Washtenaw County is renowned for its cinema events, from the predominant Ann Arbor Film Festival (March) and the Sundance/Cannes/etc.-affiliated Cinetopia (May) to the new Nevertheless (July), which focuses on female-identifying filmmakers, and all the traveling fests and U-M-sponsored foreign-film series.
But all of those events happen in Ann Arbor, primarily at the Michigan Theater.
Filmmaker Donald Harrison, who runs 7 Cylinders Studio, and multimedia artist Martin Thoburn want to make another part of Washtenaw Country an important destination for cinephiles, so they've launched the annual Independent Film Festival Ypsilanti (IFFY).
"I've imagined a film festival happening in Ypsilanti for almost a decade," Harrison said via email, "but venue options have been limited. Last year Martin expressed interest in starting it with me -- it was especially appealing that the festival's identity would be IFFY -- so we set things in motion."
Former U-M professor Carmen Bugan's new poetry collection, "Lilies From America," relates nature and the human experience
Poet Carmen Bugan has gone through many transitions, from her tumultuous childhood in Romania to moving to the United States. Still, she writes, “The road to a better life has not yet been planned, / Everyone is waiting for an architect.” Both uncertainty and possibility hover in those lines, which appear in a recent poem called “New Life.” That poem is among a new selection in Lilies From America: New & Selected Poems 2004-2019.
Lilies From America starts with a poem of the same title and then covers Bugan’s three collections -- 2004’s Crossing the Carpathians, 2014’s The House of Straw, and 2016’s Releasing the Porcelain Birds -- plus new poems dating from 2016 to 2019. Calling these poems autobiographical would be an understatement; they comment on family, nature, time, love, and language (the last of which Bugan discusses in-depth on episode 18 of The RC Podcast, “Carmen Bugan ’96 and the Language of Freedom”). This new collection discloses a snapshot of the trajectory of Bugan’s life, going from early days to current sentiments, through the well-selected and illustrative poems.
Bugan’s poetry is inspired by her childhood containing the political imprisonment of her father and exile of her family, and then by her experiences in the U.S. Her writing musters perseverance and suggests ways to keep going despite change and parting and borders. Looking to nature as a parallel, the poems draw on the landscape and flora of the places significant to Bugan. In “Long Island Sound,” dated January 23, 2018, cycles of starting and ending relate to human experience, as the poet reflects:
To see again that which I knew and cherished:
The translucent lift of water and algae,
Clam shells and egg-like rosy stones,
Fluent ending in a new beginning.
Nature becomes a way of understanding what is happening to the people in the poems. The “Moon" is set on an autumn night in a room aglow with moonlight and offers this last stanza: “I felt not too far from being translated, / The same way sunlight was interpreted / By the moon face we could see.” These feelings of being seen and of also making one’s own observations permeate Bugan’s poetry, both explicitly in describing the political protests written on a typewriter in Romania by her parents, as well as in sharing transcriptions of her family’s surveillance tapes, and subtly through the surrounding environment.
Yet even as time gives way to transformations, moments emerge to hold dear, moments in which to linger. On a visit to aging parents, the poet expresses a wish to accurately capture the instant: “While the glasses empty slowly and we are grateful / That we still can have that one drink, together, / Standing in the sunshine, with the song of birds.” Identifying these memories as important, and observing them, stand alongside the history of political protest and anguish in these poems.
Bugan is based in Long Island, New York, and she was the 2018 Helen DeRoy Professor in Honors at the University of Michigan and the 2018 Dow Visiting Scholar at Saginaw Valley State University.
Bugan reads with David Cope, who is Bugan’s former teacher from Grand Rapids Community College prior to her transfer to the University of Michigan, at Literati Bookstore on January 16, 7 pm. Ahead of her visit, I interviewed her for Pulp.
On Saturday, Jan. 11, at AADL's downtown location, NCMC and the U-M-associated MEMCO are teaming up to help people learn how to create music, DJ, and produce accompanying visuals. No registration required; just show up. Topics will include:
~ Introduction to Live Coding by David Minnix and TheTimeRipper
~ Getting Started With DJing
~ Ableton Live Production Demystified by Bill Van Loo
~ Introduction to DAW Production With FL Studio by Akshay Chacko
~ DIY Getting Started
~ Getting Started With Live Visuals
MEMCO and NCMC members are always busy creating their own music and mixes, including two recent DJ sets from the former and two new albums by artists with the latter:
U-M grad Chris McCormick's novel "The Gimmicks" meditates on relationships, wrestling, and the Armenian Genocide through altering perspectives
While the cover may show a picture of two opponents in a wrestling hold, The Gimmicks by Chris McCormick is about far more than matches. The novel chronicles the stories of Ruben Petrosian, Avo Gregoryan, and Mina, how their lives intersect, and how they love and hurt each other multiple times.
Each character overlaps with the others in ways that are both fortuitous and disastrous. Ruben, small and jealous, first feels envious of Mina’s backgammon luck and then goes on to seek revenge for Turkey’s denial of the Armenian Genocide with the Armenian Secret Army for the Liberation of Armenia in the 1980s. Avo, large and kind, comes to live with his cousin’s cousin Ruben and his family in 1971, gets caught up in a ploy to be a part of Mina’s backgammon success, follows a request by Ruben to go to the United States, strikes off on his own as a wrestler, and finds himself misunderstood in several situations. Mina, lucky and earnest, garners success in playing backgammon, and while her luck holds in some ways, she experiences various losses throughout her life. Terry Krill, Avo’s wrestling manager, reluctantly begins to recall his past and piece together the others’ stories 10 years after the fact in 1989.
Their converging lives are told through chapters grounded in particular times and places and through the reflections of these people. During a reunion between Mina and Avo, she tells him, “Our lives aren’t metaphors, halved or broken or split. Our lives are our lives, whole if they feel complete, whole if they feel incomplete.” Her message generalizes the agonizing challenges that they encounter. Good intentions might not be enough or allow them to fulfill their desires.
Early in the novel, Mina muses in a journal: “That the world is round makes me hope that time is round, too, and that maybe I’ll loop to the start one day.” At that unexpected reunion with Avo later, “she felt the muscles in her face mirroring his, signaling a blue smile of her own, and she knew all at once about the roundness of time.” Such parallels and recurring ideas appear throughout the book -- similes and metaphors rewarding for the reader. Another is when Mina’s husband recalls the story of his first wife and mother: "He defended one to the other with all of his heart, so that he ended up without the trust of either.” Similarly soon after, Mina accuses Avo of being caught between two people, of being "someone who confused love for something you could only loan out to one person at a time." These threads bring the characters’ stories that sprawl across time and countries together with poignant and harsh realities.
McCormick, also the author of the earlier short story collection, Desert Boys, grew up in California and graduated from the University of Michigan with an MFA. He teaches at Minnesota State University, Mankato.
McCormick visits Ann Arbor to read at Literati Bookstore on Friday, January 10, at 7 pm. I interviewed him ahead of time.
Judy Banker has been a mainstay of the local country and folk music scene for more than a decade when, along with her late husband, John Sayler, she began accompanying the well-known Michigan singer-songwriter Jay Stielstra on guitar and harmony vocals.
Banker continues to accompany Stielstra on stage, but after her husband passed away she also began recording and performing her own songs with a rotating lineup of musicians. Her new album, Buffalo Motel, is a significant departure from her previous two CDs.
While she again recorded at Dave Roof's Rooftop Recording Studio in Grand Blanc and worked with some of the same musicians who have been accompanying her in concert for years, Buffalo Motel, has a more “muscular” sound than her previous albums, to quote her co-producer and son, Ben Sayler. The instrumentation and musical arrangements of Buffalo Motel have a country-rock feel and are both more varied, full than her previous country folk-tinged recordings.
Banker celebrates the release of Buffalo Motel with a concert at The Ark on Thursday, January 9. I asked Banker about the new recording and her songwriting.
Dan Thomas took two of his favorite things and made something better.
Full Metal Events - Comedy & Music “started off as strictly a stand-up show,” Thomas says. “But I also really enjoy music, too. Saturday Night Live inspired me to take those two pieces -- good stand-up comedy and musical guests -- and put them together.”
The show begins with a comedian, followed by a few songs from the musical guest, about an hour of stand-up, and then ends with the musical guest again.
Thomas makes it a point to feature a diverse lineup. “We rotate hosts and performers every show,” he says.
The musical talent is as wide-ranging as its performers. Past shows have included music guests such as Nappi Devi, Frank Grimaldi, and Mark Norman Harris, who does rap, folk, and comedy. Comedians have come from both near and far and include Samantha Rager, Connor Meade (who recently won first place in the recent Comedy Rumble), Marv Barnett, Brandi Alexander, Emily Sabo, Andrew Yang, and Tony Tale.
The show on Thursday, Dec. 26, features a lineup of nationally known performers.
Lend Him Your Ears: Isaac Levine's Fishpeoplebirds label celebrates the release of a new tape with a little help from his friends
Despite being a talented multi-instrumentalist and knowledgeable sound engineer, Isaac Levine's recordings and songs have a ramshackle quality. His off-kilter music is so eccentric, quirky, and whimsical that the label "outsider folk" doesn't fully capture the idiosyncratic spirit behind his songs.
Levine's lyrics are frequently surreal, too -- check out his October single "Modular Synth Trucker," a 36-second ode to a guy who drives his semi-truck from town to town playing his synthesizer. That's it, that's the tune.
One of his several bands, The Platonic Boyfriends, even released an album in 2018 called Pee on These Hands.
Levine is also prolific, and in addition to "Modular Synth Trucker," this fall he and Dr. Ruby put out the Dragon's Coldness tape on his Fishpeoplebirds label, which has this tag on its Bandcamp page: "label specializing in people that Isaac knows."
Some of the many talented people Isaac knows and works with are playing Argus Farm Stop on Saturday, Dec. 21, to celebrate a new Fishpeoplebirds tape with Rebeccah Rosen's music on the A-side and Levine and Rosen's Dreambag project on the other. Both of them will perform, and so will Kevin McKay -- whose dream-pop single "Headspace" came out in November and was recorded by Levine -- Jacob Rogers, and Lily Talmers.
Check music from the performers below:
Let’s Get Ready to Rumble: Ann Arbor Comedy Showcase features 30 female comics performing 90 seconds each
It started when comedian Bret Hayden decided to have a party.
“I wanted to have a Christmas celebration with my comedian friends, so I did it as a show and everyone showed up.”
That party has since blossomed into one of the fastest-growing local humor nights: The Comedy Rumble.
It's not your typical comedy night with an opener, warm-up, and headliner; instead, the Rumble is a lightning-fast show featuring 30 comedians doing material for 90 seconds each. The briskly paced routines are performed in front of a panel of professional comedian judges, with the top four vote-getters getting to do another quick set before a final winner is declared.
The show at the Ann Arbor Comedy Showcase marks the second anniversary of the Rumble. “We started at Cellarmen’s [in Hazel Park] in December of 2017,” Hayden says. “Since the first one went so well, I wanted to make it a regular event. After Cellarmen’s closed [in July], I talked to [Comedy Showcase founder] Roger Feeny, who knew me as a regular at the club. He was 100% on board and supportive, so we did our first show in Ann Arbor on October 30.”
The next one happens Wednesday, December 18, and this show is special because it is the second time the Rumble features female comedians only.
“About five or six years ago, when I first started in comedy, I could count on two hands the number of women comedians that I knew personally," Hayden says. "Comedy has always been overwhelmingly male, so I wanted to see if it possible to find 30 women comedians to perform.”
It was nearly 10 am on Tuesday, Oct. 2, 2019, when I turned on WCBN in my car. The University of Michigan student radio station is a staple in my listening routine, but even my catholic ears were surprised to hear noise icon Merzbow power-sawing his way through two tracks followed by fellow Japanese screechers Otomo Yoshihide and Keiji Haino just after breakfast time.
It was free-form radio at its free-formiest, but it was also a reminder that these Japanese artists -- among others on the outer fringes of music -- helped spawn a Southeast Michigan noise-music scene in the 1990s that, despite the difficult listening, spread through the DIY underground and helped hatch micro-scenes in various basements across the U.S.
The Michigan scene birthed in the 1990s grew up in the early 2000s -- think Wolf Eyes, Universal Indians, Princess Dragonmom -- and began to morph as artists left the state, changed the focus of their music, or left playing in bands entirely. Still, the scene continued to plug away and mutate with new groups emerging such as the more rocking Child Bite and Heavier Than Air Flying Machines, the dark and ambient Evenings, tape-based acts Sick Llama and Creode, coarse electronics from Lidless Eye, and electro-acoustic weirdness from The New Me, Glass Path, and more. There was also the recent Trip Metal festivals, founded by Wolf Eyes' John Olson, which brought together noise freaks, free jazzers, and assorted other sonic cosmonauts in Detroit for three days of plundering earholes.
And I can't forget Ann Arbor's mysterious Satan Face, an unnamed member of which appears to be responsible for playing Merzbow & Co. on the radio during otherwise pleasant mid-mornings. The Satan Face show Nothing but the '90s! is on WCBN every Tuesday from 9-11 am playing the harshest of the harsh, and that show's playlist could easily include Ben Miller's Porcelain Hammer and Mark Morgan, former guitarist for acclaimed art-rock act Sightings. Miller and Morgan lived away from Michigan for many years, but they've both returned to the Detroit area and are teaming up for a hair-parting concert on Saturday, Dec. 14, at Lo-Fi Bar in Ann Arbor.
Comic operas usually live up their genre name: lively songs, light humor, and endings filled with satisfied characters.
For the most part, Gilbert and Sullivan's twist on the style, Savoy operas, are no exception. But their The Yeomen of the Guard mixes playful puns and broken hearts, making for an emotionally complicated environment that is a distinct change from standard comic-opera fare.
The play debuted in London on Oct. 3, 1888, at the 1,200-seat Savoy Theatre, which was built to showcase Gilbert and Sullivan's comic operas. The University of Michigan Gilbert & Sullivan Society (UMGASS) is staging its take on The Yeomen of the Guard at the 600-seat Lydia Mendelssohn Theatre, December 5-8, which will give attendees a more intimate look at a play Sullivan described in his diary as, "Pretty story, no topsy turvydom, very human, & funny also."