Vicki Honeyman knows a thing or two about film.

As executive director of the Ann Arbor Film Fest from 1988-2002, Honeyman nurtured and expanded the event by acquiring sponsorships, personally screening films for the festival, and much more. 

Honeyman is now the owner of the hand-crafted jewelry store Heavenly Metal at 208 N. Fourth Ave. in Kerrytown, but she's been invited to use her cinematic curatorial skills once again for AAFF's 56th anniversary, March 20-25. "Vick’s Picks," shown March 24 at 9:15 in the Michigan Theater, features 13 films from Honeyman's 15-year tenure as AAFF's leader.

We chatted with Honeyman at Heavenly Metal about her picks for this year's AAFF. 

If you don't yet know the work of Yvonne Rainer, after the 56th annual Ann Arbor Film Festival, you most certainly will.

The post-modern dance maverick and her work will be highlighted during AAFF, which runs Tuesday, March 20 to Sunday, March 25. Rainer, who is known for her provocative style of dance and fragmented narrative style of film, began her career in the 1960s as a founder of the Judson Dance Theater. She then transitioned to film-making in the mid-'70s. After making seven experimental feature-length films, Rainer returned to choreography in 2000 when she choreographed After Many A Summer Dies a Swan for the Baryshnikov Dance Foundation. Currently, Rainer works with a troupe of talented people who take her dance to Europe and across the United States. 

Rainer will present her essay-turned-lecture "A Truncated History of the Universe for Dummies: A Rant Dance" at the Michigan Theater on March 22 at 5:10 p.m. as part of the Penny Stamps Speakers series. (The documentary Feelings Are Facts: The Life of Yvonne Rainer screened at UMMA on March 7.) 

On March 23 at 7 pm, Rainer's sixth feature film, Privilege, will be shown at the Michigan Theater screening room. Privilege is a pioneering take on menopause and was called her "most accessible film" by the Village Voice. Five Easy Pieces, her collection of short films made 1966-1969, screens Saturday, March 24, 4 pm at the Michigan Theater.

We chatted with Rainer about Privilege, Five Easy Pieces, filmmaking, and dance. 

Between all the various ways she's involved in southeast Michigan's music scene, it's almost surprising that Shelley Salant has any time to make music of her own. By our count, Salant is a member of at least four different bands at the moment: Tyvek, Bonny Doon, Chain and the Gang, and The Vitas. She DJs regularly, hosts the Local Music Show on WCBN, and books and promotes numerous shows.

Somewhere in the midst of this maelstrom of creative activity, the Detroit resident (and Ann Arbor expat) recently released Shells 2, her second full-length solo record.

And what a record it is.

Salant's solo instrumental guitar work is vibrant and layered, with reverb-soaked melodies washing over one another. Salant has a terrific grasp of how to build a song's momentum and emotional power, and the distinct moods that come through on each track feel deeply revealing. Salant's music certainly seems to be the purest personal outlet for a woman who comes off as quiet and unassuming in person. On the new record, her sound is rounded out just a tad by synths and production work from another local music titan, Fred Thomas -- but the sound is still wholly Salant's.

We chatted with Salant about her writing style, the recording process for Shells 2, and a frightening and inspiring trip she took to Big Sur. If the end of the interview seems abrupt, it's because she was running out the door to tour Europe with Chain and the Gang.

Just another day in the life of Shelley Salant. 

Taking a beloved hit movie and transforming it into a stage musical is standard practice these days. One look at current Broadway listings -- Aladdin, Anastasia, Frozen, the soon-to-open Mean Girls, and Waitress, to name a few -- proves how often the stage artists are borrowing from the screen.

But of course, not every translation works.

What made School of Rock -- the youth version of which is now being staged at Dexter’s Encore Theatre -- a bona fide hit (and a Tony Award nominee) instead of a B-side flop?

“I’ve been part of a team producing it three times now, including the first production and this current one,” explained Joanna Hastings, playwright and creator of Fabula Rasa, an Ellipsis Theatre production at Bona Sera Underground on March 9 and 10. “The second time was when we cut out the major dance element and also the character of the Sphinx, which was taken from one of Kamrowski’s paintings, changed from being a storyteller to being a predator/psychopomp/healer. The revenge Archimedes exacts on Castor and Pollux has intensified with the different iterations of the play.”

If this all sounds slightly confusing at first glance, it’s meant to. 

A cousin who runs a Vegas strip club? A beloved brother who goes missing while in Vegas? A late husband who wrote dirty jokes for a living? A heroine with a failed stand up career who must save the day?

These colorful characters make up the new book The Bible of Dirty Jokes by U-M professor Eileen Pollack, but the roots of the novel come from a different era.

“I grew up in a hotel in the Borscht Belt," Pollack says. "It's really where stand up comedy got its start. Famous comedians would perform there, creating this sort of culture, and that’s what I knew.”

If you are unfamiliar with the artful pyrotechnics of the California Guitar Trio, simply buy a ticket to their upcoming show at The Ark on March 11 and get ready to have your mind blown.

California Guitar Trio is comprised of Bert Lams, Hideyo Moriya, and Paul Richards, who combine exquisite musical chops with an omnivorous, multi-genre approach to music. On stage and on their albums, CGT includes all manner of acoustic cover versions as well as dazzling original material. Whether it's rock, classical, jazz, country, or surf music, CGT perform with style and skill that’s hard to match elsewhere.

I’ve been a fan of the Trio since the beginning of their career, so it was a real treat to catch up with band member Paul Richards by phone in advance of the group’s Ark date on Sunday.

When the Tim Haldeman Quartet assembles at Hathaway’s Hideaway in Ann Arbor on Sunday, March 11, to play improvised jazz while films are screened, the musicians will continue a tradition that is most associated with a pioneering soundtrack by trumpeter Miles Davis.

At the end of November 1957, Davis flew to France to begin a monthlong series of concerts, including a three-week stint at Club Saint-Germain in Paris.

But the trumpeter didn't bring the musicians who comprised his first great quintet.

“When we put ourselves in positions of risk, interesting things happen,” says choreographer Honji Wang. She is talking to me on the phone from Minneapolis about the upcoming performances of Company Wang Ramirez -- the group of dancers she leads with partner Sébastien Ramirez -- at Ann Arbor’s Power Center, March 9-10, as part of UMS's season. Our conversation is shot through with Wang’s references to what is interesting, and it reveals an ongoing passion for illuminating the unexpected and the provocative through dance.

Many of us wonder what the creative process for an artist is like. How do they come up with ideas for their songs? What inspires them? How do they start to write and compose an original song?

Beginning in November 2017, Cultivate Coffee and Taphouse has held Songwriter Sunday bi-weekly, offering local artists the chance to share their songwriting and creative process, and giving interested members of the public the chance to answer some of those questions.