The art of the album has largely been lost as attention spans dwindle and quantity trumps quality, at least in terms of how we absorb music these days. Dallas tape and vinyl label Pour le Corps is letting their aesthetic flag fly, however. Marjorie Owens and Sean French have an eye for detail and theme within each of their limited-run experimental and psych releases. Remember when you could tell it was an SST album by just looking at the cover? That applies here, too.

The Flaming Lips and Erykah Badu used Yes Go's Oak Cliff space to film their controversial video earlier this year, but the production company has been heeding their eponymous mantra to create music videos, ads and short films way before that minor dustup. Its attendant space, El Sibil, has also been known to throw some killer late-night parties.

Bands come and go, but this Denton noise-rock quartet seemed to embody a period in Denton music that was muscular, primitive and raw. For close to a decade, the group put forth an almost perfect catalog, and the live shows reflected that muscle. Record Hop singer-guitarist Ashley Cromeens went on to co-front hip-hop collective Neeks, though, so all is not lost.

We didn't get an Electric Daisy Carnival this year, but we had a slew of smaller-scale electronic music festivals come through Dallas. Meltdown, held out in Grand Prairie at QuikTrip Park, was sort of the unofficial start of summer, with a nice mix of local and national DJs. They even had noise complaints from the neighbors, because their bass was just too damn loud. That's the spirit.

The Belmont Hotel

From early spring to late summer, KXT's Barefoot at the Belmont series drops local and national acts onto the beautiful grounds of Oak Cliff's Belmont Hotel and demands your attention. The shows are always sellouts, which points to KKXT-FM 91.7 knowing its crowd. Will Johnson, Gary Clark Jr., Tim DeLaughter? Check. Demand was so high this year, the station might need to find another place to get barefoot in 2013.

More than any traditional local radio station, the shows on CBS-owned Internet station Indie-Verse (klli.radio.com) are a reflection of the divergent tastes of the community. The playlists are a bit looser, the dialogue a bit more casual. You might hear a 10-minute death metal song or the theme song to Roseanne. We need more of this in Dallas, radio-heads.

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The Dallas Theater Center acting company member performed this year's best scene-stealing bit onstage. In God of Carnage, the Tony-winning play DTC produced at Kalita Humphreys Theater, Sally Nystuen Vahle played a high-strung, tightly wrapped urban mommy. The play is about civilized adults who, as alcohol flows and conversations grow heated, turn into furious savages. Vahle's character was one of the calmest until fwaaaaaaaak, she suddenly stood up and vomited. Not just a little upchuck. No, a torrent of barf that sprayed over the furniture, other actors, even the first rows at some performances. It was a perfectly wonderful/horrible moment of live theater, which Vahle carried off with great flourish (the trick was accomplished with a tube, a throw pillow and liquid chunked with tiny pieces of foam rubber). As special effects go, it was a doozy. And for Ms. Vahle, who typically plays straitlaced, well-behaved ladies, it allowed her to let loose with some truly gutsy acting.

In a town flush with quality sports TV types, nobody cooks a vocabulary stew quite like Daryl "Razor" Reaugh. Using words like "mastadonic" and "pulchritudinous" as effortlessly as "skate" or "puck," Reaugh brings an auditory flavor to the local hockey broadcast that can't be matched. Alongside excellent play-by-play man Ralph Strangis, Razor has been in the booth for the Stars for 16 seasons. The secret of HIS greatness isn't lost on the broader audience, as last season he made multiple guest appearances on Canada's popular Hockey Night in Canada. This fall, whip out your dictionary and be by the channel, as Razor will surely be slinging many more of his trademark "mind vitamins."

As one of the creative troupe of actors, artists and musicians known as "The Ochre House Boys," Elizabeth Evans has proven she's able to mix it up in company founder Matthew Posey's avant garde comedies and dramas. As the bedridden Mexican artist Frida Kahlo in Posey's biographical play Ex Voto: The Immaculate Conceptions of Frida Kahlo, she gave her best performance yet, memorable for the fire in her eyes and her willingness to bare her soul (and everything else) to express the artist's passions and fears. That Evans could then turn around and play the comedy relief character in Posey's dark musical about Charlie Manson, Mean, is just more evidence of how many colors this actress paints with.

His appearances in recent years at African American Repertory Theatre, WaterTower, Upstart and Undermain now seem like mere warm-ups for Christopher Dontrell Piper's explosive performance this season in Tracy Letts' Superior Donuts at Theatre Too. As a young man full of ideas about how to boost business at a failing Chicago bakery, Piper formed a perfectly balanced acting partnership with co-star Van Quattro. The most natural actor on any Dallas stage — he wears every character as if he were born to play him — Piper has only just begun to show directors and audiences what he's capable of.

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