This account of a previous Brian Eno-focused Smell & Tell was originally published February 23, 2018. Michelle Krell Kydd hosts another Eno-themed Smell & Tell on Wednesday, February 19, 6:30-8:45 pm, at AADL's Pittsfield branch.
The temple bell stops --
but the sound keeps coming
out of the flowers.
--Matsuo Basho (1644-1694)
“This one smells like stinky feet!” is not something you want to hear at a perfume-smelling event.
But considering the spikenard essential oil in question was used to anoint the feet of Jesus, perhaps it deserved another whiff.
As the 40 people gathered in the fourth-floor conference room at the downtown branch of the Ann Arbor District Library took another hit of spikenard, something akin to turning water into wine started happening. As the molecules of oil on the sampler strips began to evaporate, people began describing the oil as having elements of licorice, red hots, mint, wintergreen, cough medicine, camphor, turpentine, violets, and fruit.
Welcome to Smell & Tell.
Ann Arbor-raised Adam Falkner returns with his new poetry collection, "The Willies," and a better sense of his authentic self
Adam Falkner probes the paradox of how hard it is to be yourself sometimes in his new poetry collection, The Willies. One of the poems, “Let’s Get One Thing Halfway Straight,” exposes this emotional labor in the following lines:
The not-so-funny thing about spending a
life proving you aren’t something is that any story that isn’t
the story is survival or more like a brick for laying until the
wall is high enough that you’re safe inside and you wake up
and say whoops whose house is this who did I hurt to get
here and is it too late to call for help.
The real risk lies not in being yourself but rather in suppressing yourself based on people’s opinions or your perceptions of how you’re supposed to be. Falkner finds this identity issue to be a common experience to which many readers relate and also one that is very personal to his life.
“There’s something deeply universal about the idea of being closeted and longing for something bigger than this version of yourself," Falkner said. "That fear associated with who we might become if we don’t ask ourselves who we want to become is a very real thing for everyone.”
Theatrical Poetry: Director Malcolm Tulip discusses his U-M production of Federico García Lorca's "Yerma"
“Theater is poetry that gets up from the page and makes itself human. And when it does that, it talks and shouts, cries and despairs.”
The plot of Yerma -- a story about a woman’s struggles with societal pressures to conceive -- isn’t what makes Lorca’s 1934 tragedy a must-see classic.
What gives it power are the songs, dance, heightened gesture, and visual elements -- the poetry. “Lorca called Yerma ‘a tragic poem in six paintings,’” notes Malcolm Tulip, director of the University of Michigan production running February 20-23 at the Lydia Mendelssohn Theatre.
“Most people assume Yerma is the name of the protagonist, a woman who hasn’t been able to have a child," Tulip says, but the word means “barren” in Spanish and perhaps it isn’t a name at all. Perhaps it “describes this woman’s inner and outer worlds. Yerma here might be a naming of the woman's reluctance or inability to accept the seed of a man who she married out of duty. ... The landscape, like her womb, is uninhabited, possibly uninhabitable."
Every new season the University of Michigan Medicine’s Gifts of Art brings patients and visitors new exhibits of inspirational, meditative, and thought-provoking works by local and regional artists. For the winter edition, the eight gallery spaces provide uplifting and diverse works, executed in a wide range of media: straight photography, digitally altered photography, oil paintings, oil and chalk pastels, designer hats, multimedia sculptures, and paper sculpture.
AADL's "Music Tools Lab: Intro to Guitar Pedals" will give you a hands-on chance to sharpen your ax sounds
You’re at a show. Somewhere.
A band you’ve never heard of is busy hauling their gear onto the stage. The musicians fuss about adjusting amp volume, mic placement, cymbal height.
The group begins its first tune, and the guitar player, after a whisper-quiet intro in D, sends her sparkly white hollow-body Fender Mustang into a fit of feedback and fuzz, improbably multiplying every note she plays, chords modulating and warbling up and down and back and forth through the room as if she held a shattered mirror up to her amp’s speaker.
What just happened?
How does she do it?
Phil Christman traverses time, politics, and culture in his new nonfiction essay collection, "Midwest Futures"
What words come to mind when you think of the Midwest?
You may think about its geography, the middleness, or its position and moniker as the heartland with farming and small towns.
You might look at a map to see the 12 Midwestern states (from east to west): Michigan, Ohio, Indiana, Wisconsin, Illinois, Minnesota, Iowa, Missouri, North Dakota, South Dakota, Nebraska, and Kansas.
Perhaps you reflect on its seeming representativeness of American life. Or you study its history containing the displacement of indigenous peoples, manufacturing, and struggling economies.
Myriad ways, even contradictory ones, coincide to describe and understand the Midwest. Writer Phil Christman navigates them in his new book, Midwest Futures, a wide-ranging set of 36 brief essays organized in six sections. Part criticism and part descriptive essay, this nonfiction collection likewise exists as many things at once and navigates assorted perceptions, politics, history, literature, cultures, and pop culture of the Midwest.
For one hour on Tuesday, my fellow theater-goers and I in the video studio of U-M's Duderstadt Center were transformed into the live studio audience for a fictional television morning talk show called Becky’s Time. Our host, Becky, portrayed by Lee Minora, was a blonde-haired, French-manicured, self-proclaimed feminist, ready to use her voice to fight for herself and for us -- whether we wanted her to or not.
White Feminist takes to task the white women who suddenly became “woke” after the 2016 presidential election, eager to jump in, take charge, and change the world, all while failing to realize that not only were people already doing that work, but they have been for decades. That day’s episode was devoted to “Ladies' Time” (or was it “Lady’s Time”?), yet there were no guests.
Despite the summery name Beach Daisy, the music by this Ann Arbor alt-pop quartet is anything but sunshine on its debut EP, Something They Can’t Take Away. It features seven haunting tracks about isolation, fractured relationships, and hopeful tomorrows.
“There’s a theme in a lot of them of loneliness and emotional solitude, and the final track on the EP is a response to a lot of those feelings,” said Beach Daisy guitarist-vocalist Zach Moorhaus.
As Beach Daisy, Moorhaus and bandmates Samantha Steinbacher (vocals, keys), Brandon Sams (drums), and Andrew Walsh (bass) tackle a spectrum of challenging emotions ranging from self-doubt to frustration to despair. In a sense, the band’s 30-minute EP eloquently reflects the ongoing struggle people face well into adulthood.
“With this EP, we really honed in and tried to make it cohesive. We tried to make a group of songs that refined our sound a little bit,” Steinbacher said.
Theater is sometimes about spectacle: chandeliers that crash before our eyes, ocean liners that seem to sail across a stage, or bloody battles at a Paris barricade.
Alex Duncan was interested in a different kind of theater when she suggested directing David Auburn’s Proof for the Ann Arbor Civic Theatre’s Second Stage. The play’s intimate drama of a troubled young woman and her relationships seemed right for the Civic’s small studio theater and Duncan’s minimalist approach.
“It’s beautiful,” she said. “The language is almost poetic. I’ve always liked dialogue and character-driven things as opposed to, I guess, a little more flash going on. It’s fun digging into the language and working with the characters and figuring out what the actors are going to bring to it and blend that with what I see in the show.”
Duncan, who graduated from Eastern Michigan University with a drama major, directed a Main Stage Civic Theatre production of Arsenic and Old Lace last year and when applications went out for production ideas this year, she proposed Proof. It wasn’t selected for the Main Stage, but in the second round of interviews it was picked for Second Stage.
Invisible Touch: "As Far As My Fingertips Take Me" explores the universal refugee crisis through a one-on-one encounter
Whenever I see news footage of refugees, I always think, “How bad would things have to get before I packed a bag and fled from my home?”
The answer, of course, is really, really bad, especially when doing so would likely put me in mortal danger and leave me vulnerable, indefinitely, in countless ways.
So I knew that As Far As My Fingertips Take Me -- a one-on-one installation performance that’s part of University Musical Society’s No Safety Net 2.0 theater series -- would likely challenge me and make the pain of diaspora more tangible. But what I couldn’t have guessed is how strangely attached I’d become to the visible marks it left upon my skin.
Created by Tania Khoury and performed by Basel Zaraa (a Palestinian refugee born in Syria), the experience begins when you bare your left arm to the elbow, sit next to a white wall, pull on a pair of headphones, trustingly extend your arm through a hole in the wall, and listen to a recording of Zaraa telling his own refugee story, accompanied by an atmospheric rap inspired by his sisters’ journey from Damascus to Sweden.