film dealing there’s a nice love story between Keith Carradine and Monica Vitti and a firs!-rate supporting performance by Raf Vallone.

Boulevard Nights. This is the year of the gang film. Entry number two (The Warriors was number one), an almost sociological examination of life in the East Los Angeles barrio, is a cross between American Graffiti and West Side Story. The plot is underdeveloped, but the picture looks right. A minor work featuring virtually all unknowns both behind and in front of the camera.

The Champ. A remake of the 1931 film that turned Jackie Cooper into a star. On the positive side, there’s Jon Voight in the Wallace Beery role as a one-time prizefighter scratching out a living in Florida by gambling and tending horses. There’s also Ricky Schroder, taking Cooper’s place as the fighter’s son, an adorable blond with a natural screen presence. The two are wonderful together. Faye Dunaway as Voight’s ex-wife is another matter. The role is unbelievable, Dunaway’s performance is unconvincing, and so is a great deal of the script. But if you’re in the mood for a good cry, go.

The China Syndrome. This is really two films. The first is the inside story of television and the smiling faces that bring you happy-talk news. That one is rich with insights. The second is a thriller about the dangers of nuclear reactors; that one is chillingly predictive. Jane Fonda and Jack Lemmon give their standard excellent performances; Michael Douglas gives his standard over-acted one.

The Deer Hunter. One of the most ambitious and brutal war films ever made is at the same time touching and sensitive. Robert De Niro, John Cazale, Meryl Streep, and Christopher Walken are breathtaking in this three-hour epic which moves from a town in Pennsylvania to Vietnam and back again. The central metaphor is the game of Russian roulette, played by POWs for the amusement of the Vietcong and as a parlor game in Saigon. At times the film is dense, almost to the point of preciousness. Overall, however, a demanding and devastating experience.

Every Which Way But Loose. Here’s everything you need to know about this movie: It stars Clint Eastwood. And a monkey. Lots of people get pummeled. Mostly by Clint. There’s country music, car crashes, and a subplot about Ruth Gordon trying to get a driver’s license.

Hair. The major problem with this daring musical is the material itself. Any drama about the “love generation” is dated in 1979. Still, the music stands up if the story doesn’t. Director Milos Forman’s approach is fresh and bold. One of the most innovative musicals since Cabaret, featuring fine performances by a group of young actors, dancers, and singers.

Heaven Can Wait. With this delightful remake of the 1941 classic Here Comes Mr. Jordan, Warren Beatty becomes Hollywood’s first quadruple threat since Charlie Chaplin. Beatty produced, co-wrote (with Elaine May), co-directed (with Buck Henry), and stars as a naive Los Angeles Rams quarterback prematurely summoned by the Man Upstairs. He returns to earth in a new body – a millionaire industrialist who is the object of a murder plot. Also stars Dyan Cannon, Charles Grodin, Julie Christie, and Jack Warden.

Hurricane. Dino De Laurentiis, the producer who tried to transform King Kong into a romantic leading man, has remade a romantic epic into a picture postcard. And a lovely picture postcard it is. But after you’ve seen three Bora Bora sunsets and watched the waves roll in, you’re ready for some drama. Don’t hold your breath. Jason Robards is the heartless American governor ruling the island. Mia Farrow is his repressed daughter who falls in love with a young native chief, played by De Laurentis’ latest find, Dayton Ka’ne. (Anyone remember his last find, Jessica Lange?) Also features Timothy Bottoms, Max Von Sydow, Trevor Howard, and some special effects, all of which are embarrassingly bad.

A Little Romance. A little gem. One of the most unashamedly romantic movies in years tells a story that on paper seems maudlin but on film, under George Roy Hill’s confident and firm direction, is a delight. It’s a tale of puppy love between two precocious 13-year-olds, one rich American girl living in Paris, the other a tough, street-wise French boy who loves soccer and American movies. Laurence Olivier gets between the two. Also features Arthur Hill and Sally Kellerman. Stylish, charming, funny, tender and marvelously cast and acted.

Love At First Bite. Dracula is back. He’s been evicted from his castle in Transylvania and is in New York City trying to get his teeth into the girl of his dreams, a flaky model played by Susan Saint James. Bob Kaufman’s script is a cute idea, George Hamilton as the 700-year-old blood sucker is a nice stroke of casting, and Stan Dragoti’s direction has its moments. But there’s really not much more.

Manhattan. After his serious excursion with Interiors, Woody Allen has returned to comedy and once again he’s proven that comedy indeed can be a profound medium. The film is about New York, relationships, Jewish neurosis – it’s about Woody Allen and it’s wonderful. It’s also in black and white, with stunning cinematography by Gordon Willis. The performances by Meryl Streep, Michael Murphy, Mariel Hemingway, and Diane Keaton reaffirm that Allen’s abilities as a director go far beyond the technical.

Midnight Express. If ever a true story qualified as a nightmare, it is the story of Billy Hayes, a 20-year-old American busted in Turkey for smuggling hash and sentenced to life imprisonment. As directed by Alan Parker from Oliver Stone’s screenplay, the picture is tough, gruesome, and unrelenting. Impressive performances by Brad Davis, John Hurt, and Randy Quaid.

Norma Rae. At last, and it’s been too long, an intelligent liberal film. Irving Revetch and Harriet Frank Jr. have crafted an insightful and sensitive script about a young Southern textile worker and her involvement with a New York union organizer. Martin Ritt’s direction is masterly. As the worker, Sally Field proves once again that she’s among the best actresses working in film today. Ron Leibman adds a fine supporting performance.

Old Boyfriends. Here’s a intriguing idea for a movie: A disturbed psychiatrist looking for stability travels around the country to visit her old boyfriends. Now that you’ve heard the idea, forget the movie – you know all the best parts. Paul and Leonard Schrader have written this talky, dull exercise, limply directed by Joan Tewksbury and starring Talia Shire, John Belushi, John Houseman, and Keith Carradine.

Real Life. Albert Brooks is an original. He’s taken what at first seems an idea too slim for a full-length feature and made it work, often brilliantly. The picture models itself after the 1973 Public Broadcasting documentary An American Family. But Brooks’ film chronicles the lives of the filmmakers as well as the family. Brooks carries everything a step further than almost any other comic mind in this country. The result is a hilarious sendup of American mores, scientific investigation, and show business.

Same Time, Next Year. One of the best acted and directed films of the year. Also one of the most successful and refreshing screen adaptations of a stage play ever. Ellen Burstyn and Alan Alda are enchanting as a couple happily married to other people who meet once a year for an adulterous weekend at a northern California resort. The story’s premise is artificial, but Bernard Slade’s characters are so richly drawn and the performances are so strong you’ll want to believe it.

Superman. At long last, a Big Event movie that lives up to its hype. You know the story, so just enjoy the retelling. Richard Donner (The Omen) has succeeded handily by adhering to the myth and maintaining a comic book approach. He’s also opened up the story with a prologue from the planet Krypton and created a realistic, sexy love story between Lois Lane and the Man of Steel. Christopher Reeve makes a fine Superman and an endearing Clark Kent. Lots of fun.

The Warriors. If ever there was an argument for the return of the silent film, this is it. Walter Hill’s story of alienation and the outsider, glibly labeled a “gang film” by many critics, is a visual turn-on. If only the characters didn’t speak! Whenever one opens his mouth the words banal, trite, and pretentious gain new dimensions. A cast of unknowns peoples this story of a New York gang being chased through New York one night by scores of other gangs.



FILM SERIES



Dallas Public Library. Free. Central branch Wednesday noon series. 1954 Commerce. Films repeated at 4 pm at Martin Luther King Library, 2922 Forest Ave. 748-9071.June 6: Climb and Solo

13: Game in 21 Points and Women in Sports: An Informal History

20: Jade Snow Wong

27: Sunday Father and Replay and The Street

Granada Theatre. $2.75, $2.25 students and over 65, $1.75 under 12. 3524 Greenville Ave. 823-9610.

June 1&2: The Pink Panther Strikes Again

3&4: Lenny

5: The Duellists

6&7: The Obscure Object of Desireand Exterminating Angel

8&9: Time Machine and Rollerball and A Boy and His Dog

>10&11: Animal Farm and Watership Down

12: Happy Birthday, Wanda June and Slaughterhouse-Five

13&14: Bread and Chocolate and The While Sheik

15&16: Casablanca and Play It Again, Sam

I7&18: The Seven-Per-Cent Solution and Pearl of Death and The Scarlet Claw

19: A Dream of Passion and Iphegenia

20&21: The Lady Vanishes and The 59 Steps

22-28: King of Hearts and That Man From Rio

29&30: Harold and Maude and Smile

Lakewood Theater. Double features for $1.50. 1825 Abrams. 821-5706.

Nicholson Memorial Library. June 5 at 7:30: City on the Edge of Forever, film from Star Trek’s first season. Free. 625 Austin St, Garland. 494-6911.

Skyline Branch Library. June 9 at 2:30: Braverman’s Condensed Cream of Beatles. Free. 6006 Everglade. 381-1149.

University of Texas at Dallas. $1 general public, 50￠ under 17 and over 65. Wednesdays and Fridays. 7:30 and 9:30. Founders North Auditorium, Floyd and Campbell Roads, Richardson. 690-2945.

June I: Boomerang

6: The Rescuers

8: The Sound of Music

13: Such a Gorgeous Kid Like Me

15: Meet John Doe

20: Coonskin

22: My Darling Clementine

27: The Doll’s House

29: Desperate Hours



THEATER

Because of our early deadlines, our recommendations are based on what we know of the plays and the track records of the companies presenting them. Commentary is by John Branch.

Bedful of Foreigners. Through June 24. A comedy starring June Wilkinson. $10.50 Tues; $12.50 Wed, Thurs, & Sun; $14.50 Fri & Sat; $9.75 Sun matinee. Granny’s Dinner Playhouse, 12205 Coit. 239-0153.

Beyond the Sundown. From June 22. A historical drama written by Kermit Hunter (author of a number of such historical and pageant plays) about the Alabama-Coushatta Indians in Texas history. Performed annually on the Alabama-Coushatta reservation. For further information, call (800) 392-8355 or write Beyond the Sundown, Route 3, Box 640, Livingston, TX 77351.

Blood Money. Through June 16. A new musical fantasy with book and lyrics by M. G. Johnston and music by Jim Abbott (it premiered earlier in the season at the DTC’s Down Center Stage). The setting is a sort of blood bank, and the participants include Jesse James, Walt Whitman, and Neal Cassady. The idea is a little unclear, but the show sports some wonderfully campy moments and a dazzling performance by Phillip Reeves. $5-7.50. Tues-Fri 8, Sat 5 & 8:30. Kalita Humphreys Theater, Dallas Theater Center, 3636 Turtle Creek. 526-8857.

Cold Storage. This play at the Haymarket Theatre Company may be held over into June. The most recent major work by contemporary American playwright Ronald Ribman (whose Ceremony of Innocence was performed in Dallas a few years ago), this comedy-drama has to do with a terminally ill merchant. The company, which is partly composed of SMU graduates, is the most recent addition to theater in Dallas; it plans to present plays in open-ended runs and consequently won’t follow a fixed season of productions. $5, $3 students. Thurs-Sat 8. Haymarket Theatre Company, 12215 Coit. 387-3605.

Dallas Summer Musicals. June 5-10: Liza Minnelli in concert. June 12-24: Eartha Kitt in a touring company of Timbuktu, a recent adaptation of the musical Kismet. June 26-July 8: Peter Pan starring Sandy Duncan. For tickets and information: State Fair Box Office, 6031 Berkshire, Fair Park. 691-7200.

Fiddler on the Roof. June 11-23: Well-known musical concerning the social upheavals of a Jewish family in czarist Russia. Casa Manana’s summer schedule will be in full swing thanks to the community’s collection of $300,000 to keep the theater open. 8:15. Mon-Thurs $7.50, Fri & Sat $9, Sat matinees $6.50. 3101 W Lancaster. (817) 332-6221.

Finishing Touches. Through June 9. A comedy by Jean Kerr (author of Mary, Mary and Please Don V Eat the Daisies) about family life in the Seventies. $2-3.50, $1 over 65. Thurs-Sat 8:15. Garland Civic Theatre, Garland Rd at Ave F. 272-9122.

Jumpers. June 5-July 7. Tom Stoppard’s 1972 play about philosophers and gymnasts may be just a pastiche; as Stanley Kauffmann pointed out in The New Republic, it’s compounded of “vaudeville, murder-mystery farce, and intellectual comedy” (and Kauffmann called the mixture “fake”). But it’s quick-witted and sure-footed as far as it goes. $5.50-6.50. Tues-Thurs 8, Fri & Sat 8:30, Sun 2:30 & 7. Theatre Three, The Quadrangle, 2800 Routh. 748-5191.

Mame. Through June 24. Jerome Lawrence and Robert E. Lee wrote the book for this musical adaptation of Patrick Dennis’ novel Auntie Mame; Jerry Herman (of Hello, Dolly!) wrote the music. $3-5. Thurs 8, Fri & Sat 2 & 8, Sun 2 & 5:30. Granbury Opera House, on the Square in Granbury, TX. (metro) 572-0881.

Once Upon A Mattress. June 7-July 8. A 1959 musical version of the princess and the pea tale. The rather droll book and lyrics, by Jay Thompson, Marshall Barer, and Dean Fuller, make up for the rather disappointing music by Richard Rodgers’ daughter Mary. $4.75. Thurs-Sat 8:15, Sun 3. Dallas Repertory Theatre, NorthPark. 369-8966.

Shakespeare in the Park. From June 14. The Tempest will be performed June 13-17, 28 & 30: Hamlet June 21 -24 & 29 (both plays have further dates in July). Free. 8:30. Trinity Park Playhouse, West that Trinity Park Blvd, Fort Worth. (817)924-3701.

The Tender Trap. Through June 17. A comedy starring Hugh O’Brien. $10.50 Tues; $12.50 Wed, Thurs & Sun; $14.50 Fri & Sat. Country Dinner Playhouse, 11829 Abrams. 231-9457.

To Kill A Mockingbird. From June 26. Another substitution in the Theater Center’s season (owing to the unavailability of Sly Fox). This is a dramatization of the Harper Lee novel about the culture (or lack of it) of a small Southern town. $5-7.50. Tues-Fri at 8, Sat at 5&8:30. Kalita Humphreys Theater, Dallas Theater Center, 3636 Turtle Creek. 526-8857.

Vanities. June 7-16. Jack Heifner’s jaundiced comic study of three girlfriends, seen first in high school and then ten years later. $4 Wed-Thurs, $4.50 Fri & Sat; students $2.50. Wed-Sat 8:15. Fort Worth Community Theatre, William Edrington School Theatre, 3505 W Lancaster, Fort Worth. (817) 738-6509.

You Can’t Take It With You. June 8-9. 14-16, 21-23. One of the three great comic collaborations between George S. Kaufman and Moss Hart; it’s about how an eccentric family copes with the Depression. 8:15. Arlington Community Theatre, Arlington Community Center, 2800 S Center, Arlington. 261-8295.



MUSIC

Dallas Symphony Orchestra. Keeping the DSO musicians busy during Dallas’ semi-tropic summers has been a problem. Frying under the tent at Summertop was no solution. But last summer, spreading blankets on the Electronic Data Systems grounds on Forest Lane for “Starlite” caught on with hundreds of Dallas Symphony goers, so this summer the DSO is repeating the musical picnic in a series called “StarFest.” Tickets can be had by the carload, discounts are available with special coupons from the Times Herald (one of the sponsors), Medical City is providing extra parking close to the bucolic EDS grounds, and box seats can get you closer to the performers. So pack a supper, sit back and relax for some cooler summer evenings of classical music, comedy, and pop. Four Thursdays of classical fare start off June 7 with Eduardo Mata conducting the DSO in Mostly Mozart. Italian conductor Paolo Olmi follows June 14 with pianist Marianne Jacobs. June 21: Boston’s Sarah Caldwell with DSO violinist J. Patrick Rafferty. June 28: DSO associate conductor Christian Tiemeyer with Associate Principal cellist, Yuri Anshelevich. Six Friday nights bring C&W, rock and roll, and pop beginning with June 8: Harry Belafonte. June 15: Chuck Berry. June 22: A “James Bond Evening” conducted by Carmon DeLeone. June 29: Deb-by Boone. July 6: Ronnie Milsap. July 13: Jim Nabors. On Saturday nights the DSO and guest artists play two concerts per evening, starting June 9 with Roberta Flack. June 16: Marilyn McCoo and Billy Davis Jr. (formerly of the Fifth Dimension). June 23: comedian Gabe Kaplan. June 30: Debby Boone. July 7: Bill Cosby. Sunday nights are reserved for the lighter symphonic repertoire from the DSO’s 8 O’clock Pops Series. June 10: Boston Pops arranger Richard Haynes conducts the orchestra. June 17: John Williams, the composer of themes for Superman, Jaws, and Star Wars conducts. June 24: Rocky composer Bill Conti conducts. July 8: 8 O’Clock Pops regular conductor, Erich Kunzel, returns to the DSO podium. July 15: Andre Kostelanetz conducts. Thursdays 8 pm, Fridays 8:45 pm, Saturdays 7:30 and 11 pm, Sundays 8 pm. Tickets at Joske’s, Preston Ticket, and Rainbow Ticket. 692-0203.

Dallas Symphony Orchestra Summer Park Concerts. Free. June 1: Kiest Park, 3012 S. Hampton, 8 pm. June 2: Fretz Park, 6950 Belt Line Rd, 8 pm. June 3: Marsalis Park Zoo, 621 E. Clarendon, Noon; Farmer’s Market, Pearl at Central Expressway, 8 pm. June 6: Akard Street Mall, Noon.

Dallas Chamber Opera Society. June 8 & 10, 8 pm: The University of Texas at Dallas hosts this 2-year-old group of talented local professionals for fully staged and costumed performances of two rarely heard chamber operas: Stravinsky’s comic opera Mavra. first performed in 1922, is a self-conscious throwback to the traditional formulas of Italian opera. Monteverdi’s 11 Combattimento di Tancredi e Clorinda is based on part of the epic poet Tasso’s Gerusalemme Liberata. In 1624 this work took opera forward toward animated, expressive realism. Both operas have more than historical interest and, despite their experimental nature, are valuable aesthetically. Robert X. Rodriguez conducts. University Theater, University of Texas at Dallas. 2601 Floyd Road, Richardson. $5, $2.50 students. 690-2982.

SMU Summer Music Study. For anyone involved in teaching or learning music, the place to be in June is the Music Division at SMU. Clinicians and teachers from around the country will be augmenting SMU’s nationally recognized faculty members in a dozen different workshops. June 5-July 13: Organ master classes and private study with SMU organ virtuoso Robert Anderson. June 6-8: Clifford Madsen of Florida State University conducts a workshop in Behavior Modification in Music Education. June 11-22: Music in Special Education, led by Charles Eagle of SMU and Wanda Lathom of the University of Missouri. June 11-14: Berton Coffin leads the Sounds of Singing Workshop and Master Class. June 11-13: Show, Jazz, and Swing Workshop led by Earl Rivers and Joan Walton of the University of Cincinnati College Conservatory. June 11-29: Music Teaching/Learning, taught by Donald Hodges of SMU. June 11-15: Louise Bianchi, SMU’s expert in piano pedagogy, and David Karp, head of the SMU piano department, conduct a workshop in Piano Teaching (Elementary and Intermediate Students). June 18-22: Louise Bianchi and David Karp conduct a Seminar in Piano Teaching (Advanced Students). June 11-14: Survey of Band and Wind Ensemble Literature with Emphasis on New Texas U1L Prescribed Music List, with Tom Lee, University of Texas at Austin, and Howard Dunn, SMU. June 18-21: Rehearsal Techniques for Secondary School Instrumental Programs, with Fred Ebbs of Indiana University and Howard Dunn of SMU. June 25-28: Trends in Contemporary High School Marching Bands, and Tim Lautzenheiser of New Mexico State University and Bob Branden-burger of SMU. June 20-22: Junior High-Middle School Choral Workshop with Eva Mae Struckmeyer of Oakland, California. June 27-29: Workshop in Choral Art with SMU’s distinguished choral conductor Lloyd Pfautsch. For appropriate courses, rehearsal groups will be available to perform. Courses may be taken for credit or non-credit. 692-2643.

Carlo Pezzimenti. June 3 at 8:15. This classical guitarist has recently cut a recording and seems to be making it in a big way. His concert benefits the SMU Italian Club Scholarship Fund. $3.50-$15. Caruth Auditorium, SMU campus. 368-2978.



NIGHTLIFE



Andrew’s. One of Dallas’ better bars, impeccably crafted with paneled walls, hardwood floors, and antique furniture. Best features are the outdoor courtyard and the bargain drinks; its worst, the occasional folk music. Happy Hour daily until 7. Mon-Fri 11-2, Sat & Sun noon-2. At, MC, V. 3301 McKinney. 526-9501.

Balboa Cafe. This cafe calls itself Dallas’ second fern bar, meaning it’s like the San Francisco Rose. There’s lots of glass, greenery, and couches and a reasonably good selection of imported beer, but the place is very new and the kitchen needs time to breathe. Mon-Sat 11-2, Sun 12-2. All credit cards. 3604 Oak Lawn. 521-1068.

Bagatelle. One of the best places for jazz listening, it’s also a comfortable, dimly-lighted bar with low couches and music that doesn’t prevent conversation. Entertainment Thurs 9-1; Fri & Sat 9-1:30; Sun & Mon 8:30-11:30; Tues & Wed 8:30-12:30. Bar hours, Thurs noon-1; Fri & Sat noon-2; Sun-Wed noon-midnight. All credit cards. Reservations Fri and Sat. 4925 Greenville. 692-8224.

Cardinal Puff’s. A favorite of the quieter SMU set, it’s a bright, friendly place with no pretensions. In warm weather, enjoy the decked beer garden; in colder months, the greenhouse with fireplace. Excellent sandwiches and munchies; beer and wine only. Daily 4-2. MC, V. 4615 Greenville. 369-1969.

Carlotta’s Cadillac. A dimly lighted, moderately priced Mexican restaurant where you can hear tactful jazz and interpretive standards by the sax/piano duo The King & I. This talented pair was the house band at Jason’s and we’re glad they’re still on the scene. Entertainment Thurs-Sat 9:30-1. Regular hours Mon-Sat 11:30-2, Sun 6-midnight. MC, V. McKinney at Hall. 521-4360.

Chelsea Corner. A little over-ferned and antiqued, but well-designed enough to permit you to find a quiet corner and escape from both the collegiate clientele and the folk singers, if you wish. Excellent drinks – they serve Johnny Walker Red off the bar. Happy Hour daily 11:30-8. Mon-Fri 11:30-2; Sat 12-2; Sun 1-2. AE, MC, V. 4830 McKinney. 526-9327.

The Embers Lounge. Forget that the bar is stocked like your Uncle Ed’s, that it’s only a waiting place for tables for the Southern Kitchen restaurant which houses it: On Saturday nights, the Embers becomes one of the best jazz bars in Dallas; pianist /vocalist Al Dupree could give lessons to Bobby Short. Sat 7:30-10:30. All credit cards. Southern Kitchen East, 6615 E. Northwest Hwy. 368-1063.

The Enclave. Attracting mainly an over-30, well-heeled crowd, the Enclave tries to be a class joint, and it succeeds in terms of drinks, attentive service, and low lighting. It and pianist-vocalist Gene Albert suffer, however, from the over-sized sound system that makes the live music sound just like Muzak. Albert performs solo during Happy Hour 6-8:30 Mon-Sat; two sidemen join him from 8:30-12:30 on weeknights and until 1:30 on weekends. Mon-Thurs 11:30-2:30 & 5-12:30 ; Fri & Sat til 1:30. All credit cards. 8325 Walnut Hill. 363-7487.

Greenville Bar & Grill. Billed as Dallas’ oldest bar, brought back to life as a neighborhood gathering spot for Lakewood/East Dallas. A comfortable place to drink, talk, and munch burgers. Daily 11-2. Thurs & Sun: Hal Baker and the Gloom Chasers play Dixieland. Food served 11 am-1. $2 cover Thurs, $1 Sun. 2821 Greenville. 823-6691.

Hatz’s. This clean, well-lighted new pub has promise but must stop serving gin and tonic weak, over-iced and (worst of all) in a beer mug! The featured band is Bella, a tight unit that features singer /guitarist Karen Bella in a setting somewhat more electric than we’re accustomed to hearing her in. Sandwiches and salads available. Daily 11-2. Entertainment Thurs-Sun 9-2. No cover. 2818 Greenville. 827-4201.

The Hop. This small but friendly pub has the best munchies in Fort Worth – fried okra and eggplant, for example; pitchers are $1 every Wednesday after 2. The crowd is a happy amalgamation of college students and families. Mon-Sat 11-2; Sun 4-1. MC, V. 2905 W. Berry, Fort Worth. (817) 923-7281.

Ichabod’s. The best of the Greenville Avenue bar/disco/restaurants, a long, elliptical place with tiered seating all around. Good drinks and service; always crowded. Daily 5-2. All credit cards. Old Town in the Village. 691-2646.

Joe Miller’s. The media people bar, and probably not much fun for non-regulars. The smallness and plainness of the bar are offset by Miller’s personality as well as by his two-ounce, well-iced drinks. Mon-Fri noon-2 am. AE, MC, V. 3531 McKinney. 521-2261.

Knox Street Pub. An apparent favorite of young professionals, the nostalgic pub features excellent food and a jukebox that rivals the Stoneleigh P’s. Daily 11-2. No credit cards. 3230 Knox. 526-9476.

Lakewood Yacht Club. In East Dallas’ neighborhood bar, scores of press photos decorate the walls from eye level all the way up to the incredibly high ceiling; there’s also (inexplicably but interestingly) a UPI teletype machine. Home-cooked potato chips, really comfortable chairs, a well-stocked jukebox, and an interesting clientele. Daily 11-2. AE, MC, V. 2009 Abrams. 824-1390.

The Library. This new bar/restaurant in the spruced-up old Melrose Hotel achieves the understated tastefulness for which most motif bars strive. The small bar area is richly appointed in brass, leather, and, of course, books; it’s comfortable, blessedly quiet; the drinks are excellent, and the service is unobtrusive. Daily noon-1 am. All credit cards. 3015 Oak Lawn. 521-5151.

Lillie Langtry’s. Antlers on the wall, portraits of actress Langtry, and an informal clientele are aspects of this small, rustic-looking club. More important are the entertainers, who have recently included talented locals like Karen Bella and blues guitarist Charley Lee. Happy Hour Mon-Sat 4-7, Sun 2-7. Regular hours Mon-Sun noon-2 am. Nachos and sandwiches served. No cover. AE, MC, V. 6932 Greenville. 368-6367.

Old Plantation. A predominantly gay disco. The sound system is incredible; the music, nonstop mainline disco. (Lately they’ve been turning away women in open-toed shoes.) Sun-Thurs 8-2; Fri & Sat 8-4. $1 cover Sun-Thurs, $2 Fri & Sat. No credit cards. 1807 N Har-wood. 651-1988.

Overtake Bellringer. The best straight disco in town, usually jammed with serious dancers and hustlers in their late 20s and early 30s. The help is a little surly, liable to make up dress restrictions on the spot when the place is too crowded; there’s usually not much seating, so go only if you just want to boogie. The Beggar, across the street, attracts Saturday Night Fever types, but it’s often less crowded. Daily 11-2. AE, MC, V. 9525 Overlake. 350-5541.

Palladium. Here, you can see some of the hottest recording acts in jazz, rock, blues, and C&W in a small (800-seat) and comfortable concert hall with uncommonly good seating and acoustics, and mixed drinks that aren’t so good. 6532 E. Northwest Hwy, behind Arby’s. Ticket office 692-8878. Main office 363-4455.

June 1 & 2: Waylon Flowers

6: Hoyt Axton

8 & 9: John Prine & Leon Redbone

16: Mose Allison

30: Chet Atkins

Papillon. An over-rated restaurant with an under-rated bar, an attractive place raised slightly above the dance floor. Big enough to let you ignore the Beautiful People if you wish; usually quiet; with touch-dancing music late in the evening. Mon-Fri 11:30-2; Sat & Sun 6-2. All credit cards. 7940 N Central. 691-7455.

Poor David’s Pub. Small, dank, and informal, PD’s has a variety of entertainers Mondays, it’s ex-Bee’s Knees guitarist Anson Funderburgh and his Rockets, a talented and no-nonsense blues band. Good sandwiches available, kitchen stays open till 1 am. Happy Hour daily 2-7. Mon-Fri 11:30-2, Sat 7-2. Closed Sun. Cover varies. No credit cards. 2900 McKinney. 824-9696.

Popsicle Toes. Taking its name from a Michael Franks tune, this club’s not long on atmosphere or comfort, but has presented a diversity of local jazz. The house band is the funk/jazz unit Buster Brown (Tues through Sat), and on Sunday there’s big band jazz with the Dallas Jazz Orchestra. Tues-Sun 9-2. Closed Mon. Cover varies (no cover Tuesdays). No credit cards. 5627 Dyer. 368-9706.

The Quiet Man. One of the few surviving Sixties quiet places, the small beer garden is a great place to talk over a beer – except during rush hour on Knox Street when the nearby Highland Park Cafeteria opens its serving line. Lacking some but not much of the place’s charm is the other Quiet Man at 5629 Yale. Sun-Thurs noon-midnight; Fri & Sat until 2. No credit cards. 3120 Knox. 526-6180.

Recovery Room. It’s time we face facts. This is the only club in town that’s consistently provided us with true jazz, and (wonder of wonders), it’s done so with no cover charge! But economic realities have prevailed and the club has started Survival Drive Sundays, when a $2.50 cover will permit the place to pay its bills and remain the Foundation of our jazz scene. Robert Sanders Mon-Wed. Marchel Ivery Quartet Thurs-Sat, Marchel Ivery and guests Sun. Cover Sun only, $2.50. Mon-Sat 9-2, Sun 8-midnight. 4036 Cedar Springs. 526-1601.

San Francisco Rose. A bright, laid-back place, adorned with a lot of greenery, a few couches, and wingback chairs. Salads, sandwiches, and soups are all pretty ordinary, but as a bar, it’s an appealing place, particularly on a dreary day. Mon-Sat 11:30-2; Sun noon-2. AE, MC, V. 3024 Greenville. 826-2020.

Stoneleigh P. A made-over drugstore with terrific burgers, featuring dark rye buns and provolone. There’s a jukebox with everything from classical to country, and a browsing-encouraged magazine rack. Mon-Thurs 11:15 am-midnight; Fri & Sat until 1 am; Sun noon-midnight. No credit cards. 2926 Maple. 741-0824.

Strictly Ta-Bu. The Forties are alive and well in this neighborhood bar and restaurant, from the pink flamingo mural to Benny Goodman on the tape system. A comfortable, dimlylighted club with separate dining and listening areas, it attracts an eclectic clientele of all garbs and predilections to hear mainstream jazz standards. Mon-Thurs 5-1; Fri 5-2; Sat & Sun 6-2. No cover. MC, V. 4111 Lomo Alto. 526-9325.

Texas Tea House. A get-down country place, with dancing in the beer garden outside. Cover varies. They serve only Longnecks, Spanada, and Old Milwaukee on tap. No credit cards. Tues-Sat 8-2. 3042 Kings Rd. 526-9171. Top of the Dome. The only bar in town with several views of the Dallas skyline. Daily 11-2. All credit cards. $1.50 for the trip up. Reunion Tower, 301 Reunion. 651-1234.

Venetian Room. A fancy and expensive mock-up of the Doge’s Palace, this supper club attracts those couples who appreciate the semi-formal dress requirements and who like to foxtrot to an orchestra before the show. The cover is usually $10 and up a head, and worth it only when you know the performer gives a dynamite show. The service reminds one of Bren-nan’s – friendly and attentive at its best, lackadaisical and downright surly at its worst. Two shows nightly except Sunday. Through June 9: Buddy Greco. June 11-23: Al Martino. AE, DC, MC, V. Fairmont Hotel, Ross & Akard. 748-5454.

The White Elephant. Located in tne recently revived Stockyards District in Fort Worth, this place looks like what all non-Texans think real Texas bars should be – lots of rough wood, a long bar, and a clientele occasionally decked out in Western attire. Entertainment provided by singer-guitarist Don Edwards. Mon-Sat 11-2. Closed Sun. MC. 106 E. Exchange, Fort Worth. (817) 624-0271.

Whiskey River. Decorated in rustic western style and resembling a corral, it usually features – what else? – progressive country acts. Daily 8-2. Cover varies. AE, MC, V. 5421 Greenville. 369-9221.



ART



MUSEUMS

Amon Carter Museum. Through June 24: Early American and 18th-century art by such artists as Benjamin West and Gilbert Stuart; also the Freake family portraits (1674), generally regarded as the first examples of American portraiture. Main gallery. Tues-Sat 10-5, Sun 1-5:30. 3501 Camp Bowie, Fort Worth (817)738-1933.

Arlington Community center. June 9-30; Collection of folkloric and religious objects from Central America. Mon-Fri 9-5. 2800 S Center Street, Arlington. 465-6661.

Dallas Museum of Fine Arts. Through June 24: Avedon: Photographs 1947-1977. Exhibition of 200 photographs of women and fashion by photographer Richard Avedon. Tues-Sun 11-6. Fair Park. 421-4188.

Fort Worth Art Museum. Through June 10: Focus Series presents sculpture in terra cotta by Nicholas Wood. Tues-Sat 10-5, Sun 1-5. 1309 Montgomery, Fort Worth. (817) 738-9215.

Irving Center for the Arts. Mon-Fri 10-4, Sat & Sun 2-4. Bradford at Airport Freeway, Irving. 253-2488.

Kimbell Art Museum. Through June 3: Chinese paintings and calligraphies selected from the Arthur M. Sackler collection. Tues-Sat 10-5, Sun 1-5. Will Rogers Rd. West, Fort Worth. (817)332-8451.

NTSU University Gallery. Through June 8: Showing by Amy Freeman Lee, a San Antonio watercolorist.

June 18-29: Oil paintings by Mark Williams, an NTSU graduate now working in New York City. Mon-Fri 12-5. Mulberry at Avenue A, Demon. (817) 788-2163.

SMU University Gallery. Through June 30: Recent perspective paintings by Dallas painter James Dowell. Mon-Fri 8:30-5, Sat 10-5, Sun 1-5. Meadows School of the Arts, SMU. 692-2516.

GALLERIES

Adelle M. Fine Art. Through June: Abstract landscapes in pastels and watercolors by Eleanore Lazarof. Mon-Fri 9-5, Sun 1-5. 3317 McKinney Ave. 526-0800.

Afterimage. Through June 16: Surrealistic color photographs by Michael H. Siede. June 19-July 20: Portraits by Phillippe Halsman. Mon-Sat 10-5:30. The Quadrangle, 2800 Routh, No. 151. 748-2521.

Altermann. Through June: Bronze sculptures by Harry Jackson and Truman Bolinger; oils by western painters John Falter and Douglas Ricks. Mon-Fri 9-5. By appointments on weekends. 2504 Cedar Springs. 745-1266.

Arthello. Through June: Watercolors and oils by Arthello Beck. Sat & Sun 1-6. 1922 S Beckley. 941-2276.

Bowden Gallery. Fort Worth gallery with original 19th-century prints. Tues-Sat 10-5. 5326 Birchman, Fort Worth. (817) 732-4821.

Clifford. June 16-July 15: Third annual invitational exhibition of young American print-makers. Includes Julie Cohn, Clinton Cline, Randy Bolton, Lisa Peters and others. Mon-Sat 10-5:30. 6610 Snider Plaza. 363-8223.

Compound Artists Co-Op. Through June: Exhibit by all member artists. Mon-Sat 10-5. 6615 Snider Plaza, No. 209. 363-0275.

Contemporary. June 9-July 21: Acrylics and oils by Martin Stoelzel. Mon-Sat 10:30-5. The Quadrangle, 2800 Routh, No. 120. 747-0141.

Cushing. Through June 15: Atelier show of 40 exhibitors in oil, acrylics, and printmaking. The gallery will close June 15. Mon-Fri 10:30-4:30. 2723 Fairmount. 747-0497.

D.W. Co-op. June 2-28: Alumni show includes ceramics, sculpture, paintings, and drawings by former members Carole Scholder, Julie Heyne, Jeanie Hamel, Molly Terrill, Norma McManaway, Heidi Strunck, and Cecil Day. Tues-Sat 11-5. 3305 McKinney at Hall. 526-3240.

Florence. Through June: Victorian art by Norberto Martini and Massari. Carrara marble sculpture by Dallas sculptor Christopher and bronze sculpture by Marinsky. Mon-Fri 10-4, weekends by appointment. 2500 Cedar Springs. 748-6463.

The Fringe Element. Through June: Holographic art. Tues-Sun 10-6, Sun by appointment. 2727-D Routh St. 741-5219.

The Frontroom. Through June: Blueprinted clothing and wall pieces by Barbara Hewitt. 6617 Snider Plaza. 369-8338.

Gallery E. Through June: Magical Persian amulets. Mon-Sat 10-4. 2607 Routh. 651-1343.

Gallery II. Through June: Original graphics by Weisbuck. Mon-Sat 10-6, Thurs 10-9. Old Town in the Village. 363-9346.

Gentry. Through June: Oils by Shelly Katz and Michael Haynes. Photographs by Phil Kretchmar. Mon-Sat 10-5. The Quadrangle, 2800 Routh, No. 182. 741-5798.

James K. Wilson Gallery for Dallas Artists. June 23-July 27: Photographs by Linda Finnell, color etchings by Susan Shiels, sculpture by Rowena Elkin. Mon-Sat 9:30-5:30. 1515 Main St. Third Floor. 638-6350.

Lucy Berman Modern Graphics. Through June: Limited edition prints from Europe, the U.S., and South Africa. Sat 10-5 and by appointment. 3873 Royal Lane. 357-1687.

Miller-Simonson Gallery. A new gallery displaying abstracts, watercolors, western paintings, and Peruvian handwoven fashion. Mon-Sat 10-5. 217 Preston Royal Shopping Center (NE quadrant). 692-1891.

Oura, inc. Through june: Paintings and drawings by Reginald Rowe. By appointment only. 839’/j Exposition. 823-6287.

Phillips. Through June: Paintings by Manes Lichtenberg. Mon-Sat 10-5. 2517 Fairmount. 748-7888.

Stewart. Through June 22: Recent oils and drawings by Ann Cushing Gantz. Tues-Sat 10-5. 12610 Coit. 661-0213.

Texas Art Gallery. Through June: Oils by Dan Bodelson, Bill Shaddix, and Maher Marcos; pen and ink by Gary Myers; bronze sculpture by Gita Packer; and watercolors by A. J. Schexnader. Mon-Fri 9-5. 1400 Main. 747-8158.

2719. Through June: Fourth Annual Paper Show using paper with all media. Includes Ted Gartram, Robert Game, Mickey Myers, Corita Kent, Larry Fick, Joseph Linz, Roger Am-brosier, and Nancy Bandy. Tues-Sat 11-5, Sun 2-5. 2719 Routh. 748-2094.

Valley House. Through June: Selected 19th-and 20th-century paintings from gallery collection. Mon-Fri 10-5, Sat 10-3. 6616 Spring Valley Road (west of Hillcrest). 239-2441.



ENLIGHTENMENT



SEMINARS, EVENTS, ETC.

Akard Street Mall. “Heaven and Earth,” a set of 16 banners designed by Dallas artist Kevin Tolman, will be on display through July. Sponsored by the Central Business District Association and the City Arts Program.

Bikathon. June 3 at 1. Sponsored by the National Multiple Sclerosis Society. Interested cyclists should call Kay Camp at 357-1571.

Chili Cookoff and Street Dance. June 16 at 10 am. Third annual cookoff, sponsored by the Chili Appreciation Society, will be held in the Mule Alley area of the Northside Stockyards, Fort Worth. 259-2349.

Family Guidance Workshops. June 12-July17. Designed to help divorced persons and their children. Family Guidance Center-Richardson Office. 725 S Central Expressway. 747-8331.

Getting the Most For Your Food Dollar. June 2 & 9. Seminar will allow participants to rate own buying, cooking, and eating habits. Sponsored by the Park North YWCA. 9 am-noon. 4434 W Northwest Hwy. 357-6575.

Gingerbread Trail. June 2 & 3. Tour of historic Victorian homes in Waxahachie with arts activities, square dancing, and refreshments. $6-8 adults, $3 children. Gingerbread Trail Committee, P. O. Box 11, Waxahachie, TX 75165.

How to Grow Your Own Money Tree. June 30 at 9. Workshop for the person who wants to start her own business. $30. Women’s Center of Dallas. 2001 McKinney, Suite 300. 651-9795.



MUSEUMS

Age of Steam. Several retired trains and a Dallas streetcar are parked on a siding at Fair Park for a walk-through trip into a sadly departed era of transportation. $1, children under 12, 50￠. Tours offered Sun only, 1-5. Fair Park. 823-9931.

Dallas Health & Science Museum. A wide variety of courses for children and adults, including special summer courses in all areas of physical science. Museum hours: Mon-Sat 9-5, Sun 1-5. Fair Park. 428-8451.

Dallas Zoo. Literally for the birds. Although the mammals are the usual restless zoo creatures in cages that seem too small for them, the bird collection is one of the country’s best and certainly the most colorful attraction at this pleasantly laid-out zoo. The reptile house is not for people who get squeamish at the sight of a garter snake, but it’s one of the most interesting sections of the zoo. 75￠; children under 12 free if accompanied by adult. 9-6 daily. 621 E Clarendon. 946-5154.

Fair Park Aquarium. This Fair Park institution is showing its age badly, but the kids will probably be captivated by the variety of underwater creatures on show. Les Homines de Mer (skin diving club) the second Wednesday of each month. Free. Mon-Sat 8-5; Sun & holidays 1-5. Fair Park. 428-3587.

Fort Worth Museum of Science and History. June 11: Summer courses begin for children and adults. Planetarium: Sat at 11, 2:30, 3:30; Sun at 2:30 & 3:30. Museum: Mon-Sat 9-5, Sun 2-5. 150 Montgomery, Fort Worth. (817)732-1631.



Fort Worth Nature Center and Refuge. 3,300 acres, great place for families. Free tours. Mon-Fri 8-5; Sat & Sun 9-5. Lake Worth. (817) 237-1111.



Fort Worth Zoological Park. Mammal collection, aquarium, herpetarium, and tropical bird house. June 11-17: Special activities to honor the Zoo’s 70th birthday. SI, under 12 free. Zoo hours: 9-5:30 daily. 2727 Zoological Park, Fort Worth. (817) 870-7050.



Garden Center. The attractive solarium is one of Dallas’ most interesting places for a retreat on either a very hot or very cold day, when you can think green thoughts in the green shade of tropical flora. June 10: Day Lily Show. 2-5 pm. Garden Center Bldg., Fair Park. Regular Garden Center hours: Mon-Fri 10-5; Sat & Sun 2-5. 428-7476.

Museum of Natural History. This museum mounts an occasional special exhibit of interest, and the fossilized remains of prehistoric creatures continue to awe the crowds. Free. Mon-Sat 8-5; Sun 1-5. Fair Park. 421-2169.



PLACES



Audubon Sanctuary, Mountain Creek Lake. A favorite of local herpetologists, fossil hunters, bird watchers, and botanists. On the south end of Mountain Creek Lake. 827-6410.

Bachman Lake Park. Woodland and grassland area with many bird species. Bounded by Lemmon, Cochran Chapel, and Northwest Highway.

Dallas County Historical Plaza. A landscaped, open city block, the focal point of which is the John Neely Bryan house, built in 1841, the first in Dallas. Main, Market, and Elm.

Farmer’s Market. The municipal market, selling Texas-grown and some out-of-state produce. On Sunday mornings, everybody in town seems to be here; the only drawbacks are the scanty parking and people who insist on driving into the barns; just ignore the carbon monoxide fumes and concentrate on the plentiful pickings, usually available at considerable savings. Daily 1 am-10 pm. 1010 S Pearl. 748-2082 or 670-4433.

Greenhills. An 800-acre nature preserve offering tours of the nature trails, experimental stations in the morning and swimming after lunch (bring your own). Owned by Fox & Jacobs. On Danieldale near Cedar Hill. Call ahead. 295-1955.

L. B. Houston Park and Nature Area. Inhabited by beavers, opossum, gray foxes, and other wildlife. On Tom Braniff off Route 144 near Texas Stadium.

Old City Park. Restored 19th-century buildings, including a mansion, museum, church, and store. Lunch is available Tues-Fri at 11:30, 12:15. 1:00. Buildings open Tues-Fri 10-4; Sat and Sun 1:30-4:30. Grounds open from dawn to dusk. Adults $1; under 12 and over 65, 50￠. 1717 Gano. 421-5141.

Six Flags Over Texas. Entertainment park with rides and attractions, including a doubleloop roller coaster. June 1, 2, 8-30: 10-mid-night; June 3-7: 10-10. One-price admission $9.25 per person, children under 3 free. Parking $1.50. 3 1/2 miles northeast of SR 360, just south of 1-30. (817)461-1200.



SPORTS



Baseball-Texas Rangers. All games begin at 7:35. Tickets: Reserved $5-$6; bleachers: $2 adults, $1.50 children 13 and under. 273-5100.

June1- 3 vs. Baltimore Orioles

June 12-14 vs. Milwaukee Brewers

June 15-17 vs. New York Yankees

June 26-28 vs. California Angels

June 29&30 vs. Oakland A’s

Rodeo-Mesquite Championship Rodeo.

Every Friday & Saturday at 8:30 pm, April through September. Off LBJ at Military Parkway. Box seats $4.50; general admission $3.50 adults, $1.50 children 12 & under. 285-8777.

Soccer-Dallas Tornado. Ownby Stadium, SMU. 8 pm. Tickets $4-$8; Family Plan: Adults $5, Youths $3. 750-0900.

June 6 vs. Atlanta Chiefs

June 16 vs. Minnesota Kicks

June 20 vs. Rochester Lancers

June 27 vs. Los Angeles Aztecs

June 30 vs. Memphis Rogues

Thoroughbred Horseracing -Louisiana Downs. Bossier City, Louisiana. Racing season begins June 29 and runs through November 25. Wednesdays through Sundays; post time 1:15. Grandstand $1, Clubhouse $2.50; $1 parking. On Hwy 80 E. For information, call toll-free (800) 551-8622.



KIP STUFF



Adventures of Raggedy Ann. June 28-30 at 10:30. Dallas Theater Center’s mime act. Old City Park. 526-8210.

Book Giveaway. June 28. Free paperbacks and special entertainment for persons preschool through 18 years old. 9:30-5:30. Nicholson Memorial Library. 625 Austin, Garland. 494-6911.

Children’s Touring Art Exhibit. Through June. Display of paintings, drawings, collage, and sculpture by participants in the 1978 Summer Creative Arts Program for children. Mon & Thurs 12-9; Tues, Wed, Sat 10-6; closed Fri and Sun. Lakewood Branch Library, 6121 Worth. 821-5128.

Dallas Museum of Natural History Workshops. From June 12. Series of programs for ages five through adult with topics from fossils to nature trails. See “Windfalls” for more detail. Call Mrs. Carmichael. Mon-Fri 8-5. Fair Park. 421-2169.

Fort Worth Museum of Science & History School Session. Through June. Classes for pre-schoolers through adults in crafts, arts, science, astronomy, photography, etc. 1501 Montgomery. (817) 732-1631.

Jack and the Beanstalk. June 1, 2, 7-9. Kathy Burks’ collection of antique marionettes performs. 10:30, 1, and 4 pm. $1.25 Hay-market Theatre at the Olla Podrida, 12215 Coit Rd. 239-1558.

Jesse Owens Games. June 18 at 7:30 pm.Track and field events for youngsters 10-15years old. Officiated by Jesse Owens; winnersgo to the national championships Sprague Field,Boulder & Gibbs Williams Rd. Call nearestDallas City Parks and Recreation Center.

Summer Fun Program. From June.YWCA’s annual summer enrichment programincludes team sports, drama, field trips, andnutrition for youngsters 5-12 years old. Callfor fees and local branches involved. 827-6850.

Summer Roundup ’79. June II-July 18. Forchildren ages 6-13, workshops in Texas folkmusic, Indian lore, cowboys of the wild west,etc. Limited enrollment. Dallas HistoricalSociety Education Office. 421-5136.