Marlo Broughton, aka MarloBro, is an artist and designer whose work ranges from pop culture to social issues like police brutality to love and friendship. He's been involved with Detroit's creative scene since 2007 and steadily built his portfolio in the city’s streets and galleries. His work has been featured in numerous exhibitions in the area and he works with agencies including 1XRun, Playground Detroit, and the Detroit Institute of Arts.
He’s also been a part of the creative group Finally Famous with Tommey Walker, his cousin and founder of the Detroit Vs. Everybody clothing line. This group helped drive rapper Big Sean’s artistic projects into motion and allowed Broughton to have a hand in mixtapes and branding during Big Sean’s indie career.
Kathy Asheton’s voice is cracking.
“It’s all very sensitive,” she said, the sentence trailing off to silence.
She’s recalling her brothers, Ron and Scott, the guitarist (and later bassist) and drummer for The Stooges.
Ron died in 2009 at 60 and Scott in 2014 at 64, and their younger sister still struggles with their loss.
The Facebook page Kathy runs for the Ron Asheton Foundation is filled with personal remembrances and family photos taken in their West Ann Arbor home near Weber’s Restaurant. Her mom bought the house from Herman Weber in 1964, and it's still owned by Kathy.
The modest 1,400 square foot structure, with its brick facade on the lower half and siding on top, doesn’t look like the sort of place that would launch a musical revolution. But the band that helped plant the roots for punk rock, The Stooges, began its life here, all with the blessing of mother Ann Asheton.
“She was not only accommodating by letting my brothers practice -- that’s where the band literally started, in the family home,” Kathy said. “But she could also rip and say, ‘Don’t drink out of the milk cartons!’ and let us have it. She was a mom in the true sense. She yelled at them like she yelled at us.”
“Them” includes the MC5 and other bands who passed through the Asheton home, and it was Iggy who Ann yelled at for drinking out of the milk carton. Momma Asheton’s support was repaid in song.
Some people seem destined to be stars.
Sunflower Bean is fronted by a supernova.
The New York-based Julia Cumming (bass, vocals), Nick Kivlen (guitar, vocals), and Jacob Faber (drums) flew to Ann Arbor specifically to play Sonic Lunch on July 12, and their 13-song spirited performance under sunny skies turned Liberty Plaza into a rock 'n' roll club.
"Are you guys here for a good time?" Cumming said. "Just because it's noon it doesn't mean we can't rock." She then taught the crowd to sing along with the "no, no, no" part of the chorus for "Crisis Fest."
The Ravens Club loves seasonal cocktails. Right now you can get the Donga Punch, As You Wish, Judge Holden, and The Filby Cocktail.
But come fall, the drinks will change with the leaves.
For the past year, though, at least one thing’s been constant at the club on 207 S. Main St. in Ann Arbor -- and I’m not talking about the 150 whiskeys on the menu. Every Monday night from 9 pm-12 am you can find the Rick Roe (keyboards), Rob Bickley (bass), and Jesse Kramer (drums) trio performing a mix of originals, jazz standards, and a whole lotta Thelonious Monk.
But the most intriguing part of the trio is its dedication to exploring Disney’s music.
Five of the songs on the group’s new CD, Heliosphere, are Disney tunes, with the other six coming from Roe. The trio will celebrate its release with a gig at Kerrytown Concert House on Saturday, July 14.
Ken Vandermark is a method musician.
The Chicago-based saxophonist/clarinetist likes to construct scenarios and systems for his various bands and then write material that fits whatever methods he's devised. It's rigorous work that forces Vandermark and his musicians out of their comfort zones, but it has led to a voluminous and varied body of work that is among the most impressive in modern jazz and composition.
Vandermark's latest creation, Maker, came to Kerrytown Concert House on July 9 and ripped through a four-song, 75-minute set that touched on avant-garde jazz, funk, drones, minimalism, and Afrobeat.
The world wide web can do many things: find the recipe for that cookie you had at camp that one summer, identify the weird rash you have on your arm, and tell you the name of the band that sang "Life in a Northern Town."
But there are many things that an algorithm simply cannot provide and many of those things can be found in bookstores like Ann Arbor's Aunt Agatha’s, home of new and used mysteries, detection, and true-crime tomes: the smells of old books that have been opened, read, and reread by many loving hands; stacks of dog-eared novels waiting to find their reader; sounds of pages turning, people murmuring over what they are reading.
I love this author! I’ve read all of her books -- isn’t she great? She is so underrated.
Since 1992, Robin and Jamie Agnew's Aunt Agatha’s is the place that finds the authors you haven’t heard of before and makes you a lifelong fan, a store where writers who are at the beginning of their career blossom into major forces.
And it all ends this August.
Music and myth. Michigan and memory. These subjects course through Russell Brakefield’s first collection of poetry, Field Recordings, which was published this spring by Wayne State University Press. As a Michigan native, when I read his poems I feel the desperation of winter, the joy of berry picking in the summer, and the layers of time. These place-based, lyrical poems highlight the discordant notes of relationships, plans, hopes, and sleep.
Brakefield grew up in West Michigan, studied at Central Michigan University, and earned his M.F.A. in poetry at the University of Michigan in 2011. He taught at the University of Michigan following his M.F.A. and then also worked at Literati Bookstore in Ann Arbor starting in 2013. In 2017, he moved to Colorado and now teaches at the University of Denver, where he says he is learning a different landscape in the West.
Here, Brakefield shares his experiences in a bookstore and with reading and writing poetry, as well as what’s inspiring him and what’s next.
Ann Arbor Art Center’s Sanctuary exhibition features some pieces that focus on the meditative aspect of the titular concept, but other works confront the “double-edged sword” of what "sanctuary" means, lending to the gallery’s successful interpretation of a broad theme.
Featuring work from 15 artists from Ypsi Alloy Studios, the show is described by the gallery as:
Raccoons, foxes, and hawks prey upon the Eastern Massasauga Rattlesnake.
But the Michigan Rattlers are most susceptible to being consumed by broken hearts, Bell's Two-Hearted, and the eternal debate about where your heart truly belongs.
Comprised of Petoskey-raised childhood friends Graham Young (guitar) and Adam Reed (upright bass), along with more recent members Christian Wilder (keyboards) and Anthony Audia (drums), the Los Angeles-based Michigan Rattlers returned to the Sonic Lunch concert series on July 5 and played 13 originals plus a cover of Leonard Cohen's "On the Level."
Young and Reed performed as a duo at Sonic Lunch last year and their close-harmony Americana was immediately striking for its beauty and simplicity. But as a quartet, Michigan Rattlers brought a honky-tonk rock 'n' roll vibe to their acoustic-guitar-based compositions.
I remember it; if you were a kid who grew up in Ann Arbor you do, too. The nights you spent in the hot summer air with cold lemonade, and the smell of the food trucks, the times you sat in the grass looking up at the sky, listening to bands on the main stage. It felt like a dream.
Top of the Park has been around now for 35 years and I've gone to it almost every year that I've lived in Ann Arbor. But this was the first time that I went alone to review a band. It's funny how being alone can sharpen your thinking and make you a keener observer.
By the time Chirp took the stage on June 30, the park had filled out. People stood or sat in chairs in front of the stage, while others sat in the grass or under the beer tent. Bassist Brian Long, guitarist-vocalist Jay Frydenlund, guitarist Ken Ball, and drummer John Gorine mix styles freely, touching on rock in their guitar work, jazz with the drum and bass solos, and soul through Frydenlund's voice.