Cinetopia's website states that its film festival, which features acclaimed movies from Sundance, Cannes, and more, was "created for the people of southeastern Michigan."
That's cool, but for our Pulp preview, we're keeping it strictly provincial and have highlighted films playing in Ann Arbor at the Michigan and State theaters. (Click here for the full Cinetopia schedule.)
We've also embedded the fifth episode of the Michigan Theater and AADL podcast Behind the Marquee, which features hosts Nick, Caitlin, and Brian talking about all things Cinetopia, including some of their favorite films arriving this year.
Get out your calendars and plan your May 31 to June 10 cinematic experiences.
Vivid, biomorphic expressions take imaginative turns in Sara Adlerstein’s Ecologies, my true colors at downtown Ann Arbor’s WSG Gallery.
Adlerstein’s mixed-media Ecologies exhibit features biologically themed art crafted largely in dramatic three by four feet proportions. Her all-heart artworks are abstractions based on realism featuring nuanced, organic leitmotifs.
An applied aquatic ecologist and current faculty member at the University of Michigan School of Natural Resources and Environment, Adlerstein hasn’t pursued formal training in the arts. Rather, she says she’s has been painting for as long as she’s been a scientist. “Art and science belong together as naturally as air and water,” Adlerstein wrote in her artist's statement
The Dave Sharp Worlds Quartet is like Istanbul’s Bosphorus Bridge: a sturdy gateway between the East and West.
The group -- Sharp (bass), Dr. Henrik Karapetyan (violin), Igor Houwat (oud), and Mike List (percussion) -- transports listeners through Arabic, Jewish, Eastern European, Indian, and American music with reliable strength on its new album, Delta.
Sharp is a busy bandleader who heads up Klezmephonic (klezmer), RAKA (African fusion), and various sizes of world music and jazz groups, from duos to the Secret 7. The Worlds Quartet came together through a chance meeting when Sharp sat in with Wisaal, a Mediterranean fusion group out of Lansing.
“I subbed on bass with Wisaal for a small number of gigs, where I met Mike List and Igor Houwat and really connected with their Arabic fusion sound,” Sharp said. “Igor also played a few shows with Dave Sharp’s Secret 7 and recorded oud tracks for the second DSS7 release, Worlds. Igor, Mike, and I played a few dates as a trio, and one night we invited [Klezmephonic co-leader] Henrik to sit in with us. Once that happened, we all had a “Wow!” moment and decided to assemble as a quartet.”
Years ago in Lansing, a group of guys got together and formed a roots-music band that combined vintage sounds and modern sensibilities. Called Steppin’ In It, the band built up a devoted audience and critical respect in Michigan and beyond as its sound and its songs deepened and matured.
Now, the band itself has become somewhat vintage: Steppin’ In It is marking its 20th anniversary and doing a short concert tour to celebrate, including a May 20 date at The Ark.
In recent years, the band’s core members have established very successful individual careers. In particular, lead singer/guitarist Joshua Davis has become well known as a solo act, notably placing third in NBC’s singing competition The Voice and becoming the first contestant to sing an original composition on the show. Bassist Dominic John Davis, meanwhile, has worked extensively with rocker Jack White, among others. In fact, the members have become so busy individually that they no longer perform together as Steppin’ In It very often, so the current tour is highly anticipated by their still-loyal fan base.
Joshua Davis and Dominic John Davis recently answered a few questions from Pulp via email.
Alex Anest, leader of the Ann Arbor Guitar Trio (A2G3), enjoys the puzzle of arranging for three axes. No rhythmic accompaniment. No additional instruments. Just 18 amplified strings.
"There are so many tunes that I want to arrange for this group," he said. "I could quit everything and just arrange for guitar trios and probably be a pretty happy person doing it."
The challenges, he said, are "figuring out how to blend and also how to get voices to stand out. I realize that those are opposite challenges but they both come up."
Adam Kahana and Evan Veasey are Anest's partners in Ann Arbor Guitar Trio, whose debut album, Tides, is out May 17, which is also the day the group plays Kerrytown Concert House.
There’s minimalist art and there’s art on the edge of being minimal. This distinction may seem paradoxical, but it is one way of describing the Burgeoning exhibit at Kerrytown Concert House by local artists Deborah Campbell and Lois Kane.
Deborah Campbell's art is minimal -- and it's bountiful for it. Where a less talented artist might overpower her work with excess, Campbell strategically stitches her fiber art with just enough effort to convey her articulation. Every stitch counts.
Lois Kane's draftsmanship functions in a similar fashion as Campbell's stitching. Where Campbell’s touch is serene, Kane’s line is vigorous, or memorably spare, and is always on point.
Arthur Miller’s The Crucible began with a class in America history when Miller was a student at the University of Michigan. The class included a segment on the Salem witch trials and Miller saw rich material for a drama that combined political, religious, and deeply personal conflicts.
He returned to the subject in the early 1950s, using the witch trials as a way to comment on the anti-Communist hearings of the House UnAmerican Activities Committee. It was also an opportunity to show his rage at his friend and director Elia Kazan, who volunteered to name names of those who had any association with the Communist Party.
It’s a complex play dealing with a particular place and time while also exploring the broader view that we are not so far removed from the fanatics of Salem. Every few years offers up new examples of intolerance and repression, and an opportunity for theater groups to bring back Miller’s eloquent warning.
Nellie McKay often seems like she’s at a loss for words.
During our phone conversation to promote the pianist-singer-songwriter’s show at The Ark on May 13, her answers were often preceded by a swarm of ums, uhs, I means, and various other utterances. And when McKay did get to the answers, it wasn’t necessarily in response to my questions, instead offering long vignettes about politics and the stark realities of being a full-time musician.
On stage, McKay has a similarly discursive way of speaking, mixing funny anecdotes, political pleas, and stammering self-effacement.
But once McKay strikes a piano key, everything flows. Words stream from her gorgeous voice with confidence and warmth. The quirkiness that defines her conversations gives way to sass and power, and listeners get invited into her world -- which is not of this era.
I found out about Something to Do Comedy Night at the Heidelberg's Club Above when its organizer, Tony Klee, bought me a shot of tequila last summer and I joked about doing the show one day.
Recently, Klee put out a call for comics, especially women comics, and when I asked him if I could go up, he said yes.
I had about five days to come up with a five-minute set.
I needed to write some jokes.
When the NASA spacecraft New Horizons did a Pluto driveby at 32,000 MPH on July 14, 2015, it was the first close-up view we had of our solar system’s most distant planet.
And yes, it's a full-blown planet, despite what you may have heard on Aug. 24, 2006, when Pluto was reclassified by astronomers as a “dwarf planet.”
Please do not try to tell planetary scientist Dr. Alan Stern otherwise.
“What the astronomers did was really a travesty; planetary scientists don’t buy that b.s.,” said Stern, whose new book, Chasing New Horizons: Inside the Epic First Mission to Pluto, recounts the spacecraft mission he led, which provided unprecedented photos and information about the Milky Way's tiny trouper. (He will be at AADL’s downtown branch on Thursday, May 10, at 7 pm.)
“We know what planets are, and if you go to planetary science meetings, Pluto is called a planet every single day,” Stern said. “Don’t follow what the astronomers do any more than if I tried to classify black holes as a non-expert. But the journalists who lapped it up in 2006, if that would have happened in the ‘90s, there would have never been a mission.”