Friday Five is where we highlight music by Washtenaw County-associated artists.

This week feature archival works from electronic artist Sean Curtis Patrick, piano miniatures from Jienan Yuan, screamo from Youth Novel, and polished pop from Weekend Hours and The Kelseys.

From opening for Beyonce at the Palace to dad, entrepreneur, and local DJ, and back again—this is the story of Martin Smith aka DJ Graffiti and how he made the dream of becoming an internationally renowned DJ work during a global pandemic.

Let’s start at the start—the rise of DJ Graffiti. A young man, attending underground hip-hop shows, meeting DJs, starts making his own music, performing, and carrying around a box of mixtapes wherever he goes. He starts getting recognized.

This leads to mainstream DJ gigs, which Graffiti slays, opening for a Jay-Z tour at the Palace, then a Beyonce tour at the Palace, on the bill with Big Sean, opening for Dave Chappelle at the Fillmore. He expands his territory—hitting Chicago, New York, Miami, L.A., and Detroit after every major mixtape release. Then DJ Graffiti goes international. Tours the Caribbean. Goes on a European tour with Phat Kat—part of the extended family of Slum Village and J Dilla.

And that’s when things change.

The long-running 33 1/3 book series devotes each volume to the study of one classic album’s creation, impact and essence, and recent entry number 152 concerns an album made in Ypsilanti nearly 50 years ago. Author Zach Schonfeld relates the messy tale of quixotic ambition that birthed an album unknown but not unheard, commercially unsuccessful but the backbone of big hits for other artists: The 24-Carat Black's Ghetto: Misfortune’s Wealth.

Released by Stax Records in 1973, the album was the brainchild of Detroit native Dale Warren, a classically trained violinist who began his career arranging songs for Motown before migrating south to the funkier climes of Memphis. Employed by Stax, Warren’s talent for conducting helped build the lush, string-cushioned vibes of Isaac Hayes’ most iconic works along with other classic records of the R&B/soul label’s late era.

Warren composed his own ambitious set of socially conscious songs with the aim of producing a concept album about inner-city poverty, so he scouted for talent. At a University of Michigan frat party he discovered a nine-piece band of high school kids from Ohio with chops beyond their years. The band was re-christened The 24-Carat Black, an album deal was secured from Stax, and they headed for the legendary Morgan Sound studio in Ypsilanti to make a record.

Friday Five is where we highlight music by Washtenaw County-associated artists.

This week features symphonic metal blasted by Andrew WK, R&B romanticism via Ki5, skittering electronica courtesy DJ FLP, hip-hop from Villin and Notorious_Vonna C, and contemplative solo piano by Emilie Lin.

When Lily Talmers sings "Is there anybody listening to me? / From the middle of America you scream out to the ocean, it gets lost" it's not just a plea by a 23-year-old Ann Arbor singer-songwriter-multi-instrumentalist who wants to be heard.

"Middle of America" also addresses a potential lie to "people at the border," a father's decimated pension fund, and a lost Lady Liberty.

The song is neither didactic nor overly sentimental, though it is pointed and nostalgic. It's both specific in its details and nebulous in its meaning, a feeling that runs throughout Talmers' debut album, Remember Me as Holy, one of the finest debut singer-songwriter albums I've heard since Phoebe Bridgers' Stranger in the Alps.

Friday Five is where we highlight music by Washtenaw County-associated artists.

This week features jams courtesy Ma Baker, Americana from Chris DuPont, R&B hip-hop by Mike Dos, indie rock from Nick Melody, and hip-hop from Prol'e.
 

[Updated February 9, 2021, with photos and reviews from The Ann Arbor News].

The Blind Pig is a favorite club of many rock musicians, and the venue has hosted so many legendary bands over the years.

But The Ramones' love lay elsewhere in Ann Arbor.

Between 1977 and 1983, the New York City punk godfathers played Tree Town seven times—and every show was as headliners at The Second Chance, which is now Necto, 516 E. Liberty St. The Blind Pig was still a blues bar back then while The Second Chance was hosting numerous rockers, from Bob Seger (when the club was known as Chances Are) to Bow Wow Wow. In fact, during that period The Ramones headlined nearly as many shows in Ann Arbor as they did in Detroit (nine).

The first time they played Michigan was as the opener for Flamin' Groovies, October 17, 1976, at the Royal Oak Music Theater.

But The Ramones' first show as headliners in Michigan was a little over five months later in Ann Arbor on March 28, 1977, with Sonic's Rendezvous Band opening. There doesn't appear to be any audio or video of this show, but here are two excellent photos by legendary Detroit Rock City and Creem magazine photographer Robert Mathieu of Tommy and Johnny Ramone backstage with the Fred "Sonic" Smith, Ron Asheton, and Scott Asheton:

Friday Five is where we highlight music by Washtenaw County-associated artists.

This week features hip-hop from Nickie P and Aareus Jones, indie rock from Modern Lady Fitness and Weekend Hours, and a multigenre compilation by Safa Collective.
 

Classical music has had a long history of lacking diversity, which is why Aaron P. Dworkin founded the Sphinx Organization in 1997 to encourage and support minorities in this art form. The name was inspired by the iconic Great Sphinx of Giza statue in Egypt, which “reflects the power, wisdom and persistence that characterize Sphinx’s participants," according to the Detroit-based organization's website.

Today, the Sphinx Organization’s programs reach more than 100,000 artists and students, while performances by the orchestras and ensembles are viewed and attended by more than two million people each year.

UMS recorded a special performance by the Sphinx Virtuosi, an orchestra of the Sphinx Organization, for its 2021 season of virtual programming, and the concert is streaming for free on ums.org through February 8. The program is titled This Is America and includes works by Michael Abels, Jessie Montgomery, and Xavier Foley. On the final day of the stream, there will also be a special conversation with three Sphinx artists: Gabriel Cabezas, Bill Neri, and Melissa White. Each musician will discuss the performance as well as talk about their musical careers. You can download a PDF for the This Is America concert notes here.

A 2005 MacArthur Fellow, Aaron P. Dworkin was dean of the University of Michigan’s School of Music, Theatre & Dance and is now a tenured professor of arts leadership and entrepreneurship at SMTD who also hosts the weekly videocast Arts Engines; he currently serves as a strategic advisor for Sphinx. Afa S. Dworkin, his wife, is a celebrated violinist and educator who now leads the Sphinx Organization.

Afa S. Dworkin, who has been honored with the Kennedy Center’s Human Spirit Award and was named one of Detroit Crain’s 40 Under 40, has expanded Sphinx's outreach and range enormously during her tenure as president and artistic director.

I spoke to the Ann Arbor-based Afa S. Dworkin about the Sphinx Organization and the Virtuosi concert recorded for UMS.

At 4:49 pm today it's the midway point between the winter solstice and the spring equinox, so it's time to hit the cosmic dancefloor and celebrate the fact that we're halfway through the worst season.

Cue DJ Carlos Souffront. 

The Troy, Michigan, native became part of the Crush Collison legacy sometime in 1995 when he joined host Brendan M. Gillen at WCBN-FM. Soufrront eventually took over the long-running techno and electronica show with Todd Osborne and Pete Liedy, and he was still doing Crush Collision in 2010 according to this blog post. The former Zingerman's employee has lived in San Francisco since 2011, but one of Souffront's sets from his Ann Arbor days resurfaced recently thanks to it being highlighted on Resident Advisor's Mix of the Day.

Gigolo Mix (Unreleased EFX mix) was posted on Soufrront's Soundcloud about a year ago along with this description: "Unreleased version (sans announcements) of 'The Great Gigolo Swindle' recorded live at WCBN-FM Ann Arbor in 2000."