I grew up studying and loving ballet and modern dance, but I always felt a little “meh” about tap. But after I watched MacArthur “Genius” award winner Michelle Dorrance perform with New York City Ballet dancer Tiler Peck in the Hulu documentary Ballet Now, I realized how wrong I’d been.

Dorrance brings her tap dance company Dorrance Dance to Ann Arbor on February 21-22 -- and trust me, you should be there. Her company’s style calls back to early black American tap dance and also pushes the art form forward effortlessly. Dorrance Dance will perform three works in Ann Arbor: Jungle Blues, a jazz-age inspired piece; Myelination, the titular ensemble piece; and Three To One, a more experimental work featuring only one dancer in tap shoes.

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.”

“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.”

--Federico García Lorca 

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."

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?

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.

When Angélique Kidjo first heard Talking Heads' 1980 LP, Remain in Light, she instantly recognized the music's deep debt to Africa. That was in 1983, the year the singer had moved from her native Benin to Paris to study music. It was there that Kidjo began to absorb the city's confluence of Afropop, jazz, Latin, and rock, which she has turned it into a 40-year international career touching on all those styles.

That memory of hearing an American band apply African rhythms to art-rock stuck with Kidjo to such a profound degree that in 2018 she released a song-for-song cover of Remain in Light, which has received raves.

Kidjo turned to another inspiration -- Cuban singer Celia Cruz -- for her 2019 album, Celia, which won a 2020 Grammy. But when Kidjo performs at the Michigan Theater on Sunday, February 16, as part of UMS's current season, she'll highlight the Remain in Light project.

While Kidjo was the first artist to reinterpret all of Remain in Light in the studio, Phish's 1996 Halloween concert featured the jam band playing the album live in its entirety. Covering entire records like that is rare, but interpreting Heads tunes has been happening almost since the band debuted. One of the first was by German pop singer and actress Debbie Neon, whose version of "Psycho Killer" came out in 1979, two years after it appeared on Talking Heads: 77, the band's debut. 

The next year, Massachusetts' The Fools released a parody version, "Psycho Chicken," and Heads covers have been nonstop since.

Popular groups such as The Lumineers ("This Must Be the Place (Naive Melody)"), Smashing Pumpkins ("Once in a Lifetime"), Florence and The Machine ("Wild Wild Life"), Umphrey's McGee ("Girlfriend Is Better"), Widespread Panic ("Life During Wartime"), Car Seat Headrest ("Crosseyed and Painless"), Yonder Mountain String Band ("Girlfriend Is Better"), and Phish again ("Cities") have had no fear of Talking Heads music.

The long-running Ann Arbor/Metro Detroit band Frontier Ruckus even recorded a special version of "This Must Be the Place (Naive Melody)" for a fan's wedding.

That song and "Once in a Lifetime" are among the most popular covers, but the clear number one is "Psycho Killer," which has been played by Velvet Revolver, Jason Isbell, Barenaked Ladies, Cage the Elephant, Local H, and more.

The "and more" is what we'll concentrate on below: the five quirkiest Talking Heads covers that I found on YouTube, starting with The Fools' fowl take. Plus, check out Kidjo's videos from her Remain in Light record as well as a special bonus Heads cover by a Chicago vocal legend who is also playing the Michigan Theater on February 15.

When you hear Hammond B3 player Chris Foreman glide across the keyboard, you can all but hear Chicago's Saint James AME Church congregation shouting behind him. As a performing member of Saint James for 40-plus years, Foreman's music is steeped in gospel and blues, with the added energy of smeary bop lines that evoke fellow organ greats Jimmy McGriff and Jimmy Smith.

Perhaps the only reason Foreman isn't mentioned in the same breath as the Jimmys, or even a contemporary player like Joey DeFrancesco, is that he hasn't recorded a lot as a leader and hasn't spent a ton of time outside of Chicago.

But on Friday, January 31, the Soul Message Band with Foreman, drummer Greg Rockingham, and guitarist Lee Rothenberg will leave the Windy City for two sets at Blue LLama in Ann Arbor for an evening of greasy, feel-good jazz-blues. The group is performing in support of its recent album, Soulful Days (Delamark), which is filled with gut-bucket swagger and interplay so deep that it might touch the bottom of Lake Michigan.

Since Foreman is legit part of Hammond history, we asked him to name five songs by five fellow B3 players and tell us what he likes about the tunes and the musicians.

"It's difficult to exclude a lot of our organ greats," Foreman said, but there's no denying the five musicians he picked are among the top players of the instrument.

Check out Foreman's selections below, listen to Soulful Days, and see a live video of Soul Message Band before they take the Blue LLama stage.

But first, let's start with his beautiful solo-organ tribute to McGriff at his 2008 memorial service. 

UMS's No Safety Net 2.0 series offers theatrical performances, of course. But it's the sort of theater that even avid theater-goers might not be able to get a handle on. 

After all, it's a long way from sitting in the audience and passively watching the singing and dancing in West Side Story to interacting one-on-one with a refugee as your arm is stuck in a wall during the experimental play As Far As My Fingertips Take Me. 

The 2020 edition of No Safety Net explores terrorism, addiction, racism, BDSM, transgender identity, patriotism, migration, and a whole host of hot-button issues through four unique theatrical works: The Believers Are but Brothers (Jan. 22-26), As Far As My Fingertips Take Me (Jan. 24-Feb. 9) Is This a Room: Reality Winner Verbatim Transcription (January 29-February 2), and White Feminist (February 3-9).

But since a huge part of UMS's mission is education -- whether it's for young members of the community, potential patrons, or those already open to new works -- it always provides tremendous resources for people to take deep dives into the cutting-edge productions the organization throws its considerable weight behind.

This year's No Safety Net's ancillary assets include podcasts, videos, chats, essays, and blogs chock full of information to give you insights and contexts into these challenging works. Below is a selection of No Safety Net media, including the January 16 Penny Stamps lecture at the Michigan Theater by Oskar Eustis, artistic director of The Public Theater in New York City, which was the official kickoff of No Safety Net 2.0.

When Dr. Peter Larson found out he was going to Malawi in Southeast Africa as part of his graduate studies, one question came to his mind:

"Where's Malawi?" Larson said with a smile during an interview at the Ann Arbor District Library. "I didn't know anything about Africa."

Now an epidemiologist at the University of Michigan's Institute of Social Research, Larson later went to Nairobi, Kenya to work on public health issues. He lived there between 2014-2017 and immersed himself in the music scene.

That experience changed the trajectory of Larson's artistic life.

A longtime guitarist who played in numerous rock and noise bands since the 1990s, including 25 Suaves and Couch, Larson is also one of the people behind the experimental Bulb Records, which released the first records by Wolf Eyes and Ann Arbor native Andrew W.K.

But Larson was so enchanted the first time he heard a nyatiti -- an eight-string lyre/lute-type traditional instrument of the Luo people in Western Kenya -- he decided to learn how to play it. 

"In 2015, I received an instrument from a friend and had no idea what to do with it," Larson wrote in the press release for the Nyatiti Attack LP on Dagoretti Records by his teacher, Oduor Nyagweno, who he lovingly calls Old Man. "Sometime in 2016, I saw Daniel Onyango play with his band Africa Jambo Beats in Nairobi and approached him about taking lessons. He then introduced me to the Old Man, I haven’t looked back."

When you've been a medical journalist for decades and have written hundreds of essays and articles, it might be difficult to determine which writings to include in a collection. But Dr. Howard Markel says it wasn’t as hard as one might think to assemble Literatim: Essays at the Intersections of Medicine and Culture.

“I’ve written for a variety of places, but a lot of that has been reportage and not essays. Some articles about patients really didn’t fit either,” says Markel, who is the George E. Wantz Distinguished Professor of the History of Medicine and the director of the Center for the History of Medicine at the University of Michigan. “I wanted the book to be about medicine and how it intersects with culture, so after talking with the editor at Oxford University Press, I went and got my articles out of my file cabinet and literally put them on the floor in front of me. After I wrote the introduction, the rest came together nicely.”