Comic-based journalism, where an artist tells reported stories with his or her drawings, has the benefit of addressing sensitive issues with a bit of emotional distance that doesn't always exist in the more immediate video- and audio-based storytelling. It can also give reluctant participants the freedom to tell their difficult and dangerous tales without a direct visual representation, which could put their lives at risk.
Joe Sacco is a pioneer of graphic journalism as shown in his many books, including Palestine (2001), Safe Area Gorazde (2002), and Journalism (2013). In Sacco's wake a mini-movement of graphic journalism has emerged, such as Sarah Glidden’s How to Understand Israel in 60 Days or Less (2016), Wendy MacNaughton's Meanwhile in San Francisco: The City in Its Own Words (2014), and Germán Andino's El Hábito de la Mordaza / The Habit of Silence (2016).
Hail to the University of Michigan Museum of Art -- its Victor campaign just found a new leader in donations and it's the best.
Philip and Kathy Power donated $4.5 million worth of Inuit art, making UMMA one of the most important museums for creative works from the indigenous peoples of Alaska, Canada, and Greenland.
The best thing a film about languages can do is let the speakers speak for themselves.
Those Who Come, Will Hear, a Canadian documentary that shines a spotlight on several indigenous languages of Quebec, not only gives voice to languages that are endangered (such as Innu-aimun and Inuttitut) but also deftly illustrates how language is so tightly woven to culture and tradition. (The film is one of the 10 features in competition at this year's Ann Arbor Film Festival.)
Theo Katzman's show at The Blind Pig sold out weeks before the show date. When I say that people were excited to see Katzman's return to Ann Arbor, I mean it: The line at The Blind Pig was already snaking its way down the block 20 minutes before doors opened.
Theo Katzman studied jazz at the University of Michigan in the early 2000s. Since then Katzman has toured with the band Ella Riot, created the trio Love Massive, and released his first album, Romance Without Finance, in 2011. Katzman is also a prominent member of the funk band Vulfpeck, which has toured with Darren Criss and played on The Late Show with Steven Colbert. In 2017, Katzman debuted his latest album, Heartbreak Hits.
Katzman's no stranger to playing The Blind Pig and fans were happy to have him back. I spoke to one woman who said that she hasn't missed one of Katzman's shows since she got her license in 2012. Once, she saw Katzman play at The Blind Pig and then drove to Chicago the next day to see him again.
My goal with Paperbacks From Hell was to present the full bonkers experience of reading '70s and '80s horror paperbacks without any of the brain damage. As a result, readers -- and those who come to the Paperbacks From Hell LIVE experience on Thursday, March 29 in Ann Arbor -- get to briefly experience books like John Christopher’s The Little People about an Irish B&B overrun by Nazi leprechauns, they get a taste of Joseph Nazel’s innercity take on William Peter Blatty’s horror novel in The Black Exorcist, and they even get to try The Glow, a sort of Rosemary’s Baby about a young couple who move into a building of health-nut vegetarians who want to steal their blood to lower their cholesterol levels.
My only regret is that Paperbacks had to end before I could cover all the other insane books out there. Presented here for your education are five of the paperbacks that got away.
Nervous Breakthrough: Ann Arbor novelist Camille Pagán's "Woman Last Seen in Her Thirties" explores loss & change
Ann Arbor-based novelist Camille Pagán (Forever Is the Worst Long Time, Life and Other Near Death Experiences) was in the midst of writing a book that wasn’t going anywhere when she had an unnerving grocery-store experience.
“This guy, a college kid ... bumped into me and didn’t even look at me or say anything,” said Pagán, who also noted that on other occasions while out shopping, she’d observed “when a cashier would talk to and make conversation with a middle-aged man but then not talk to the middle-aged woman who was next in line. This seemed to me to really be saying something about our society and how we view and treat women as they age.”
What makes someplace feel like home?
That’s the main question that threads throughout Lin-Manuel Miranda’s semi-autobiographical musical In the Heights, a story about the neighborhood Washington Heights and all of the people who live there. Miranda is best known for creating Hamilton a few years back, but he first rocketed to Broadway fame as the writer and lead actor in In the Heights.
“It’s unbelievable how he was able to encapsulate this whole community into music,” said Bruna D'Avila recently, the director of an entirely student-produced and acted University of Michigan Musket production of the show that runs March 16-18.
That combination of avant-garde string slaying and performative humor defines Carey's art-punk duo Throwaway, which just released the songs "Bonathan Jyers" and "Exotic Bird" as a digital single and booked several shows in Southeast Michigan, including March 16 at Ziggy's in Ypsilanti.
Vicki Honeyman knows a thing or two about film.
As executive director of the Ann Arbor Film Fest from 1988-2002, Honeyman nurtured and expanded the event by acquiring sponsorships, personally screening films for the festival, and much more.
Honeyman is now the owner of the hand-crafted jewelry store Heavenly Metal at 208 N. Fourth Ave. in Kerrytown, but she's been invited to use her cinematic curatorial skills once again for AAFF's 56th anniversary, March 20-25. "Vick’s Picks," shown March 24 at 9:15 in the Michigan Theater, features 13 films from Honeyman's 15-year tenure as AAFF's leader.
We chatted with Honeyman at Heavenly Metal about her picks for this year's AAFF.
On March 9 and March 10, Yoni Ki Baat, an organization that seeks to educate the campus about the issues pertaining to South Asian women and all women of color, produced Resistance, a show inspired by Eve Ensler’s Vagina Monologues.
In fact, Yoni Ki Bat is Sanskrit for “talks of the vagina.”