On Christmas Day, the first museum devoted to the eight track tape will open in Dallas. The museum is the brain child of Bucks Burnett, who will stock the space with items from his collection. KERA’s Stephen Becker asked the Dallas record producer and musician why the eight track’s legacy is worth preserving

Did you stay up super late last night to watch the lunar eclipse? If you didn’t, the Internet once again comes to the rescue with this time-lapse video of the event.

In case you missed it Monday, yours truly filled in for the vacationing Krys Boyd on Think. My guest was James Kaplan, whose new book, Frank: The Voice, looks at the first half of Frank Sinatra’s career. The book (and our interview) covered everything from Sinatra’s fascination with Bing Crosby, his rocky relationship with Ava Gardner and his approach to interpreting a song. You can listen to it here:

This Week in Texas Music History, we’ll honor a Texan who helped redefine the West Coast music scene.

Unsilent Night is a “participatory sound sculpture” — people walk through downtown playing recording tracks of bells and chimes. Consider it a hi-tech form of holiday caroling. Gary Brown brought the 19-year-old New York event to Dallas last year and he’s making it an annual tradition.

A major touring exhibition of the Hudson River School — the group of pioneering, 19th-century American landscape painters — is the highlight of the Amon Carter’s 50th anniversary year. Which also happens to be the first year for its new director, Andrew Walker.

The Kimbell Art Museum will be putting major artists in context in 2011 — in particular, through two shows, Picasso and Braque: The Cubist Experiment and Caravaggio and His Circle in Rome.

Today in the roundup: The return of Ann Richards, flying high at Ochre House and your guide to holiday movies.

This Week in Texas Music History, we’ll celebrate a blues singer who helped pave the way for rock and roll royalty.

Walker Evans, Margaret Bourke-White and Berenice Abbott created groundbreaking bodies of work: Evans for his depictions of Southern poverty, Bourke-White for her towering images of industrialization, Abbott for her New York street scenes. We talk to Jessica May, co-curator of the Amon Carter exhibition ‘American Modern,’ about these three artists, how each crossed paths and influenced the others, about the dot-matrix and the urge for narrative.