For a few moments during Ann Arbor in Concert’s production of Spring Awakening on Saturday night at the Power Center, all the heightened hormonal chaos, longing, joy, freedom, and frustration of adolescence was on resplendent display.

The number, which I’ll politely refer to “Totally F-ed,” arrives late in the Tony-winning stage musical, and in the words of Rohit Gopal (who played Moritz) during the talkback, “It’s a banger.” The entire cast embodies revolt through song, and at one point Christopher Campbell’s deft choreography clearly dictates that each performer “rock out on your own as the spirit moves you.”

And boy, does the overall effect work.

Downloads:
➥ MP3 for "Bodies” + “Bet"
➥ 720p video, 480p video or 240p video

Tools Crew Live is an ongoing video series where we invite artists to perform with gear borrowed from the Ann Arbor District Library's Music Tools collection: aadl.org/musictools.

* This video contains explicit content. *

As evidenced by their name, Approachable Minorities make strong social statements couched in playfully pointed language. The Ypsilanti hip-hop trio -- MCs Drew Denton and TJ Greggs with DJ Marcus McKinney -- released its debut album, Afro-American, in April 2016, and Denton’s solo LP, The Ascension Theory, arrived in December.

Approachable Minorities have worked hard to promote their music through a series of concerts under the name Northern Threat Entertainment, but the group is largely still a Washtenaw County phenomenon. But any label or manager looking to sign a talented and motivated group of artists who are ready to put in the work to promote their art would do well to turn 2017 into Approachable Minorities’ breakout year.

Impressed by the ensemble’s creativity and energy, we invited Approachable Minorities and their friend Cole Greve to check out a bunch Music Tools from the Ann Arbor District Library, learn how to use the gear, and come cut a Tools Crew Live video. The group re-created two cuts from Afro-American -- “Bodies” and “Bet” -- on the library’s gear and performed the songs at AADL’s downtown branch on June 9, 2017.

We spoke with Denton about the group’s history, the stories behind the songs, and the challenges and rewards of learning new music gear from scratch.

The Reminders *, a debut novel by writer, singer-songwriter, and actor Val Emmich (Vinyl and Ugly Betty) is the unlikely friendship between a gifted child who remembers everything and a grieving man who is trying to forget.

The 10-year-old Joan Lennon Scully (named after her father's favorite songwriter) has HSAM: highly superior autobiographical memory. While she can recall every minute detail of her life, she is frustrated that everyone else forgets, even the most important things and people in their lives. She thinks winning a local songwriting contest might make her unforgettable.

André Mehmari plays piano like it's an extension of his body. It's easy to imagine his fingers taking the place of the piano's hammers and directly pounding the strings that stretch from inside the keyboard and connect directly to his brain. His hands move like dancers, gliding over the keys with such grace and flow that it's hard not to stare at them as he fills the room with gorgeous melodies and blissful harmonic combinations.

Born in 1977 in Niterói, Brazil, a town across Guanabara Bay from Rio de Janeiro, Mehmari began studying piano with his mom at age 5, learned how to improvise soon after, and by 10 had written his first compositions. His wide-ranging, highly personal playing incorporates jazz, classical, and all forms of Brazilian music, and those styles spill out on the piano with stunning fluidity.

Mehmari returns to Ann Arbor to play Kerrytown Concert House on Sunday, July 16, two weeks shy of the one-year anniversary of his last concert there. He’s also playing the Toledo Museum of Art on Saturday, July 15, where he will get to perform in the Glass Pavilion on a super-cool Wendell Castle-designed Steinway piano as well as playing a percussive improvisation on original glass art that was crafted for the museum’s Hot Shop.

We talked to Mehmari about his technique, sui genris Beatles covers, and glass marimbas

Rob Crozier had to end our interview because he arrived at his job.

“I’m an entertainer. I do a lot of senior home gigs,” he said. “I go play ukulele and guitar, and I sing Tin Pan Alley, Broadway, old country, singalongs. That’s my day gig.”

In fact, Crozier's senior concerts are only one part of this Ann Arbor musician's many gigs. Multi-instrumentalist Crozier is also a jazz bassist, co-leader of the Irish-fusion group Nessa with his vocalist-flutist wife Kelly McDermott, a music educator, and the proprietor of Eventjazz, which provides live music for weddings, corporate events, and more.

And when you’re a full-time musician, sometimes you play gigs that wouldn’t make anybody green with envy, such as trying to entertain St. Patrick's Day revelers who are already three sheets to the wind at 8 am.

“I can play (the senior home) for an hour and have a really appreciative crowd that isn't vomiting, necessarily, or falling on themselves,” Crozier said, recalling a particularly harrowing St. Patrick’s Day show. “Green eggs and blllluuuuuurrrrgggh!”

"Notice of a psychotic killer in their midst did not resonate with the Ypsilanti, Michigan community in the summer of 1967."

So begins Terror in Ypsilanti, the award-winning book by Gregory Fournier. Not only did this idea not resonate with inhabitants of our area, but the term “serial killer” hadn’t even been devised yet; nonetheless, that is exactly who was stalking young women in Ypsilanti.

John Norman Collins ultimately was suspected of the deaths of seven women over a three-year period. Fournier, who was teaching in Ypsilanti at the time, lived a block away from Collins and “had several negative encounters with him.” But it wasn’t until he “saw (Collins’) face plastered across newspapers that I recognized him.”

In the musical Spring Awakening, a group of teenagers collectively face suicide, rape, homelessness, parental incest, and depression, all while they struggle to understand their burgeoning sexuality over the course of a school year. Adapted from a German play written in the 1890s, the musical hasn’t made many changes to the storyline, it just added some rock music.

This will be Ann Arbor in Concert’s fifth production since the organization began in 2012, and this is a very different show than anything else they’ve produced. Over the past few years, Ann Arbor in Concert’s credits have included Ragtime, 42nd Street, West Side Story, and, most recently, Hairspray.

Michigan author Karen Dionne's hardcover debut The Marsh King's Daughter * transports her readers to the wilderness of Michigan's Upper Peninsula where a woman must risk everything she has and use every skill she learned to hunt down the dangerous criminal who taught her everything she knew - her father.

When Helena Pelletier heard on the news that the notorious murderer/kidnapper known as "The Marsh King" has killed two guards and escaped from Marquette maximum security prison, she knew she could no longer outrun her past.

The Michigan Shakespeare Festival’s board votes on the plays for a specific season -- pitched by MSF’s Producing Artistic Director Janice L. Blixt -- 18 months in advance of the curtain being raised.

So in early 2016, when MSF’s board voted to approve Taming of the Shrew, Julius Caesar, and Chekhov’s The Seagull for 2017 (the season kicks off in Jackson on July 6), the company had no idea that it would be staging Caesar shortly after New York Public Theater’s production of the play (which depicted Caesar as Donald Trump) made national headlines and drew protestors.

“I expected Shrew to be the controversial show, where I’d be fielding questions like, ‘How are you dealing with the misogyny?’” said Blixt.

Red Baraat set Rackham outdoor stage ablaze on Saturday night. The eight-piece, Brooklyn-based band's melodious mix of Bhangra dhol beats and big-band brass had the approximately 300-person crowd at Ann Arbor Summer Festival’s Top of the Park throwing their hands up and shrugging their shoulders in high-energy Bhangra form.

For those unfamiliar with Bhangra, the dance moves are commonly described as being like a "light bulb twist." Though I cringe a bit at that cliche, Red Baraat leader Sunny Jain used this very description to encourage audience members to dance to his electrifying dhol drumming.