For book-lovers drawn to the Texas Book Festival and its engaging congregation of authors each fall in Austin, it’s worth noting that the festival also partners with other events around the state to highlight books and authors.

The next such event takes place tomorrow at the Highland Park Centennial Anniversary Literary Festival. Authors including Lawrence Wright, Kay Bailey Hutchison, Stephen Harrigan, and Joe Nick Patoski will speak.

The free event is at the Highland Park Methodist Church. As its name suggests, the literary festival is part of the 100^th anniversary celebration of the founding of Highland Park, an enclave in Dallas.

Lois Kim, who took over last month as the Texas Book Festival’s executive director, says the festival looks for opportunities to contribute to events that promote community engagement with authors and stimulate intellectual conversation.

In the past, the festival has partnered on events in Houston and Austin. In April, it held the Texas Book Festival/San Antonio Edition in conjunction with the San Antonio Library Foundation, which was celebrating its 30^th anniversary.

The Highland Park event starts at 10 a.m. and includes a 12:30 lunch that requires an RSVP.

“We would just love for people to come out, because it’s free and there are going to be great authors,” Kim says.

Some are shy on stage; others are natural performers. Some feature technical playing; others draw on their emotions. They’re all budding accordion slingers aiming for the title in this year’s Big Squeeze competition.

Eight of the state’s best young accordionists are traveling to Austin this weekend for the semifinals of the Big Squeeze. The semifinalists, ranging in age from 11 to 18, will perform a free show at Lonestar Plaza of the Bullock Museum from 2 to 5:30 p.m. Saturday

Johnny Ramirez, the 2008 Big Squeeze champ, and Keyun Dickson, the 2010 winner, jam together at a Houston show.

Texas Folklife, an Austin-based nonprofit dedicated to preserving and showcasing Lone Star culture, started the accordion competition in 2007 as an educational arm of its annual Accordion Kings & Queens concert in Houston (June 1 at Miller Outdoor Theatre).

“We’re interested in preserving the traditional music of Texas, and we wanted to make sure the younger generations were picking up the accordion, so we set out to see how many young people we could find,” says Sarah Rucker, program and events manager for Texas Folklife. “We figured the most fun way to do that would be a contest, and through that we found the most talented young players in Texas in a range of musical genres, including conjunto, zydeco, Tejano, polka.”

This year’s competition, which is limited to players 21 and younger, started in February with opening-round performances in Houston, Edinburg, Corpus Christi, San Antonio, Tomball, Dallas, and Los Fresnos. Other interested contestants had the option of sending in videotapes of their playing.

The judging panel that selected eight semifinalists from the field of 33 entries was made up of a big-name list of professional accordionists, including Joel Guzman, Sunny Sauceda, Anthony Trevino and Juan Tejeda.

At the semifinals, Susan Torres, accordionist for the Austin band Susan Torres y Conjunto Clemencia, will help select the four finalists who will compete for the championship at the June 1 Accordion Kings & Queens concert. Torres and her band will also perform at the Saturday show.

So who qualified for the semifinals? The accordionists are Juan Longoria, III (12) and Juan Dueñes (11), both of Brownsville; Yesenia Garcia (17) of Houston; Rito Peña (14) of San Antonio; Michael Ramos (17) of Dallas; Luis Gonzalez (17) of Grand Prairie; Oscar Gomez (14) of Elsa; and Juan Antonio Garcia (18) of Mission.

Ignacio “Nachito” Morales of Dallas, the 2011 Big Squeeze champion, shows how it’s done.

The Big Squeeze has fostered a network of up-and-coming accordion players across Texas. In some cases, competitors have ended up forming groups together.

“We want to create a community of this music,” Rucker says. “When they meet these other kids that are playing in other parts of the state, it’s a bonding experience. … It’s building not only a network of family and friendships, but eventually a network of performing musicians.”

If you’re interested in learning more, check out the Saturday show, or the finals in Houston. There’s also a 2009 documentary by filmmaker Hector Galán about the Big Squeeze, featuring contestants from the 2007 and 2008 Big Squeeze competitions.

The success of past Big Squeeze champions affirms the competition’s purpose of promoting the young accordionists. “I’m proud to say that all of them are performing musicians, and almost all have released CDs of their own at this point,” Rucker says.

No doubt, these young accordionists can play, and it’s a joy to watch them take the spotlight.

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Photos by David Dodd, Courtesy of Texas Folklife.

It’s hard to believe it’s been 27 years since musicians like Stevie Ray Vaughan and the Fabulous Thunderbirds started showing up on TV and radio with songs to discourage littering as part of the Don’t mess with Texas campaign.

The campaign was a big success and grew into a household slogan in Texas, and even beyond. But at the same time, the state’s population has grown (at a pace of 1,000 people per day currently), and a younger generation of Texans doesn’t necessarily relate the slogan with its anti-littering message.

That’s why the Texas Department of Transportation on Tuesday launched a makeover of Don’t mess with Texas, including a special emphasis on the iconic red, white, and blue trash barrels—the same cans that first showed up in early commercials with the likes of Randy White and Ed “Too Tall” Jones of the Dallas Cowboys.

“We want to remind all Texans and visitors that trash belongs in a trash can and not along our roadways,” says Phil Wilson, TxDOT’s executive director. “That’s why trash barrels are playing a key role in the re-launch of Don’t mess with Texas, our state’s most critical and successful anti-litter campaign.”

TxDOT held a press conference on the State Capitol grounds to introduce the makeover, complete with dancing trashcans (performed by Austin comedy group Esther’s Follies), a new anti-littering song performed by local musician Shakey Graves, and penguins from SeaWorld San Antonio.

The department plans to distribute more than 300 branded trash barrels across the state in the coming months, including at state Travel Information Centers, to drive home the message of the Don’t mess with Texas campaign. Let’s hope people get the point and start curtailing the estimated 1.1 billion pieces of litter thrown each year along Texas roadways.

The Dallas Film Society is busy preparing for this year’s Dallas International Film Festival, which kicks off next week.

The event runs April 4-14 and features 175 films at venues across the city. I had a chance to interview Lee Papert, festival executive director, by email recently, and here’s what he had to say about the event.

How many film submissions did the festival receive?

This year, overall, we received just over 1,300 film entries.

What distinguishes DIFF from other film festivals?

The Dallas International Film Festival (DIFF) is an “encyclopedic” festival. We offer a little bit of everything—which isn’t unusual. But, most importantly (and why we are different) is the atmosphere. We strive mightily to create an ambiance that celebrates film—and all the creativity that goes into it. No matter whether you’re the director of a blockbuster or you’ve just screened your first short film; whether you’re a costume designer, cinematographer, producer, or grip—we celebrate the artist. The passion we have for the process and the people involved, well, it makes for a truly welcoming atmosphere—one that also embraces the people attending the movies, participating in the panel discussions, or having their faces painted at Family Day! (Family Day features a free screening of The Sandlot at 2 p.m. Saturday, April 6, at Klyde Warren Park.)

Has the festival grown from last year, by how much?

While we certainly won’t know attendance figures till after the 2013 DIFF is completed, we have grown in respect to our “footprint.” We’re bigger in scope and facilities. This year, we’re adding new facilities, including the Klyde Warren Park, and we’re returning to Plano for a special Centerpiece Screening at the “absolutely incredible place to watch a movie” Cinemark West Plano theater.

What are some exciting or interesting aspects of this year’s event?

As mentioned, we’re expanding our “footprint” geographically—and are partnering with a couple of brand new venues. One of those, the new LOOK Cinemas offers a wonderful new multi-theater complex and an incredible new take on the “in-theater dining” theme. LOOK is our Opening Night venue and we’ll happily show at least five different movies that night—and then treat our guests to fine dining from Nick & Sam’s Grill. Finally, we continue to embrace the word “International” that is part of our name by striving to show wonderful films from all over the world. Last year we featured films from 27 different countries. We expect even more this year.

What is the festival doing to honor Italy (this year’s featured nation)?

Each year, we like to shine a spotlight on the films and filmmakers of a different country. Last year it was Korea—this year, Italy—a country rich with film in her blood. Home to Fellini, the spaghetti western, Franco Zeffirelli’s classic Romeo & Juliet, and so much more. We will show at most seven films—showcasing everything from a classic Fellini film to one or two new movies. Throw in some classic Italian food and drink—and you have our Italian Spotlight!

What are some of the films being screened this year?

We are thrilled to be screening Java Heat with Mickey Rourke and Kellen Lutz; Midnight’s Children—Deepa Mehta’s film written by Salman Rushdie from his book of the same name; Mud with Matthew McConaughey; and many, many others.

How many people attended the festival last year?

The 2012 Dallas International Film Festival saw more than 35,000 people attend more than 180 different movies, multiple parties, our panel discussions, Family Day, our High School Day and all of the Festival’s offerings.

Who were some of the movie stars/celebrities that attended last year?

Last year, we were thrilled to bring to Dallas Laura Linney, Gabourey Sidibe, Peter Weller, Michael Weston, Famke Jannssen, Don & Donnie Nelson, Julie White, Glen Keane, and many others.

Who are some of the movie stars/celebrities expected to attend this year?

This year, we fully expect to welcome award-winning director William Friedkin, Indian director Deepa Mehta, Twilight heartthrob Kellen Lutz, the first woman to ever run a major movie studio Sherry Lansing, and a host of other stars and fan favorites.

What’s a special tip you would give to someone visiting Dallas for the festival?

Dallas is an incredible city for film. But, it’s also a great city for art and dining. Come to Dallas for the Film Festival, but each day, before the movies start, why not check out our incredible museums like the Crow Collection of Asian Art, the Nasher Sculpture Center, and the Dallas Museum of Art in the downtown Dallas Arts District. Or, if you’re here for the second weekend of the Festival, explore the many galleries attending the Dallas Art Fair. All that art appreciation is sure to make you hungry—so don’t miss our many, many FANTASTIC restaurants. There’s definitely something for everyone!

Here’s another example of the enduring appeal of “retro.” There’s a new drive-in movie theater scheduled to open adjacent to downtown Fort Worth this spring.

The Coyote Drive-In is building a 20-acre complex in the Trinity Uptown neighborhood, across the river from downtown. Two of the three screens will be six stories tall (that’s relatively big), and the complex will accommodate up to 1,300 cars. Audio will be broadcast on an FM radio signal.

“We want to bring people back to a simpler time,” Coyote CEO Brady Wood says. “Life is crazy these days. The world is kind of crazy, and drive-ins bring people back to a simpler time.”

Drive-ins were routine entertainment in the 1950s and early 1960s, when there were nearly 400 such theaters in Texas. Their numbers dwindled over the years—succumbing to daylight saving time, real estate development, VCRs, etc. These days, about 15 drive-ins operate in the state.

Along with first-run movies, the Coyote will also have a pavilion restaurant/beer garden area with a playground for children. The restaurant will serve food like hamburgers and pizza, and the bar will serve a wide variety of craft beers and wine.

Wood says ticket prices will vary, but will typically be $8 for adults and $5 for kids.

Patrons will be able to visit the restaurant and beer garden without a movie ticket. Diners will be able to see the screens, but not hear them. Dinner service will also be available to movie-goers.

“This is the first of what we hope will be many (Coyote Drive-Ins),” Wood says. “We would love to bring the drive-in experience to other cities in Texas. … People love drive-ins, they love their memories of the drive-in, and we’re bringing it back.”

I recently went to see the new Martin Scorsese film Hugo, the director’s first film intended for family viewing—and a 3D picture to boot. Based on American writer Brian Selznick’s Caldecott Award-winning book The Invention of Hugo Cabret, about an orphan living in a busy, 1930s train station in Paris, the film captivated me with its characters, inventive plot, and gorgeous use of 3D-technology. The movie (and book) draws heavily on the mythology and history of real-life French filmmaker Georges Mèliés, a magician by training who directed more than 500 innovative films before declaring bankruptcy in 1913.

Interestingly, the Mèliés story has a Texas connection. One of the reasons Georges Mèliés suffered financially toward the end of his film career was that American film companies were screening pirated versions of his films, so in 1902 he sent his brother Gaston Mèliés to the United States to guard his copyrights.

Gaston, also a filmmaker, spent a few years in New York, but he eventually settled in San Antonio, possibly to treat himself to the healing sulphur waters near the ruins of the San Jose Mission. In San Antonio, Gaston Mèliés established a studio called the Star Film Ranch, and devoted his talents to turning out some 70 one-reel films, mostly westerns. The San Jose ruins served as the set for at least three Star Film productions, all made in 1910. Like his brother Georges, Gaston was fond of special effects and outlandish action sequences: A May 1976 story in the San Antonio Light notes that Mèliés’ film An Unwilling Cowboy featured a full-blown square dance on horseback.

In 1911, Gaston and his Star Film Ranch maximized the appeal of the Alamo with a film called The Immortal Alamo, in which Mèliés cast himself as William Travis (and director John Ford’s older brother Francis played Davy Crockett). Students from the Peacock Academy, a San Antonio military institute, played both Texian and Mexican soldiers.

It’s a big state, but a small world.

Altar set up by the family of Silvestra "Sally" Ferguson at the Mexican American Culture Center in Austin.

Dia de los Muertos is nothing new. The ritual celebrated in Mexico and parts of the United States gets its roots from the Aztecs, and many – possibly yourself, included – have long had this as part of their own life experience. But even as a Rodriguez, it wasn’t something that my family participated in. I only recently started paying closer attention to the celebration, thanks in part to a friend who passionately shared the history of it with me and to the museums who seem to embrace it more and more by opening up space for traditional ofrendas (altar offerings). My recent visit to the Rio Grande Valley and many of its museums, featuring Dia de los Muertos exhibits, magnified that interest in me even more.

The Day of the Dead is based on the belief that the dead come to visit their loved ones from Oct. 31-Nov. 2. In recognition of this homecoming, families and friends set out altars of offerings –– at their gravesite or in homes ––that include a photo(s) of loved ones who have passed, along with items that represented that person and their hobbies, as well as their favorite foods, drinks and more. Toys and candy are typically placed for the children.

Along with the personal items, the altars include many universal Dia de los Muertos symbols including crosses/religious symbols, fruit, pan de muerto (breads often shaped like the skull and crossbones), marigolds (or Cempazúchitl), sugar skulls and candles to light the way for the dead.

Calacas, or skeleton figurines, are all over these Dia de los Muertos displays. They are often seen doing joyful things, as in life. The calacas represents death as an extension of life and not something to be feared.

Dia de los Muertos images created by children are currently on display at the Children's Museum of Brownsville.

Most notable among the calacas is La Catrina, the well-dressed skull figure, usually in her finest gown, hat and gloves. It was explained to me recently that La Catrina mocks a wealthy woman who did nothing to help the poor. The point is being made that no matter how wealthy or privileged we may be in life, at the core … and in death, we are all bones … all the same.

Calaveras are the skulls represented in the altars – most especially, the sugar skulls. The abundance of sugar made it the perfect medium for creating the folk art that represented the departed in colorful and positive ways.

I learned a lot about some of the meanings from my dear friend Cole Ynda who, in memory of her late brother David, wrote a beautiful poem incorporating the elements of Dia de los Muertos. She explained the symbolism in her poem, Querido.

My first - and only - sugar skull creation.

I didn’t know, before that, that there was a reason the marigolds were always the flower of choice. Aside from it being noted as sacred to Mictlantecuhtli, the Aztec god of the dead, Cole put it in words that brought it more to life for me, so to speak. She said the marigolds serve as a guide, much like the candles do, because “the dead can see the color and vibration of the flower.” In her poem she calls them “los colores de la tierra, de la vida” –– colors of the earth and of life. That just sounds so lovely to me.

A few years ago, I visited the Mexican American Culture Center in Austin during their Dia de los Muertos festivities. I joined a craft table with a bunch of children, but embraced the kid inside me and was determined to make my own sugar skull. The first sugar skull I ever decorated, I dedicated it to two “D”s – my dad, Benito Cruz Rodriguez and to David, Cole’s brother. I think I did an okay job. Well, the 5-year-old next to me started copying mine and you know what they say about imitation.

Maria Hurtado shows one of the many altars she designed for Mission Historical Museum's Dia de los Muertos showcase this year.

The Spanish tried to squash the ritual, calling it sacrilege, but I’m beginning to see it for the beautiful, poetic gesture that it is. It’s not a mockery of death. It’s more about coming to terms with it and its marriage to the thing we call life. It’s about remembering and continuing to embrace our loved ones, even in death.

PAN DE MUERTO

• 5 cups of flour
• 1/2 cup of sugar
• 1 teaspoon of salt
• 1 tablespoon of anise seed
• 2 packets of dry yeast
• 1/2 cup of milk
• 1/2 cup of water
• 1/2 cup of butter
• 4 eggs

Mix together the sugar, salt, anise, dry yeast and only 1½ cups of the flour.

In a small saucepan, heat the milk, water butter.

Add the liquid mixture to the dry mixture and beat well.

Blend in the eggs and another 1 ½ cups of flour and, once again, beat well.

Gradually mix in the remainder of the flour until you get a firm, non-sticky dough, and knead for about 10 minutes.

Let the dough rise to double it’s size (about an hour) in a greased bowl.

Reshape the dough, incorporating some bone shapes on top, then let it rise for another hour. You may also make smaller individual breads and/or try different shapes with the dough.

Bake at 350 degrees for about 40 minutes.

After baking, you may sprinkle it with confectioner’s sugar and colored sugar.

I took a vacation day recently to celebrate a milestone with my husband, and we decided to play tourist in Austin. First, we took the dogs to the new hike-and-bike trail that wends through the city’s growing Mueller neighborhood, where local artwork embellishes the trails, and where botanists with the Lady Bird Johnson Wildflower Center have helped restore a swath of native prairie grassland. Then, intrigued by the promise of more public art, we ventured downtown to the swinging 2^nd Street District, where we browsed the shops, checked out the new Violet Crown Cinema (finally! an art cinema downtown!), and spent a rewarding few hours exploring the artwork found throughout Austin’s beautiful, limestone-and-copper City Hall, which was designed by architect Antoine Predock. (The angular, copper “armadillo tail,” which juts above 2^nd Street, “literally shouts ‘Here I am!’” according to architect Phil Reed of the local firm Cotera +Reed.)

Modern architecture aside, what a surprising treat this art collection is. This is the 7^th year that City Hall has hosted its year-long People’s Gallery exhibit—a collection of more than 150 visual artworks by local artists. The program, part of the city’s Art in Public Places initiative, is designed to encourage public dialogue and the understanding and enjoyment of visual art, and I’d say it accomplishes that goal. Edgy sculptures, contemporary paintings, intriguing photographs, and mixed-media pieces galore are displayed in the hallways, foyers, lobbies, and meeting rooms throughout City Hall, and we enjoyed admiring them as we moseyed through the warmly lit building. (There’s free parking in the City Hall Parking Garage, too; validate your ticket at City Hall or at most 2^nd Street District shops and restaurants.)

The People’s Gallery Exhibition 2011 remains on view through January 12, and you can cast your vote for the People’s Choice Awards through December 30.

Marian Haigh's sculpture "jackrabbit," wood-fired stoneware

See www.ci.austin.tx.us/cityhall/gallery.htm.