Songs on Brooke Annibale’s new album, Hold to the Light, express desire for something that may or may not be there and then both yearn and hesitate to reveal those feelings. Throughout, lyrics question what is really going on and wrestle with admitting reality, voicing thoughts, and letting it all be. With synth, electronics, and both acoustic and electric guitars, Hold to the Light wonders about and wanders among the complexities and feelings between two people. 

Annibale is a singer-songwriter and guitarist originally from Pittsburgh, Pennsylvania. Following her indie-acoustic focus, Annibale is evolving to write and play pop-progressive music. 

The Ark will host Annibale for a third time in a free show Tuesday, July 23, at 8 p.m. with donations of nonperishables accepted for Food Gatherers. Pulp interviewed Annibale for her appearance in town. 

Six songs strong and 12 inches wide, Human Skull's vinyl debut, Take a Lifetime, is a brief but engaging record that documents the latest developments from an Ann Arbor punk rock band that, as its website suggests, is “probably less punk than you think.” Indeed, their velocity and ferocity get applied to songs with genuine Midwestern hearts beating beneath the leathers, expressing yearning rather than rage and avoiding easy classification.

For two albums -- a self-titled, digital-only debut and the cassette release The Penny and the Ball -- Human Skull has honed a unique style rather than wandering, and Take a Lifetime distills that sound into its most potent, clear-eyed state. Melodies are challenged in interesting ways, each traditional choice countered with a harsh chord or sudden, whiplashing tempo change. At times Human Skull’s riffs can recall early REM if they weren’t bashed out at rollercoaster speed with the band in lockstep around every tight corner.

Guitarist/vocalist Joel Parkkila goes easy on the fuzztone, relying on cleaner textures except when making a point, and his solos are devoid of tired guitar heroics, fitting tastefully into the song rather than wailing above it. Rhythm section Stefan Krstovic on drums and Brent Barrington on bass don’t back him up as much as race him to the finish, and with Parkkila’s plaintive yowl as punctuation, it’s bracing and real.

We emailed with Human Skull about the production of Take a Lifetime, which you can here below.

The following is an excerpt from the book "Vanishing Ann Arbor" by Patti Smith and Britain Woodman.

Just three years after Allen and Rumsey founded our fair city in 1824, a group called the Ann Arbor Library Association began meeting. This was not a public library as we know it; it relied upon the dues paid by patrons. Using the dues it collected, the association purchased 100 books by 1830.

Around the same time, the Ann Arbor Circulating Library sprang up at the office of the Western Emigrant (the first newspaper in Ann Arbor). Dues were $2.50 per year and were mainly used to purchase reference books. The following decade produced another Ann Arbor Library Association and the Working Men’s Library Association. Like that very first group, these were not funded by taxes but by private dues and donations. However, government-sponsored public libraries were coming soon.

In 1843, the state school superintendent decreed that all school districts had to set up their own libraries, earmark at least $25 for the collections, and share the books with local townships. Since these were to be public, non-dues-paying organizations, the state government announced two years later that various collected fines by local government units would go to the libraries. (The only exception was in cases where the monies were instead needed for the local poorhouse.)

July 17 is Ron Asheton’s birthday. He died in 2009 at the age of 60, but not before he and the band he helped make famous had one last run when The Stooges reformed in 2003.

The Stooges arose from the rich musical compost of the Ann Arbor/Ypsilanti area in the late 1960s and while the classic original lineup (Asheton on guitar, his brother Scott Asheton on drums, Dave Alexander on bass and Iggy Pop as frontman) only lasted a few glorious, intense years, the racket they made proved durable. They were a quartet of teenage cavemen with four chords between them, amps set for aggression, gnawing at the deepest atavistic urges of the human animal. Like all geniuses, they were unappreciated in their day but went on to inspire generations of future primitives around the globe and made punk rock inevitable. 

After the Stooges, Ron Asheton enjoyed a long music career with bands such as Destroy All Monsters, New Race, and Dark Carnival. He passed away from a heart attack shortly after a high-profile Stooges reunion. The man’s legacy in the annals of rock history is secure, legitimized by no less an “authority” as the Rock & Roll Hall of Fame, but that isn’t the reason we’re here. 

What is discussed less about Asheton is his acting career, which found him playing both major and minor roles in five low-budget, locally sourced horror films shot in Michigan between 1988 and 1995. From all reports a genuine fan of the genre, Asheton holds his own in these cheap, gory, and frankly ridiculous films, sometimes emerging as the most believable actor on the screen (the competition is hardly stiff). He’s unrecognizable as a former rock guitar mangler, opting instead for a somewhat schlubby onscreen persona, sometimes as comic relief or second banana to a more traditional lead. 

So in honor of Asheton’s birthday, let’s review his filmography:

The Ann Arbor Art Center’s Earthbody features works from 11 artists whose works explore, in some aspect, the relationship between the body and the environment. The exhibit focuses on works of current and recent students at the Penny W. Stamps School of Art & Design at the University of Michigan.

The Earthbody exhibition text is short and to the point: “How does our understanding of our bodies as earthly objects affect our ability to perceive and engage with the environment? Earthbody explores these relationships between body, self, and environment.”

As is typical of the group shows at the Art Center, there are a variety of approaches that engage with the subject of the exhibition. From imagery that appears grotesque or unsettling to those works portraying a sense of serenity, the artists pull from personal and shared histories to delve into the broad topics of the body and the environment. 

Playwright Reina Hardy has a lot on her mind: the Big Bang Theory, the course of true love, the waxing and waning of sexual passion, personality disruptions caused by social media, the difficulty of making contact at a party when you’re socially awkward, and so much more. 

These interests all come incongruously together in her play Stargazers, now having its Michigan premiere at Theatre Nova.

Three talented actors under the direction of David Wolber work hard to bring credibility to their characters and find the humor and a bit of poetry in Hardy’s cosmic drama. The play is a bit too artsy, the metaphors too forced, and the plot too thin. But the actors are engaging and in touch with the characters they play.

Roustabout Theatre's Big Daddy Shakespeare looks at The Bard in a more personal and humanizing lens than is generally studied in school. A one-act play adapted from several of Shakespeare’s works by Anna Simmons and directed by Josie Lapczynski, shows him as a son, husband, and father who he left his young family to be a playwright in London. What was he thinking? Feeling? And how could his plays reflect his state of mind through separations -- and grief?

The Ypsi Experimental Space (YES) is decorated throughout with a specific theme. A popcorn machine greets you at the door, the warm scent of the freshly popped treat filling the air. Posters from past Roustabout Theatre shows are plastered on the walls like old circus playbills. The stage is draped in the unmistakable striped fabric of a circus tent. 

The vehicles for our exploration of Shakespeare are, fittingly, four roustabouts, or circus workers who erect and dismantle tents, care for the grounds, and handle animals and equipment. Our four roustabouts (Amanda Buchalter, Julia Garlotte, Russ Schwartz, and Cynthia Szczesny) enter the stage to put up another poster (for the show we are about to see) and set up some stage equipment and costumes the circus might need, but are, of course, used for their own show. 

With warm and inviting prose, Rick Bailey takes us through life's hilarious and melancholy moments in The Enjoy Agenda: At Home and Abroad. 

“Part of the pleasure in writing these essays is capturing moments that go flying by and would otherwise be forgotten," says Bailey. "Every moment is potentially reverberant. In the essay 'iSmell,' after a not particularly successful home repair event, the scent of WD40 on my fingertips causes me to remember my first experiences wearing cologne in seventh or eighth grade, and then to recall the smell of Dow Chemical in Midland, Michigan, and tobacco in Durham, North Carolina, where I spent some time in graduate school, leading to some thoughts on possibilities of digitized smell and the chemistry of smell in outer space. Reverberance is cool.”

These sorts of memories resonate through this charming book which includes stories of Bailey’s recruitment to a high school wrestling team, attempts to use mindfulness as a way to control blood-pressure results, and a long path to find just the right kind of milk. 

In keeping with recent exhibition themes at the Penny W. Stamps Gallery, its most recent show asks audiences to imagine a better future through the works of innovative and iconic contemporary artists. 

Call & Response brings together diverse works and combines elements of the traditional exhibition space, a performance space, and a soundstage. Featuring the works of Romare Bearden, Chakaia Booker, Tony Cokes, Saffell Gardner, Allie McGhee, and Tylonn Sawyer, the gallery asks visitors to consider “sonic resistance in Detroit and beyond” through visual art, sound, and a restored historical stage from jazz-era Detroit. The central hub of the exhibition starts with the refurbished Blue Bird Inn stage and includes representational and abstract artworks responding to the cultural music scene of Detroit and beyond. 

The glittering Blue Bird Inn stage was recently rescued from obscurity by Detroit Sound Conservancy. Opening in the late 1930s, the Inn was located on Tireman Street, Detroit’s “Jim Crow line.” In the 1940s, the bar’s owner, Clarence Eddins, used the space as a jazz club until the early 2000s. The exhibit notes that the stage is an “iconic example of African-American mid-century vernacular art and design,” and it's easy to imagine iconic musicians such as Miles Davis and John Coltrane standing on it and playing jazz to bustling audiences in Detroit.

Nastassja E. Swift wants to know what's behind the mask. 

The Virginia-based artist's exhibit at Lane Hall, the home of the LSA Women’s Studies program at the University of Michigan, is part of a larger performance piece, titled she was here, once. Swift, in her artist statement, expands upon the intent behind her work:

Circling within conversations of marginalization, use of the black body and otherness, my work incorporates the idea of masking as a metaphorical tool to explore what it means to cover one’s face with another, questioning who’s being hidden and who’s being amplified. The mask themselves often acting as vessels of stories told through movement and in form, depicting the faces of our ancestral mothers as a way of demanding space for her and retrieving her power in the form of visibility of homage. Through fusing these larger-than-life size felted wool portraits with dance, I am able to shape experiences through storytelling and articulate self-identities in relation to ancestry.

 

Lane Hall’s gallery space is filled with various components of the project. Originally enacted by Swift and a group of eight women in the summer of 2018. The performance took place in Swift’s home city, Richmond, Virginia. First, the artist has suspended three of the large sculptural, white fiber masks worn and made by the women in the project from the ceiling in the main hall. Second, photographic stills from the initial performance line the walls of the gallery space. Finally, two television screens play both a mini-documentary and short film about Swift’s project on a loop.