Friday Five highlights music by Washtenaw County-associated artists and labels.

This week features electric solo folk from Lily Talmers, acoustic folk by Daring Detour, jazz by Meg Brennan, a techno/house mix by Joshua Orange, and experimental ambient and pop by Samn Johnson and friends.

This story was originally published on June 2, 2021. An album release concert is happening Saturday, January 29, 2022 at Blue LLama.

When you walk into Ann Arbor's Blue LLama Jazz Club, the first thing you notice isn't the sound booth. It's the curved long bar that starts near the front door, the ceiling's circle lights, or perhaps the textured sound-absorbing panels that line the back wall of the club. But the sound booth is outfitted with oodles of high-end audio and video gear, and Blue LLama is able to document every performance it chooses to with relative ease. Since the venue often books local artists, recording these shows will provide an invaluable resource covering the recent history of the Ann Arbor and Michigan jazz scenes.

But touring artists are also taking advantage of Blue LLama's high-tech capabilities.

The first live album recorded at the club came out last September on Denmark's venerable Storyville Records: Adonis Rose Piece of Mind-Live at Blue LLama. The New Orleans drummer and Blue LLama artistic director Dave Sharp discussed making this record while the club was still being designed, and the results are an excellent mix of electric and acoustic jazz.

The club has now taken the next step and formed a label, Live at Blue LLama Records.

At age 6, Zach Damon discovered his love of public speaking.

The future Ann Arbor Tonight host-producer was an ambassador for March of Dimes and spoke at different events in the early ‘90s, including the National Athletic Awards at Detroit’s Fox Theatre.

“I remember being in the audience because it was a pre-taped show and seeing the great energy and the great camaraderie of the business in general,” said Damon, who was born with cerebral palsy and grew up in Ann Arbor. “Everyone was so encouraging, and they’d say, ‘Zach, you can do anything you want to do, and if you want to work in media one day, then you can do that.’”

Damon also became inspired watching TV sportscaster Greg Gumbel and author-journalist Mitch Albom serve as hosts of the awards show. In that moment, he found his purpose.

“I remember seeing one of the broadcasters on stage doing his thing, getting the cues during the show, and then presenting," he said. "I remember at one point looking at the stage and saying to myself as a 5 or 6-year-old … I’d really like to be that person … and that’s where I felt most comfortable.”

Damon carried that dream with him throughout his teen years. By his junior year at Ann Arbor’s Pioneer High School, he aspired to host a late-night talk show. 

“I was talking to some buddies of mine who were in the film and video club, and I said, ‘It would be really neat to have a late-night show in Ann Arbor and call it Ann Arbor Tonight,” said Damon, who’s inspired by The Tonight Show and Saturday Night Live. “I was sitting on my bed, and they were like, ‘Yeah, whatever, Zach.’ I always have these very big ideas, but I really felt that they were possible if you just put the action toward it.”

In June 2021, after the brutal murder of George Floyd and the emergence of the Black Lives Matter movement, many theater artists began to wonder if they had done enough to combat inequality. American Theatre published responses of a sampling of theaters across the country, and the magazine’s editor, Rob Weinert-Kendt, wrote that artists “must not let this moment of potential for change … pass us by.”

The Purple Rose Theatre Company felt the call of the times, too. While founder Jeff Daniels was on Broadway as Atticus Finch, a white lawyer who defended victims of prejudice in To Kill a Mockingbird, he wrote to the theater’s supporters expressing pride in the Rose’s diversity record: 30% of productions featured a person of color, Daniels reported. Seven productions centered on a diverse community, and four were written by playwrights of color. “But it’s not enough,” Daniels added. 

So, the artistic director at the time, Guy Sanville, launched an initiative to seek out artists who are Black, Indigenous, or other people of color. The theater started holding acting auditions in Detroit as well as at its home in the mostly white city of Chelsea. Sanville appointed Lynch Travis, an African-American actor and director who had been part of the Rose company, to be the chief diversity enrichment advisor.  

“When I was engaged by the Purple Rose to find more diverse voices to put on their stage, we invited 12 local playwrights,” says Travis. After Daniels and Sanville selected Jeffry Chastang’s Under Ceege, they asked Travis—who had been one of the first people to read the play—to direct it. 

Under Seege started previews on January 20, fully opens on January 28, and runs through March 12.

Friday Five highlights music by Washtenaw County-associated artists and labels.

This week features hypno-rock with Winged Wheel, folk-pop soul by Rebekah Faidia, sci-fi soundtracks via VBlank, solo piano from Edward Diehl, and lo-fi indie courtesy of Ness Lake.

When you start paying closer attention to a food or beverage, you notice more details among different types or brands. Experts who focus on wine or coffee, for example, are able to discuss the nuances and tasting notes of unique varieties.

But those aren’t the only foods and drinks that foodies and cooks can get to know on a deep level.

Abra Berens, a chef, author, former farmer, and U-M alum, brings this level of attention to beans, grains, legumes, and seeds in her new cookbook and guide, Grist. She writes about how her interest in grains took root:

Paisley Rekdal examines cultural appropriation in literature in her new nonfiction book, Appropriate: A Provocation. However, this collection is not essays, as one might expect. 

Instead, Appropriate consists of letters addressed to a student who is a new writer, and this structure offers a different, more conversational, and inquisitive tone. This recipient is not based on any specific person but inspired by many students and colleagues. The letters refer to the student as X. 

Early on, the first letter defines the subject of cultural appropriation as being about identity. It is also, “an evolving conversation we must have around privilege and aesthetic fashion in literary practice.” Rekdal’s examples of the issue—both positive and negative, including hoaxes in which authors pretend to have another identity—demonstrate how important attention to the topic is.

Rekdal offers ways to understand, analyze, and navigate cultural appropriation. Rekdal asks many questions and also offers a list of them for evaluating one’s own work to let the reader consider what their answers are, too. She includes her own experiences from teaching, participating in conversations, and writing appropriative works herself. 

You might be wondering whether cultural appropriation should just be off-limits, but Rekdal brings a more nuanced view, one that acknowledges some literature as effective and other literature as harmful. She writes to X, “When we write books that appropriate the experiences and identities of other people, X, we enter into the system in which we all participate but over which we individually have very little control.” This issue is so risky that Rekdal anticipates this question of “Do you opt-out?” The matter cannot be distilled so simply, though, because Rekdal offers instances when authors successfully write other identities than their own.

The question then becomes about what factors contribute to literature that engages in cultural appropriation working or not working. The answer changes, in part, based on the current moment in history and politics, notes Rekdal:

Friday Five highlights music by Washtenaw County-associated artists and labels.

This week features hip-hop from Hi Potent C & Omnichron, video-game-inspired music from Test Device and Quality Jones, funk and fusion by Morel Compass, and dance-floor bangers from Price.

Friday Five highlights music by Washtenaw County-associated artists and labels.

This week features country-blues from Scotty Karate, hip-hop folk by Nadim Azzam, an uplifting dance mix courtesy of Chris Purdy, a single and video by R&B-influenced jam band Chirp, and a Chris Bathgate folk-rock reissue.

Ypsi-Arbor mainstay Fred Thomas has been creating and releasing music since he was a teenager—only slightly before the Illinois-based record label Polyvinyl launched in 1996.

Polyvinyl made its name initially by featuring punk-inspired, melodic-emo ragers by the likes of Rainer Maria and Braid before its evolution into a more indie-rock-oriented label with the signings of eclectic artists such as Of Montreal and Thomas' Saturday Looks Good to Me (SLGTM).

While Thomas often releases music from his various projects on his Life Like label, the prolific artist's relationship with Polyvinyl has carried on ever since SLGTM's 2002 LP, All Your Summer Songs: The Champagne-based label put out the last three full-length "proper" records Thomas made under own name, and now he's the host of a podcast that looks back at Polyvinyl's history.

It's a rich past to dig through, too: Polyvinyl has released music by more than 100 artists, many of whom Thomas will speak with as the podcast plays out, including members of American Football, Alvvays, Japandroids, of Montreal, Laura Jane Grace, and Xiu Xiu along with the label's Natalie Dávila, Andy De Santis, and Seth Hubbard.