Poet and U-M writing instructor Molly Spencer sees the world "as a collection of thresholds" in her new book, "If the house"
Throughout Molly Spencer’s new book of poetry, If the house, each measured word reveals the intensities and scenes of home, time, and solitary experience amidst people and relationships. In a poem titled “How to Love the New House,” there is a line that answers, “Until you ache with it.” Another poem, “As if life can go on as it has,” includes the sentence, “The earth has all these endings,” and the speaker goes on to share, “I am / in a kitchen’s heavy afternoon / light,” almost implying that the sun could indicate a conclusion.
Perhaps most consistently, the passage of seasons prominently delineates time in If the house. Early on, a stanza depicts time’s effects through apples and squash:
Given time, they will ripen,
grow sweet, become something
for you to get by on.
It seems that time offers sufficient sustenance to keep going and also that time keeps independently moving, resulting in byproducts like sweetening. Later, the lines, “It’s December” and then “October and the birds flock / and rise, whole-cloth” appear in different poems. So months also mark time in this collection, along with other indicators, such as, “My body / adds itself again to the unfolding / rooms of time,” and there are “...other Augusts far / from here, but not so far you can’t / reel them back in....” Each moment is clearly fixed to others by virtue of time being linear, but life in this poetry collection’s world still changes and shifts, showing contrasts to previous points in time to which the speaker remains connected.
Joseph Zettelmaier's "Dr. Seward’s Dracula" is a creepy, clever prequel to Bram Stokers' vampire legend
Near the end of Joseph Zettelmaier’s play Dr. Seward’s Dracula -- now being staged by The Penny Seats Theatre Company, at Ann Arbor’s Stone Chalet Inn -- a character observes, “People need their monsters.”
So it seems. For it’s far more comforting and palatable to believe that humans like ourselves simply aren’t capable of committing the very worst acts of violence and depravity.
But we are, of course. And this unnerving truth is precisely what drives Zettelmaier’s unconventional take on the Dracula story.
Why is it that sad songs make us feel better?
Esther Rose, opening act at Thursday night’s show headlined by The Cactus Blossoms at the Ark, asked that question partway through her set as she realized that all of her songs to that point had been a bit melancholy.
A Michigan native, but a New Orleans resident for the past decade, Rose sang songs of loves lost and found. Not just people, but places too -- from her family’s farm near Flint, Michigan, to the love of the Lower Ninth Ward in her adopted hometown. Her earnest songwriting and clear vocals were paired with sparse instrumentation. She was joined on stage by Jordan Hyde, who provided backup vocals and lead guitar. Her debut album, You Made It This Far, was released in 2019 on Father/Daughter records.
The Cactus Blossoms are brothers Page Burkum and Jack Torrey on main vocals and guitar, now joined eldest brother Tyler Burkum on guitar, cousin Phillip Hicks on bass, and Jeremy Hanson on drums. Formed in Minneapolis, The Cactus Blossoms have a sound influenced by classic country, folk-inspired storytelling, and the harmonies of famous sibling duos, with some good old-fashioned rock and roll reverb from the ‘60s. The band members started exploring this style of music around 2006 while investigating their local library’s music collection and through a friend whose collection of obscure folk music and “high lonesome” sounds was particularly intriguing.
Four dancers in an eerie semi-darkness -- bald, torsos nude, bodies covered in white dust -- stand together in a circle. They stay fixed to the floor, seemingly rooted to the spot, as their bodies turn around in a unified, slow-motion gesture. Their feet rotate in place as their limbs twist together, until legs spiral around one another and the spine and neck swivel to bring the ghostly visages directly before the audience. On the faces, there is an open-mouthed image of silent, inexpressible anguish, a sort of inaudible scream whose riveting force stops your breath. For a moment, before the contorted and gnarled bodies reverse direction and rotate back, you have unshakable certainty that this is the face of a body in pain.
Then the moment passes and the spell dissipates.
There’s no pain here, not really, just illusion and mastery.
This kind of arresting image isn’t uncommon for Sankai Juku, a Paris-based troupe that practices a Japanese dance form known as butoh, an avant-garde genre that arose in the 1960s and is recognizable by its characteristic use of white body powder and shaved heads.
I went to the pond not to fish, not to swim, but to listen to experimental music.
And all I heard was silence.
It's not because the University of Michigan's Digital Music Ensemble (DME) was performing John Cage's 4'33". The group, under the guidance of Professor Stephen Rush, had worked up a piece inspired by Brian Eno's Music for Airports, the landmark 1978 ambient record that was built by having pre-recorded tape loops of varying lengths go in and out of phase with each another.
The DME's Pond Music XVII: Brian Eno’s Music for Airports -- or more colloquially on the promo posters, Pond Music for Airports -- was created by students who wrote and performed the short music segments that were then committed to tape. The DME artists then spliced the tapes and loaded them onto old reel-to-reel machines, which were set up in front of the retention pond behind the Earl V. Moore Building, which is the home of the U-M School of Music, Theatre & Dance, located on North Campus.
The annual Ann Arbor Folk Festival, a fundraiser for The Ark, returns to Hill Auditorium on Friday, January 31 and Saturday, February 1, 2020. A combined performance by Calexico and Iron & Wine headlines the first night and a solo Nathaniel Rateliff tops the second evening.
Calexico and Iron & Wine released the collaborative album Years to Burn last year, but the groups' artistic relationship stretches back to the 2005 EP In the Reins.
Rateliff is leaving his soul band the Night Sweats at home and will perform songs from his earlier, folk-based albums (but don't let that stop you from shouting out requests for "S.O.B." -- the audience can handle the hand-claps).
Check out the rest of the lineup below along with videos for each of the artists.
Last Dance: The Bang! Must Die! is one last boogie down production for this long-running party at The Blind Pig
It's the last dance -- last dance for love.
Yes, it's the last chance for romance Saturday night.
Founded by artists Jeremy Wheeler and Jason Gibner, the first Bang! party was held in 2001 at the now-shuttered Half-Ass Inn (Halfway Inn) in U-M's East Quad. The following year it moved to The Blind Pig -- with occasional visits to Ypsilanti and elsewhere -- and it eventually became a monthly event for a long while, getting more and more elaborate over the years as The Bang! crew went wild building elaborate props that supported the dances' playful themes.
Filtered through Wheeler's distinctive, retro-cool aesthetic -- which you can see in the posters above -- The Bang! encouraged people to dress up in outrageous clothes, shake off their everyday grime, and get dirty on the dancefloor. Perusing a photo archive on Flickr from older Bang! throwdowns, you can all but smell the PBR pouring out of the pores of the revelers. As the sweaty, open-mouthed ravers cut through the humid club air, The Bling Pig took on the look of a thrift shop on acid, where all the VCR tapes and '80s aerobic leotards suddenly rediscovered their worth on Earth.
Silly sexual japes abounded at The Bang! and the photo gallery is rich with crotch shots. One hirsute gentleman even figured out how to don a thong at most every Bang!, no matter the theme.
We rooted through thousands of pics and chose some of our favorites, which you can see below, along with a short documentary on The Bang! and some other video footage. But first, read these two oral histories of The Bang! -- then wish it well in the afterlife by donning a crazy costume and dancing your face off on October 26:
➥ "The Bang! Must Die: the History of the Sweatiest Dance Party in Town" [Damn Arbor, October 22, 2019]
➥ "After 18 years of dance-party madness, here's why The Bang! must die" [Concentrate, October 16, 2019]
The Comic Opera Guild was founded on the premise that the operetta (or comic opera) was the perfect vehicle to introduce people to opera and the thrill of listening to classically trained voices. Comedy makes everything approachable. Comic songs were common in the last century, either as pop music or taken from Broadway shows. Unfortunately, the comic song is uncommon now, and so we decided to produce a show that brought this idiom to people's attention.
On Friday, Nov. 1, at 7 pm at the Ann Arbor District Library's downtown location, the Guild presents Follies, a revue-concert featuring high-spirited and comic entertainment reminiscent of the Ziegfeld Follies. Classically trained singers and instrumentalists will cross over into light-hearted music from the 1920s to the present day, from shows, Vaudeville, and even Tom Lehrer and Eric Idle.
The two years since Casey Nowak last answered questions for Pulp have been filled with personal changes and critical success. Followers of Nowak’s on Twitter may also have noticed her using the platform to discuss her own experiences with sexuality, divorce, mental health, and recently a series of tweets discussing her name change from Carolyn to Casey.
The Ann Arbor cartoonist feels these experiences, both good and bad, have influenced and increased her confidence in her work.
In late 2018, Top Shelf released Nowak’s collection of short stories, Girl Town. These previously released stories, along with one unpublished work, secured Nowak some of her best critical reactions to date. Girl Town finished the year on numerous “Best of” lists, was nominated for an Eisner Award (akin to comics' Academy Award), and last month won Nowak her third Ignatz Award, which recognizes excellence among self-published or small-press creators.
Previously, Nowak had an acclaimed 12-issue run as the artist for the popular series Lumberjanes, and in 2017 she published Chad Agamemnon, an all-original comic for the Ann Arbor District Library's annual Ann Arbor Comic Arts Festival (A2CAF). (AADL cardholders can download the comic here.)
Nowak has also released the first two volumes of her middle-grade Buffy the Vampire Slayer series and ventured into erotic comics with the release of No Better Words, which also scored an Eisner nomination for the cartoonist. Earlier this year, Nowak started a Patreon site, which allows fans to subscribe at various tiers to gain access to exclusive content from Nowak including works in progress and exclusive mini-comics like last month’s Duh! Ha-Ha!
Nowak was kind enough to answer a few emailed questions for Pulp.
Saxophonist Allison Au said her 2016 album, Forest Grove, was inspired by the Toronto neighborhood where she grew up. But it's not city life she's referring to; it's a place where trees and nature provided the vista, not concrete.
The pastoral spirit of the Forest Grove neighborhood runs deep through Au's alto on all three of her records. She tends to play relaxed, melodic phrases that reinforce an ensemble sound rather than firing up solos that race over the harmonic foundation of her compositions. Keyboardist Todd Pentney, bassist Jon Maharaj, and drummer Fabio Ragnelli have plenty of freedom to explore Au's tunes and they feel essential to her vision, not just a backing band.
Forest Grove won a Juno award -- the Canadian equivalent to a Grammy -- for best jazz album and her latest, 2019's Wander Wonder, was nominated as was her debut, The Sky Was Pale Blue. Au self-released all of the albums, so to garner this type of recognition for independent releases is a testament to her talent.
You can see the Allison Au Quartet at Blue LLama Jazz Club in Ann Arbor on Wednesday, October 23. Below are some videos of the band in action and you can listen to her three albums.