“If you had told me when I started in this business, that one day I would be working for a non-profit that published books based on their merit and not profit, I would not have believed it,” says Michelle Dotter, who serves as publisher and editor in chief of Dzanc Books (pronounced Duh-ZANK).
The nonprofit was co-founded in 2006 by Ann Arbor lawyer turned novelist and 826Michigan creator Steven Gillis and Emerging Writers Network creator Dan Wickett. They had an uncompromising vision for Dzanc.
“The biggest thing for Steve," Dotter says, "was that nothing be constrained by shareholder interest, so we would never sacrifice artistic quality or only support books that could make money … or end up like some presses, where commercial potential is such a factor they send book covers to retailers like Walmart or Costco, giving them the power to reject a cover if they think it won’t sell.”
Dotter took over as publisher and editor in chief of Dzanc in 2017 after working there since 2014.
“I loved what they were doing as far as experimental literature," she says, "taking chances on amazing authors and books that might have been rejected for commercial reasons at other publishers.”
Astronomy at the Beach (AATB) is the Great Lakes Association of Astronomy Clubs (GLAAC)'s signature annual event. Held each year at Island Lake State Park near Brighton, Michigan, and attended by thousands, this year’s two-day event on Friday and Saturday, September 25-26 has been moved online because of the COVID-19 pandemic.
Adrian Bradley is president of GLAAC and an avid amateur astronomer and photographer who especially loves nightscape photography. He is also a member of the University Lowbrow Astronomers, the local astronomy club partnering with AADL to provide and maintain the library's circulating telescope collection.
We chatted with Bradley about this year's Astronomy at the Beach lineup.
It looked bleak in March and April for the fourth edition of Ann Arbor's Rasa Festival. Everything was being canceled, and the annual September celebration of arts and culture from India looked like it was not going to happen either.
"We canceled all our venue bookings at that time, although with a heavy heart," wrote Sreyashi Dey, the president and artistic director of Rasa, in an email to Pulp. "We had some fabulous concerts planned this year, with world-renowned touring artists from India, but had to cancel that as well. It was very depressing."
But as the months dragged on, Dey, who is also a dancer, couldn't contain her desire to create new works, and that spurred her on to reconsidering Rasa.
"As an artist/dancer myself, I was beginning to feel disheartened about my own creative impulses and motivation to create new work," Dey wrote. "So I started thinking about making some new dance works while still in lockdown, but with no real plan for what to do with it. Then I started thinking of doing a video recording to share. And that's how the idea of the festival going virtual was born, and once I started talking to the other artists, everyone was very eager and enthusiastic."
The performance part of the month-long virtual Rasa Festival runs October 3-25, with streams starting at 11 am each Saturday and Sunday throughout the month. The Mandali: India and the World art exhibition, presented in partnership with the Ann Arbor District Library, runs October1-November 12.
Rasa will present its usual assortment of dance, music, written word, film, fashion, travel, social change, and visual art, but there will be no culinary component this year, for obvious reasons—but we got you covered. I talked with Dey over email about the challenges—and opportunities—of presenting the Rasa Festival online and what she food she'd recommend for us to make or buy at home to accompany the 2020 virtual edition of the Rasa Festival.
Ken Fischer makes the case for collaboration and connectivity in his book "Everybody In, Nobody Out"
This post contains two sections: a book review and a brief interview with Ken Fischer.
On June 1, 1987, Ken Fischer became the sixth president of the University Musical Society at the University of Michigan.
That date marks the beginning of 30 years of transformation, innovation, and collaboration.
Fischer’s Everybody In, Nobody Out: Inspiring Community at Michigan’s University Musical Society written with Robin Lea Pyle is a book of many parts. It is a memoir, an insider’s view of some of the leading performance artists who come each year to Ann Arbor and, perhaps most important, a guide on how to operate a non-profit by reaching out to and connecting with the community at large.
The title comes from Patrick Hayes, a mentor to Fischer and former head of the Washington Performing Arts Society. Hayes had developed a policy for art presentation that emphasized inclusion at every level. His policy was "Everybody In, Nobody Out" and it became Ken Fischer’s mantra.
“It was about making connections and forming partnerships for everyone’s enrichment,” Fischer writes. “The great thing about collaboration was that it could be the foundation of everything we needed to do as an organization: secure outside sources of funding, raise our visibility in the community, expand our audience, gain new insights, and build enthusiasm for working on new projects.”
Fischer’s book is a short history of those collaborations with the university, with world-class performers, with other local arts groups, and with local and national businesses and philanthropists.
But first a prelude.
Area stages have gone dim to protect audiences, actors, and theater workers during these uncertain times.
But that doesn’t mean the show can’t go on.
What do you do?
It’s what people ask when they first meet as a way to identify each other, yet our jobs do not have to define us.
When I asked Jeff Kass this question, he answered with three jobs: a full-time English teacher at Pioneer High School in Ann Arbor, part-time pizza delivery person, and part-time director of literary programs at the Neutral Zone for a year in 2016-2017. During that time, he also worked on drafting the autobiographical poems about this experience that form his new collection, Teacher/Pizza Guy (Wayne State University Press).
Teacher/Pizza Guy reveals Kass’ experiences in the classroom and pizza place, including issues with service industry jobs, challenges of aging, and relationships with colleagues, youth, and family. Despite the possible mundanity of work, Kass offers poetic insights on the situations. The first poem in the collection, “Oh, Splotch of Blue Paint,” not only addresses the paint on the sidewalk outside of the school where Kass teaches but also ruminates about its origins:
…were you trying to paint the sea? A place
for you to float in? The breeze a lovely, reassuring
friend who brings you cookies and iced tea
and listens to you without judging…?
This speculative question, in turn, raises a question for me: Isn’t that what we’d all like, a pleasant place, a friend who shares treats, and good conversation? Another poem depicts colleagues crossing paths in the night as Kass returns to home from his pizza-slinging job to see a fellow pizza slinger working his other job of delivering newspapers.
Amidst dishwashing, disastrous delivery runs, and the grind of teaching students in class after class how to write essays, Kass pulls out moments of clarity that describe the working life. One poem describes a break during which he makes a pizza for himself, one that’s not on the menu, and writes, “Believe / for a moment / your time / belongs / to you. / Savor. / Chew.”
Within the drudgery of going from job to job, Kass is not all work; he observes and shows parallels between his jobs and life, recognizing and taking ownership of those moments rather than letting work consume him, almost as if he is both living his life and watching it from the outside. Kass finds meaning in those fleeting moments of entering and exiting customers’ lives to bring them pizza and also seeks respect as he makes ends meet.
Kass, who lives in Ann Arbor with his wife, Karen Smyte, and their children, Sam and Julius,
will read from his collection at Literati Bookstore on Tuesday, September 10, at 7 pm. I interviewed him about his poetry and work.
Ann Arbor trio Towner created the terrific power-pop album "This Is Entertainment" during quarantine
The Ann Arbor trio of bassist Jason Horvath and guitarists Kris Ehrig and CT James recorded 12 songs for the LP and every tune could be single. Towner originally intended This Is Entertainment to be an EP, but the musicians were so happy with the results, they just kept recording at home, with Ehrig programming the drums. This Is Entertainment isn't exactly lo-fi, but there's a distinct bedroom-pop ambience to the record and that intimacy and warmth serves the band's songs perfectly.
"We had plans to record the 'normal' way in a studio in April," Ehrig wrote in an email, "but that got canceled for quarantine. At that point, I started recording a few songs on my own that weren't going to be on the record just to pass the time and keep myself sane. Then our drummer [Alex Molica] dipped to Vermont and everything got thrown out the window. Instead of scrapping it and starting over, or quitting altogether, we looked at a recording process that was working and switched to the material we had originally planned."
Towner's combined sound is reminiscent of the most melodic Guided By Voices songs, with Ehrig's tunes edging more toward those of The Only Ones -- mainly because of his slightly snarly singing, though he's a much stronger traditional crooner than Peter Perrett -- and James' compositions yanking out the catchier aspects of Weezer's music and leaning into them while discarding the annoying stuff (basically, being Weezer). I say this with peace and love as a Weezer non-fan and as someone who was knocked out by This Is Entertainment, but the way Towner plays with doo-wop-y harmonies and 1950s and 1960s rock 'n' roll vibes under its modern, hazy, indie-rock top layer frequently reminded me of the sorts of things Rivers Cuomo toys with in his songs.
Ehrig answered some questions about how Towner put together This Is Entertainment.
Like most musical groups, the Rob Crozier Jazz Ensemble spent much of 2020 in quarantine due to the pandemic.
But Crozier managed to keep the creativity flowing by digging into live recordings the group made at Grosse Pointe’s Dirty Dog Jazz Cafe in February 2019, and the result is the Ensemble's first live album.
Live is a nice mix of funky fusion, straight-ahead jazz, and world music, featuring tunes from Crozier's last two studio albums, Tall Trees (2017) and Ocean Blue (2018), plus a couple of new songs. For this album, the Ensemble consisted of bassist Crozier, Rafael Statin on reed instruments, pianist/keyboardist Keaton Royer, drummer Rob Avsharian.
Crozier and Co., who were always active playing area stages and festivals before the pandemic, recently started performing again to socially distanced crowds as part of the ongoing series Jazz After Dark at Weber’s Restaurant.
In advance of the album’s release concert at Weber's on September 5, I emailed with Crozier about Live and how he stays creative during the pandemic.
Jazz pianist, Juno Award winner, and U-M professor Andy Milne guides us through his new album, "The reMission"
When jazz pianist Andy Milne moved to Ann Arbor in 2018 to become an assistant professor of music, jazz, and contemporary improvisation at the University of Michigan, he didn't know he would win the 2019 Juno Award for Jazz Album of the Year by a group for The Seasons of Being record with his Dapp Theory ensemble.
But Milne did know he had survived prostate cancer in 2017, so winning Canada’s Grammy equivalent was a nice side note to, you know, being alive.
After recovering from cancer but before moving to Michigan, Toronto-area native Milne, who had lived in New York City since the early 1990s, also started the Unison trio featuring drummer Clarence Penn and bassist John Hébert, composing stripped-down music that is the opposite of Dapp Theory’s fractured-funk polyphony, which features a multitude of instruments and voices. The trio released its debut album, the contemplative The reMission, in April and had planned a tour for May, which the coronavirus pandemic wiped out.
While Milne was disappointed he wasn't able to promote The reMission, he's used the downtime to get acquainted with Ann Arbor now that his wife, the singer and Oberlin College and Conservatory educator La Tanya Hall, was finally able to join him in Michigan.
Plus, he looking forward to diving into what the University of Michigan has to offer in terms of combining his interests in pairing music with science and research.
“I realized when I came here, my primary focus was like, ‘Oh, I’m coming to Ann Arbor to take this teaching position and really embrace a role in the university community,’ both within [the school of] music, theater, and dance and just exploring where my path and where my place would be in the university,” Milne said. “So, I’ve been collaborating with faculty and researchers in different areas of the university for public health and these kinds of things. I’m finding where my zone will be inside of that.”
Combining music with other disciplines has long informed Milne’s work, including Dapp Theory’s The Seasons of Being, which coalesced around ideas he learned while treating his cancer with homeopathy, and the documentary soundtracks he’s composed for Capt. Kirk himself, William Shatner. (The reMission’s “Vertical on Opening Night” is named after something Shatner said in one doc.)
Being at a large research university like Michigan means Milne can continue to explore cross-disciplinary creativity, all in a town he finds welcoming and easy to navigate.
“I think it’s probably just the proximity of everything,” Milne says of Ann Arbor. “The fact that I’m living close to my work, and people are super-friendly here, and there’s great restaurants. I mean, it’s a really livable city, and I’ve been able to get out and enjoy riding my bike and exploring neighborhoods and things like that. I like the feeling here.”
While Milne wasn't able to go out and promote The reMission, he did give us a song-by-song tour of the new album, which you can listen to below on Spotify as you read his commentary.
Imagine being dropped off in the wilderness, uninhabited except for 19 people with you and rangers who patrol the land. Modern amenities are nonexistent, but the upside is that the air quality is much better than the polluted city. You live nomadically and hunt, fish, and gather to survive. This is not an extended camping trip. It is your new way of life.
This intense scenario forms the premise of Diane Cook’s new book, The New Wilderness, a speculative novel involving relationships and the environment—and how the latter influences the former. The novel has landed on the long list for the Booker Prize. Cook has taught for the University of Michigan, is a U-M alum, and lives in Brooklyn, New York.
In a joint virtual event, both Cook and Karolina Waclawiak, whose new novel Life Events was just published, will read and discuss their new books through the At Home with Literati series Monday, August 31, at 7 pm.
The characters of The New Wilderness, including Agnes, her mother Bea, and her mother’s husband Glen, go to the wilderness as part of a research experiment to determine whether this lifestyle is sustainable. Bea joined to save Agnes’ life. Agnes was five years old when they arrived and gravely ill from the effects of pollution. Despite learning how to stay alive in the wild and improving Agnes’ health, the characters’ memories of their former life, their love for one another in all its forms, and the burden of subsisting clash and inform their individual choices.
Early on, Bea’s concerns emerge when considering their next journey to a ranger post farther than they’ve had to go before:
Glen hooked his arm around her neck and pulled her close. “Now, now,” he murmured. “This will be fun.”
She knew that a big part of Glen believed this. But no part of Bea did. She pictured the map in her head again and saw all that unknown land, that beige parchment, all that nothing. They would be changed on the other side of it, that much she knew. Not knowing how was only one of the things that scared her.
The New Wilderness calls into question what the natural world is and should be, while also showing how vast the wilderness within and between people can be.
I interviewed Cook about this book and her writing.