From the Roots: Chris DuPont's heartfelt "Floodplains" explores raw emotions without dwelling in darkness
When Chris DuPont released his latest album, Floodplains, earlier this year, it would have been easy to assume the themes of isolation and loss grew out of the pandemic. Yet all the songs were actually written pre-COVID, the Ypsilanti-based musician explained in a recent email interview.
The album continues DuPont’s remarkable run of thoughtful, heartfelt songwriting brought to life with impeccable singing and musicianship. The album has an intimate feel, highlighted by DuPont’s expressive guitar playing and flawless supporting accompaniment. “Retrieve” leads off the album, musing about how new relationships can heal broken ones, with guest vocalist Olivia Dear enriching the sound.
Several songs have an undercurrent of regret, and there are plenty of examples of DuPont’s knack for arresting lyrics. “Start Again,” featuring Rin Tarsy on vocals, is particularly affecting as DuPont sings, “I have never faced so steep a valley / As the center of the mattress in a wedding bed.” The album closes with touching “In the Lap of the Mountain (Benediction),” concluding that ultimately we all need someone else.
DuPont recently answered some questions about Floodplains:
The pandemic has been taking its toll on arts groups everywhere, but the determination to keep staging plays, singing, and dancing has not diminished.
Theatre Nova, a professional non-profit theater in the heart of downtown Ann Arbor, opened its season after a year and a half of darkened lights with the Michigan premiere of The Lifespan of a Fact, a provocative play about truth in journalism. Nova regularly brings new plays with provocative ideas to its small, intimate theater on Huron Street.
But Nova is taking two weekends to challenge its supporters to help raise money for a matching grant from the National Endowment for the Arts. The grant would help Nova to continue its Pay What You Can ticket pricing.
Nova is inviting audiences to come to their cabaret with the musical revue Sing Happy celebrating the music and lyrics of John Kander and Fred Ebb.
Friday Five: Scissor Now!, Jolly Jack and the Jazz Flutes, The Wastelanders, Sean Curtis Patrick, MEMCO, and a bonus video from Same Eyes
Friday Five highlights music by Washtenaw County-associated artists and labels.
This week features No Wave new wave by Scissor Now!, metal from Jolly Jack and the Jazz Flutes, hard rock via The Wastelanders, spooky sounds courtesy Sean Curtis Patrick, two MEMCO techno/electronica releases, and a bonus pick: Same Eyes' "Such a Shame" video.
“Light, fairy tale, bubbly, and elegant” are words that Kirk Severtson uses to describe Jules Massenet’s opera Cinderella (Cendrillon in French).
The University of Michigan’s Department of Voice and the University Symphony Orchestra presentation of Massenet’s Cinderella (Cendrillon) will be staged Nov. 4-7 at the Power Center.
For music director Severtson and stage director Abbigail Coté, this famous story of a poor girl abused by her stepmother and stepsisters who triumphs by winning the love of a prince (with the help of a fairy godmother) seemed like just the right remedy following a year and a half of COVID restrictions and worries.
“We chose this piece for its theme and subject that was specifically post-COVID and not something set in a dystopian, nightmarish future. We chose something light, fairy tale, and bubbly,” Severtson said.
Cinderella may just be the oldest and most beloved of the classic fairy tales. It has been the subject of numerous versions and variations dating back to a tale told in China in the fourth century B.C. It was a Disney animated musical (and "Cinderella Castle" is a Disney trademark), a Rodgers and Hammerstein musical for television and later stage, several other films, and numerous ballets and operas. Massenet’s version, with a libretto by Henri Cain, premiered in 1899. A popular version by Gioachino Rossini premiered in 1817.
Coté has a theory about the story's longevity.
Author, Screenwriter, and U-M Alum Christopher Cosmos' Debut Novel Covers Characters Caught Up in Greece’s WWII Fight
Author and U-M alum Christopher Cosmos brings alive the historical and personal drama of the Greek resistance during World War II in his new novel, Once We Were Here. When Greece refuses to surrender to Mussolini’s demand for occupation in 1940, the decision sets off a series of events that irrevocably alter the characters’ lives.
The narrative starts in 2014 in Michigan and is told by a grandfather to his grandson. By looking back in time and telling the story, Papou reveals the family’s resilience, romances, losses, and triumphs during the war. The novel is bookended by scenes at this later date. The grandfather starts the tale with a view of what life is like in Agria, Greece on the Aegean Sea before the war. Two friends Alexandros—Alexei —and Constantinos—Costa—have just turned 18, both born on the same night. Alexei is a fisherman and reflects on how a day on his boat feels:
At Odds: "Oh, Honey ... A Queer Reading of UMMA's Collection" imagines a place where LGBTQ+ art can thrive
Art is often intentionally ambiguous, asking viewers to create meaning and metaphorically fill in the blanks with their interpretations.
So, then, what is queer art anyway?
(Spoiler! This exhibit will not define it for you.)
In Oh, Honey ... A Queer Reading of UMMA's Collection, compiled by doctoral candidate and 2019-2020 Irving Stenn Jr. curatorial fellow Sean Kramer, there is no essential “queerness” harnessed and presented in a neat package. Instead, the exhibit is framed by the words of activist, author, and professor bell hooks: “Queer as being about the self that is at odds with everything around it and has to invent and create and find a place to speak and to thrive and to live.”
The University of Michigan Museum of Art is now fully open to the public, but Oh, Honey—UMMA's first self-described queer exhibit—went live virtually in fall 2020. Even so, the online exhibit doesn't have the same impact due to Kramer’s curatorial approach: the physicality and placement of the works affect their readings.
In this vein, it is important to note that each artwork was created by a different artist with a unique relationship to the external world; not everybody defines queerness or “queer art” in the same way.
Friday Five highlights music by Washtenaw County-associated artists and labels.
This week features retro-futuristic vaporwave by Kawsaki, droney folk-blues by Laurel Premo, synth-pop by Same Eyes, environmental sounds by Safa Collective, and indie-folk by marto.matic.
The characters in Erin Hahn’s coming-of-age novel "Never Saw You Coming" grapple with beliefs and trauma in Michigan’s Upper Peninsula
The line between right and wrong is not always clear. Erin Hahn’s new young adult novel, Never Saw You Coming, illustrates the dilemmas that people face when they are told one thing and experience another, leaving them to sort out what they believe.
In the book, 18-year-old Meg Hennessey learns several family secrets at once and goes on a journey to make sense of it all. She grew up in Ann Arbor and travels to Marquette, Michigan, to meet with relatives she previously did not know she had. There, she meets Micah Allen, who likewise has a complicated past. The two of them find an immediate connection complete with witty banter, physical attraction, and outdoor adventures. Chapters alternate between each of their perspectives.
As young adults going through new situations and developing strong feelings for each other, Meg and Micah face uncertainties about whether to listen to religious advice or to follow their intuitions. Purity and abstinence are highly valued in the church, and the pair meets scrutiny even when trying to support church members and follow their values.
Meg reflects, “Before Marquette, I was only a sinner in my heart. Now I’m … out there. Like toothpaste all squeezed out of the tube. I can’t be put back in. And I don’t think I want to be.” She reconsiders the good that can come from bad situations. Her parents’ circumstances are among those situations, and she wonders about the concept of sin:
If God brought my parents together that one time, just to make me, and if it was a blessing planned by God, how could it be a sin? Are sins just blessings being played in God’s long game?
Both Meg and Micah grow and form their own perspectives as they face numerous challenges.
Hahn lives in Ann Arbor, and Never Saw You Coming is her third book. I interviewed her about writing this novel, the choices she made in it, and what’s coming up next for her.
Ann Arbor's Rasa Festival, which celebrates Indian dance, music, theater, film, and poetry, moved online during the quarantine. Generally speaking, it kept the format of the previous years' festivals just with scheduled live streams during the length of the festival rather than in-person events.
For the 2021 edition, Rasa will still be entirely online, but rather than presenting a series of livestreams in a compacted time period, the festival will produce event videos about once a month for the next six to eight months.
Songs of Dusk features five dances choreographed to songs featuring the lyrics of poet Batakrishna Dey, the father of Rasa founder Sreyashi Dey.
The dancers are the styles of dances there are doing include:
For Ann Arbor singer-songwriter Rod Johnson, a rusty, rattling Ford Econoline van serves as the ideal road-trip companion.
The tank-like vehicle represents carefree, youthful jaunts of the past and promising, independent cross-country journeys of the future on “Telephone Company Surplus Econoline Van" from his latest wanderlust-fueled album, Looking for a Perfect Trip.
“I had a friend in high school that had a telephone company surplus Econoline van, and it was just a Michigan Bell van with a logo painted on it," said Johnson, a retired University of Michigan College of Engineering professor. "We spent a lot of time in that van listening to Alice Cooper, and that’s the van that I was thinking of specifically."
“When I do that song, people always laugh when I say the title. They think it’s going to be this jokey song, but it’s not. It’s always fun to watch their expressions change as you go through it.”