I found out about Something to Do Comedy Night at the Heidelberg's Club Above when its organizer, Tony Klee, bought me a shot of tequila last summer and I joked about doing the show one day.
Recently, Klee put out a call for comics, especially women comics, and when I asked him if I could go up, he said yes.
I had about five days to come up with a five-minute set.
I needed to write some jokes.
And if it weren’t for Kehinde Wiley, the prolific black painter most recently in the news for his portrait of President Barack Obama, there’s a chance that this event wouldn’t have happened.
The cover of Silencer prominently featured one of Wiley’s paintings, which is what drew AADL staff member and program host Sean Copeland to the book as he was working at the library. Copeland, not a poetry superfan, took the book home, read the work, and knew that others should experience it. (Read Copeland's interview with Wicker here.)
Over 30 people attended the Friday night event on what turned out to be the first spring-like day Ann Arbor had seen in a while. Wicker, in fact, remarked on that saying to the crowd, “It’s a Friday and you came here to see poetry. You could be on a lawn somewhere drinking beer.” (Video of the event coming soon.)
“I was eager to be successful. I still am.”
When I heard chef Tunde Wey would be hosting dinners and food trucks in Ann Arbor and Detroit designed to get people talking about race in America, I sought more information.
The word that came up most was "provocative"; runner-up: "uncomfortable."
For late April and early May, Wey has brought his Saartj dining concept to Michigan, which is where the Nigerian chef came to study at age 16. This is also where he started to make his mark with (revolver), the pop-up restaurant in Hamtramck featuring a cast of rotating chefs.
The Saartj project calls attention to privilege. In one version of the project, white people were charged more than minorities for their food. In the Detroit version, diners fill out a questionnaire providing information about their race, education, and income mobility; the price of their dinner then increases according to their relative privilege.
“Trust me when I tell you this isn’t a white savior story. This is a white nightmare story.”
If I were a moth, the story of white men reckoning with race in America would singe my wings every time. With that in mind, I was not disappointed when I went to see Travis Wilkerson’s Did You Wonder Who Fired the Gun? on March 24 as part of the Ann Arbor Film Festival. In fact, there are about eight pieces I could write about this film, which was one of the 10 features in competition at the year's fest and ended up winning the Michael Moore Award for Best Documentary Film.
“The diaspora is a cultural continuum. An ever-evolving consideration of Blackness is its vehicle.”
--Ashley Stull Meyers
The United Re: Public of the African Diaspora Television (URe:Ad TV) special program at the Ann Arbor Film Festival was an experience.
URe:AD TV is a network of creators who make print and audiovisual work by and for the African diaspora. Curated by Shani Peters and Sharita Towne, the works grapple with the meaning(s) of black representation. By "grapple," it could be said that these works record meaning, and make meaning.
The first time that I really thought about the African diaspora was in college. During a Caribbean literature class, the concept of diaspora was ever present. Despite having taken several American history classes, considering the Caribbean diaspora is what led me to attempt to understand myself as a part of the African diaspora.
Ephraim Asili’s Diaspora Suite -- shown March 22 at the Michigan Theater as part of the Ann Arbor Film Festival -- presented an excellent opportunity to examine someone else’s take on the topic. This collection of five films explores the interaction of past, present, and place it relates to the African diaspora. The films were shot in a variety of locations, among them Ethiopia, Harlem, Ghana, Philadelphia, Brazil, and Detroit.
On March 9 and March 10, Yoni Ki Baat, an organization that seeks to educate the campus about the issues pertaining to South Asian women and all women of color, produced Resistance, a show inspired by Eve Ensler’s Vagina Monologues.
In fact, Yoni Ki Bat is Sanskrit for “talks of the vagina.”
“I’m going to have to make you a wand. You can’t be out with me without a wand.” --My son
On more than one occasion, my son has pointed out to me that I’m lucky that he, a teenager, still wants to hang out with me, you know, a mom. With that in mind, as soon as he mentioned that the Ann Arbor Symphony Orchestra would be at Michigan Theater playing songs from Harry Potter, I pulled out my debit card and secured tickets for the Sunday, March 4, afternoon matinee performance.
“You’re like family now because the weather has conspired against us.” --Sherri Winston
If you want to attend an intimate author event, attend one during a snow (slush?) storm that follows an unseasonably warm day. On Thursday, March 1, middle-grade author Sherri Winston talked about her latest projects and her process at the Ann Arbor District Library.
When the first poem in a book is titled “Plantation,” you should probably just go ahead, pour yourself a drink, sit somewhere quiet, and prepare to be transported.
I suppose you should expect to be transported, too, by a book called Voyage of the Sable Venus, especially since it won the National Book Award for Poetry.
On Thursday, Feb. 21, Robin Coste Lewis read her work as a part of the Zell Writers Series. I don’t know how it is possible that an auditorium feels cozy, but that was the vibe in UMMA’s Helmut Stern Auditorium that evening: warm, relaxed, somewhat dark.