Music from the indie-folk and Americana band Dead Horses grapples with hope and pain -- how to reconcile sorrows and desires -- through both songwriting and sound. Lyrics on the 2018 album, My Mother the Moon, draw on frontwoman Sarah Vos’ life story, including experiencing an unsettling childhood and finding her way as an adult, as well as her observations as a musician. The track “Turntable” offers this image:
Oh, she said, “If my heart was a turntable,
And my belly was the speaker and my soul the needle.”
These are the kind of songs in which you can hear something new each time you listen. Finding autonomy and self, acknowledging hurt and struggles, recognizing social issues, interacting with nature, and looking hopefully to the future all figure into this album.
Most recently, Dead Horses, started by Vos and bassist Daniel Wolff, is releasing a series of singles, which will appear on an EP next year. Their latest one, “Birds Can Write the Chorus,” embraces possibility, as “it’s never what I thought it was; it’s never too late,” according to the lyrics.
Dead Horses play The Ark on Wednesday, December 4, with doors opening at 7:30 pm and the show starting at 8 pm. Vos and Wolff responded to questions by email beforehand.
“We are only here because of Harald Poelchau, the prison chaplain who risked his own life to smuggle these letters back and forth to my grandparents,” says author Johannes von Moltke. “There is no other way that my grandmother would have gotten these letters and been able to keep them the rest of her life.”
The messages von Moltke refers to are the heart of Last Letters: The Prison Correspondence Between Helmuth James and Freya von Moltke, 1944-45, which contains the intimate notes between German Resistance fighters in World War II. The book is published in English for the first time thanks to von Moltke, his sister Dorothea, his uncle Helmuth, and translator Shelley Frisch.
Late in 1944, Freya von Moltke waited at home while her husband Helmuth James von Moltke was being held in a Berlin prison, awaiting his trial for his part in the Kreisau Circle, one of the crucial Resistance groups in Germany. In the months leading up to Helmuth’s execution in January 1945, the two exchanged heartfelt, moving letters about their lives and love for each other. Poelchau risked his safety daily to smuggle these writings in and out of the prison.
Dr. von Moltke, now a professor of German and film at the University of Michigan, says his grandmother always had the letters with her.
Bill Kirchen reminiscences on Commander Cody, Iggy Pop, and Bob Dylan before the Ann Arbor guitar legend's Honky Tonk Holiday
Ann Arbor native Bill Kirchen is instrumental in creating the rootsy country-rock-blues-folk mix we today call Americana.
Kirchen hit it big early in his career as the lead guitarist for Commander Cody and His Lost Planet Airmen; he’s responsible for the dazzling guitar work on their enduring 1972 hit “Hot Rod Lincoln.” He’s since become known as an absolute master of the Telecaster guitar, playing with a nearly endless list of impressive names through the years.
Most recently, though, Kirchen has found one more way to shine: He’s become well known for his Honky Tonk Holiday tours, which showcase some of the most amazing, overlooked Christmas-themed gems you’ve never heard, alongside some other favorites from throughout his storied career.
On Sunday, Dec. 1, Kirchen brings his annual holiday spectacular home to Ann Arbor for a show at The Ark.
Dusting off should-be-classics like “Daddy’s Drinkin’ Up Our Christmas,” “Silent Surfin’ Night,” and “Truckin’ Trees For Christmas,” Kirchen -- now based in Austin -- will appear with his backing band The Hounds of the Bakersfield, featuring Rick Richards on drums and David Carroll on stand-up bass.
Kirchen took the time to answer a few questions via email, reflecting on the upcoming show and his time in Ann Arbor.
We all have ways of coping with the holidays.
Some eat and drink in abundance to steel themselves against their uncle's ranting of conspiracy theories.
Others join their uncle in spouting said conspiracies.
And then there's you, the person who emotionally logs out by jamming headphones so deep into your earholes that the only thing you hear is whatever jams you're pumping at family-saving volumes.
Well, the Michigan Electronic Music Collective has some gifts for you, O' Blocker ov Bloviators.
The University of Michigan group more commonly known as MEMCO has had an active fall. In addition to throwing various dance parties and frequently holding down the Crush Collision radio show, MEMCO teamed up with the Maize Collective and WCBN for an event at Club Above on November 22 that raised $1,725 for The Avalon Village in Detroit. (MEMCO will also team up with the North Coast Modular Collective for "Getting Started in Electronic Music" at AADL on January 11.)
But what you need for the holidays aren't dance parties or fundraisers; you need Loud Uncle Blocking Mixes, which MEMCO members past and present have been cranking out this fall. Below are all the recent MEMCO-associated mixes the collective has posted to or flagged up on its Soundcloud page, plus a link to a Pulp article back in September where I collected all the mixes the group posted over the summer and at the start of school.
In other words, hours and hours of peace and non-quiet to get you through the holidays.
John Steinbeck’s The Grapes of Wrath is a great American classic.
It is set in a specific time, the Great Depression of the 1930s; specific places, the Dust Bowl ravaged southwest and the fertile promised land of California; and a specific group of people, the migrant Joad family of Oklahoma, one of many families looked down upon as ignorant Okies, traveling with hope for a better life. Yet the story continues to resonate as migrants make their way from Central America to the United States border and from Syria and North Africa to the shores of Europe in search of justice, peace and a chance for that better life.
The University of Michigan Department of Theatre and Drama is presenting a production of Frank Galati’s critically acclaimed stage adaptation of Steinbeck’s novel.
“It seemed timely, relevant, a great American tragedy, a great novel,” said production director Gillian Eaton, an award-winning actress, director, and U-M faculty member.
In its juried exhibition Way Opens (Disability Arts and Culture), Riverside Arts Center asks, “What does ‘disabled’ mean to such a broad range of people who identify as such?”
Works in the show certainly address artists’ personal experiences with disability, but also offer opportunities for audiences to explore what this means interactively, ideally working toward empathy and interrogation into internalized perceptions of disability. Artists in the show grapple with questions of identity and disability, mostly in America, through multimedia installations, interactive exhibits, painting, fiber arts, video, sculpture, and written word.
The Riverside Arts Center gallery space included multiple changes to the layout typically used for a group exhibition. The center space, instead of being open, or containing installations that require physical engagement, contained tables and chairs to allow visitors to sit and enjoy the show from many positions. The gallery’s book of artist statements is printed in large type and, in addition to the usual statements and bios, includes detailed descriptions of each exhibit for visually impaired visitors.
The clouds were racing overhead as the winds pushed me toward the Duderstadt Center, the imposing Art, Architecture, and Engineering Library on North Campus that is also home to the U-M Computer and Video Game Archive.
Looking up at the towering mouth of the glassy citadel, it's easy to imagine yourself as an avatar on a digital map, an adventurer about to set foot in a new world.
What challenges await inside?
Generally, when we’re suffering and in pain, we know the cause.
But when it comes to identifying what will heal us -- let alone knowing whether healing is even possible -- that’s another matter entirely.
This all-too-human struggle makes up the core of the 1991 stage musical adaptation of The Secret Garden -- book and lyrics by Marsha Norman, music by Lucy Simon -- on stage at Dexter’s Encore Theatre.
Inspired by Frances Hodgson Burnett’s classic 1911 children’s novel, the story begins -- rather confusingly, to be honest -- with a young British girl, Mary Lennox (Jojo Engelbert), surviving a cholera epidemic that leaves her an orphan in India. She’s dispatched to the country home of her Uncle Archibald (Jay Montgomery), but he doesn’t bother to greet her, so steeped is he in his own grief for his deceased wife, Lily (Sarah B. Stevens).
Mary’s only company at first is a maid named Martha (Dawn Purcell), but then Mary befriends Martha’s nature-loving brother, Dickon (Tyler J. Messinger), who feeds Mary’s curiosity about the walled-off, locked-up secret garden that was once loved and tended by Lily. Plus, Mary soon stumbles upon another young resident of the house: sickly, bedridden Colin (Caden Martel), who fears that his father, Archibald, hates him because his birth caused Lily’s death.
If this all sounds pretty dark and gloomy, well, it is.
The Leo and Mary Sarkisian Collection at the University of Michigan contains a rich variety of artifacts from the longtime Voice of America broadcaster, whose creation, Music Time in Africa, is the longest-running English language radio program that broadcasts throughout Africa. There are audio recordings and documents from the Leo Sarkisian Library (on loan from Voice of America), as well as personal papers and musical instruments donated by the couple.
But the latest addition came not from Leo and Mary, who died in 2018 and 2019, respectively.
According to a story written for the U-M Arts & Culture site, the current Music Time in Africa host -- and Michigan alumna -- Heather Maxwell let the Sarkisian Collection team know sundry tapes and scripts for old MTIA shows dating back to the mid-1960s were about to be boxed up and shipped to VOA's storage facility: salt mines in Western Pennsylvania. Knowing that if these items were sent to a cave, they'd essentially be inaccessible, Paul Conway, a U-M School of Information professor, and Kelly Askew, U-M professor of anthropology and Afroamerican and African studies, sprang into action.
Conway and Askew initially sought funding to digitize 30 Music Time in Africa shows, but once they saw how extensive and well-preserved the collection was, the duo boosted their target to 900 programs. The Sarkisian Collection team is digitizing 10,000 reel-to-reel tapes, cassettes, and vinyl records -- as well as original scripts, scrapbooks, letters, etc. -- and the first batch of these preservation efforts are online at the Music Time in Africa website.
This story was originally published on May 9, 2018, ahead of Nellie McKay's May 13, 2018, concert at The Ark in Ann Arbor. McKay is returning to The Ark on Monday, November 19 in support of her new 8-song EP, "Bagatelles," which you can hear below in addition to her 2018 LP, "Sister Orchard."
Nellie McKay often seems like she’s at a loss for words.
During our phone conversation to promote the pianist-singer-songwriter’s show at The Ark on May 13, her answers were often preceded by a swarm of ums, uhs, I means, and various other utterances. And when McKay did get to the answers, it wasn’t necessarily in response to my questions, instead offering long vignettes about politics and the stark realities of being a full-time musician.
On stage, McKay has a similarly discursive way of speaking, mixing funny anecdotes, political pleas, and stammering self-effacement.
But once McKay strikes a piano key, everything flows. Words stream from her gorgeous voice with confidence and warmth. The quirkiness that defines her conversations gives way to sass and power, and listeners get invited into her world -- which is not of this era.