TIME TO PAINT the town! This season, a trio of art fairs hits Houston, beginning with the Houston Art Fair (formerly the Houston Fine Art Fair), where nearly 50 local and international galleries exhibit Sept. 29-Oct. 2 at Silver Street Studios. On the same weekend, the Texas Contemporary event is held Downtown at the George R. Brown Convention Center. Opening-night festivities include a collaborative performance with the Houston Ballet’s Oliver Halkowich and multi-media artist Chris Doyle. And a week later, the semi-annual Bayou City Art Festival returns to the streets of Downtown with hundreds of outdoor booths.
HOW DID YOU get to where you are today? I was raised by a family that had a strong work ethic coupled with high moral standards. I was pretty much given the groundwork - I just had to put it in play!
Whom do you credit? I’ve had a lot of help and guidance building my career froam people like Cathy Cagle, and the late Tony Vallone as well as my friends and family. They have always been supportive and are my biggest cheerleaders. Real estate is a relationship business and it’s important to remember that at the end of the day.
I started in residential real estate as Cathy Cagle’s assistant and now I’m lucky enough to be her partner on our team. She saw something in me and took me under her wing. We both have the same drive and views on what is important in our industry: our clients, loyalty, honesty, and transparency. I’m forever grateful for her mentorship.
What lessons have you learned that might enlighten and inspire others? Every day is something new and every transaction is different. Each client’s home search or sale process is a different journey. It’s my job to make sure they have a desirable outcome while always keeping their best interests in mind.
What’s new in your life or work that you’re excited about? We are preparing for a busy fall! We have some gorgeous new listings going live and buyers who are ready to find their new homes.
713.299.9888
sarah.callaway@greenwoodking.com
@caglecallaway.gk
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IT MAY STILL be September, but Oktoberfest has already arrived. Slightly less humid weather is beckoning revelers to hit a shaded biergarten and celebrate the season of frothy beer and savory German fare. Here are six delicious ideas on where to hoist a pint!
Bayou Heights Bier Garten
Enjoy Oktoberfest flights and food specials throughout the month. Its annual Weeniefest & Oktoberfest celebration is on Oct. 12; bring your furry friends for weenie dog races beginning at noon. Games and prizes will take over with a weenie tossing contest, stein hoisting contest, and costume contests. Goodtime Muffin will perform from 3pm-6pm.
Heights Bier Garten
Heights Bier Garten (photo by Emily Vitek)
Houstonians can celebrate the spirit of Oktoberfest and a day full of music, food, and friendly competition on Oct. 5. Doors open at 11am, and The Monicas will take the stage with live music from 6pm-10pm. Before that, games and prizes include a beer chugging contest, yodeling contest and costume contest. Reservations can be made at Resy.com or here.
Karbach Brewery
On weekends through Oct. 6, the annual Karbachtober Fest will offer an oompah band on the patio, stein-hoisting competitions, and wiener dog races. Its menu includes burgers, pizza, loaded pretzels, Korean fried chicken, and even a kid’s menu.
Little Woodrow's
Live music and stein-hoisting will be on tap this Sat., Sept. 28 at the EaDo outpost of this Texas icehouse built for fun. Also, Sept. 28, the Heights location will offer a stein relay, stein hoisting and cornhole games; meanwhile, in Bellaire, there will be backyard Oktoberfest games and more beer. If in SugarLand, bring your pup for the Dachtoberfest, or come for the stein hoisting later in the evening.
Postino
Postino's Oktoberfest special
Bring the wine drinkers, cocktail fans and beer lovers for grazing delights at this wine café. Enjoy a happy-hour draft beer pitcher of Sierra Nevada Brewery’s limited-release Oktoberfest Festbier paired with Nick’s Board. The spread features warm soft pretzels, Italian sausage and Spanish pork links, dippable pimento cheese, and pickles ($27). Specials last through Oct. 31.
Saint Arnold
Houston’s original brewery promises the biggest Oktoberfest yet. The party has already started and continues through Oct. 5, so giddy up! Oct. 2 the beer garden menu will feature Schwarzbier and brat burgers. Come back for the big weekend celebration Oct. 4 and 5 and bring your appetite for chicken schnitzel sandwiches, Big Dill pizza, brat burgers, bratwurst and sausage plates or a schnitzel plate. Featured beers made with hops from Germany include Festbier, Helles, German Pils, German-style Hefewizen and more.
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At 83, Twyla Tharp Still Creates Work for No One But Herself — She Twirls Into Houston Sept. 28
Sep. 25, 2024
CHOREOGRAPHER TWYLA THARP has been celebrating 60 years as a dance-maker with a coast-to-coast tour that brings her company to Texas this month, with performances in Dallas, San Antonio, Austin and, on Saturday, Sept. 28, at the Wortham Theater Center presented by Performing Arts Houston.
Along with Isadora Duncan, Martha Graham, and Trisha Brown, Tharp belongs to the pantheon of modern-era American choreographers who transcended the limits placed on women in their respective eras and pushed the domain of dance into uncharted territory. That we are the beneficiaries of such innovation is not lost on Tharp. “When I began, you were either a ballet dancer or a modern dancer,” says Tharp. “I helped make it possible to be both.” Now 83, Tharp could certainly rest on her laurels, but she continues to create new works that are as engaging for audiences as they are physically demanding for her dancers.
Saturday’s program includes Ocean’s Motion, a work for five dancers Tharp created in 1975 and set to the music of Chuck Berry. Rock and roll in the 1950s heralded a period of wild rhythmic experimentation, and it was the music Tharp heard as a studious but inwardly rebellious teenager over loudspeakers while working in her parents’ drive-in movie theater. “It’s more the energy and commitment behind the rhythms that drives the movement,” says Tharp when asked if rock provides a unique groove for her choreography. Rock music, specifically the music of The Beach Boys, sound-tracked Tharp’s 1973 breakthrough collaboration with the Joffrey Ballet, Deuce Coupe, which ingeniously amalgamated the steps of classical ballet with the equally demanding movements of modern dance.
But Tharp has always drawn inspiration from a variety of musical genres, including ragtime, minimalism, and for the 2024 Brel, also on the program for Saturday, the gut-wrenching chanson of Belgian singer and provocateur Jacques Romain Georges Brel, better known as Jacques Brel. In Brel, the audience bears witness to a lone, heroic dancer, “no longer young,” yet infused with the fire and wisdom one can only gain with the passage of time. “He is a man who experiences things deeply,” says Tharp. The work is in five parts, each choreographed to a live recording of Brel singing some of his most beloved songs. (And yes, “Ne me quitte pas” is one of them, so bring your hankies.)
“Brel was an extraordinary performer,” says Tharp. “Nobody ever sang his songs with as much intelligence and passion. This is true of Chuck Berry as well and is one of the reasons I like to pair Ocean’s Motion with Brel.”
Rounding out Saturday’s show is The Ballet Master (2024), with contrasting music by the Dutch contemporary composer Simeon ten Holt and Baroque master Antonio Vivaldi used to great effect. The nearly 30-minute theatrical work humorously unpacks the choreographic process and features longtime Tharp dancer John Selya, 54, as a thoroughly seasoned choreographer desperately trying to create a new dance and maintain some control over the creative process. From the very beginning of her career, humor has been an essential element in Tharp’s choreography. So, is it a challenge to get her dancers to be comfortable with looking awkward or goofy onstage? “Humor comes from control,” says Tharp. “Not the opposite.”
In her autobiography, When Push Comes to Shove, Tharp describes the morning after the premiere of her very first dance, Tank Dive (1965), when she raced out to get a copy of The New York Times and was stunned and disappointed to see the work had not been reviewed. Later, she realized this was a good thing.
“There was no financial remuneration and little attention paid to me those first five years,” writes Tharp. “So I simply went on asking myself, ‘Do you want to do this, or don’t you?’” Sixty years later, it’s a question Tharp still asks herself. She’s also just fine with the idea of creating work without the expectations of an audience in mind.
“This is the only way to approach work,” says Tharp. “Meeting expectations can be accomplished through effort and having chops, but ultimately, you judge your own work.”
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