NAIAS exhibiting manufacturers include: Acura, AMG, Audi, Bentley, BMW, Buick, Cadillac, Chevrolet, Chrysler, CODA Automotive, Dodge, Falcon Motor Sports, Fiat, Ford, GMC, Honda, Hyundai, Infiniti, Jeep, Kia, Lexus, Lincoln, Maserati, Maybach, Mazda, Mercedes-Benz, Mini, Nissan, Porsche, Ram, Scion, Shelby American, Smart, SRT, Subaru, Tesla, Toyota, Vehicle Production Group, Volkswagen, and Volvo.

NAIAS will be open to the public Jan. 14-22, 2012. NAIAS is a fascinating visual circus that is highly entertaining every year — even for a non-car guy like myself. I’ll try to keep you updated and share some pictures throughout the week.

My student was quiet.  But he loved to complete each project. 

At one point, Sister Nancyann decorated the main eating area (which was the main area in the building) with all of the students’ work.  The students’ parents, grandparents, or other guardians came and were treated to a light dinner and a small celebration for the students.  My student’s grandmother sought me out. 

She told me how my little guy went from being quiet and depressed to energetic and hopeful.  He spoke often of our time together. The Capuchin’s art program broke down certain barriers and allowed this kid to be a kid.  It allowed him to take joy in the everyday.  Yet the art projects accomplished this goal quietly.  Even I was unaware.

Art therapy is a theraputic use of the art making process to . . . . Art therapy is a process where trained therapists use a psychotherapy process to …. Art therapy is where a mental health professional deciphers artwork to delve ….

Art therapy is difficult to define.  I believe it captures some of the energy and importance highlighted last week in our focus on art education, yet it takes the scientific processes a step farther.  I believe it works, because I’ve seen it work with my own eyes.  So this week we will compile as much information about art therapy as we can to better define art therapy so that we can better know its uses and successes.

It has been three weeks since Movement ended. My head still throbs with the bass vibrations, my body still swaying to the syncopated beats. After leaving the pulsing lights and packed dancefloor of the final after-party, dancing one last time to Benny Benassi’s distinct brand of heart-thumping electro house and inhaling the last wisps of cigarette smoke, I returned home to remove the wristband that had so completely become a part of my being, a reluctant admission that it had all come to an end. Movement is so much more than just another music festival; it is a call of duty, a battle-cry for techno fans across the world, a journey, a bond.

I cut off the armband, pulled out the last few flyers for after-parties that were stuffed inside my pockets, and laid down to bed well past 3:00AM for the fourth consecutive night, eardrums still blaring the distorted memory of all the remnant bass. For four days I stank of the sweat of throngs of dancing fans, trying to stay hydrated with endless supplies of Vitamin Water (mixed, of course, with vodka), sunburned, sweaty, tired and sore. I barely slept or ate. It was one hell of a weekend.

Movement is the latest and greatest incarnation of the Detroit Electronic Music Festival, which was launched in 2000 by festival production/promotion company Pop Culture Media, headed up by one Carol Marvin. The event was quite generously sponsored by the city of Detroit and (beginning the following year) Ford, and admission for the estimated 1.1 million attendees was free. Metro Times dubbed Marvin the “Queen of the DEMF,” and everyone lived happily ever after.

Or not. Like any other massive production enormously dependent upon corporate sponsorship and with power-hungry leadership steering the ship, it eventually slammed into a massive iceberg and suffered a series of Titanic-sized losses; the festival was on the verge of bankruptcy. Ford withdrew their sponsorship and the City of Detroit withdrew a huge chunk of funding, there was a great deal of controversy over the dismissal of DJ Carl Craig as artistic director which ultimately led to the end of Marvin’s reign as “queen,” DJs Derrick May and Kevin Saunderson of the “Detroit Three” (the originators of techno music as we know it) both took shaky turns at producing the event after Marvin and her team were ousted, the festival changed its name twice and began to charge admission to cover its own budget (though it was still unable to recoup its expenses), and in early 2006 it was an orphan, without a producer, major sponsorship, or much hope of survival.

Enter Jason Huvaere of Paxahau Event Productions.

“The big challenge was to heal the wounds still infected from the drama that surrounded the 2001-2002 events after Carl was pushed out by then festival producer and the related controversy including upset fans, stakeholders and vendors for hire,” says Jason Huvaere, president and co-founder of Paxahau Event Production. “Even with new faces from 2003-2005 the event still suffered due to bad info reported from previous events and it became difficult to earn the trust from top level contractors. During our first year (2006) we had 8 weeks to produce a festival that is really a year round job. We were very focused on stabilizing during the first year; then after we got our festival legs under us we began to explore ways to improve the production and sound quality at the festival. Every year since then we have tried to take it to the next level.”

In 2006, after Saunderson stepped down due to lack of funds and promotion, the DEMF (now known as “Movement”) was up for grabs again and Marvin lobbied to regain control, though she ultimately lost to a little event production company from Ferndale called Paxahau. The decision to hand control over to Huvaere’s company was widely supported by those who had involvement with past festivals, including Craig and Saunderson. Huvaere swooped in like Captain America to save the day, wresting control of the festival away from the villainous clutches of Carol Marvin. Well…perhaps that’s a little extreme, but Marvin certainly didn’t make many friends throughout her reign and Huvaere worked no small miracle reviving the festival to its former glory. Since Paxahau took over, new life has been breathed into this formerly troubled festival, once again attracting top-name talent from around the world, and growing attendance every year after it dropped four years straight down to only 3% of its peak (from 1.7 million attendees in 2002 to about 41,000 in 2006). And all the credit rightfully goes to the humble Huvaere.

“Attendance this year was excellent,” Huvaere tells me. “We had an attendance of 83,322 at Movement over the three days of the festival. It is the largest three day weekend crowd the festival has had since it became a ticketed event in 2005.”

Being at Movement 2009, you’d never know there had ever been any trouble. Detroit’s scenic Hart Plaza—situated between GM’s impressive world headquarters and the Detroit riverfront—was swarming with techno fans from the minute the gates opened every day. People from all over the world once again poured into Detroit for what is still the largest electronic music festival in the United States, and the only one of its kind with “an urban outdoor venue like Hart Plaza with four stages, nearly 100 performers and 36 hours of programming,” according to Huvaere. As a native Detroiter, it was surprising to find that most of the people I spoke with were from out of town; as a local I found myself in the minority. 

One of the greatest things about Movement is all the different people you meet. There’s just something about the energy there—everyone together for the specific purpose of dancing and having fun, many from out of town looking only for an enjoyable experience with friends and strangers alike—that bonds people together. Perfect strangers become best friends; you might start the day with one group of friends you lose track of halfway through and end the night with another group you just met. People from different cities, states, and countries meet, connect, and share some of the best moments of their lives in the most unexpected ways. Movement is its own makeshift community—ephemeral yet viable. You might never see that group of strangers again, but rest assured you’ll never forget them. This is all part of the Movement experience.

On the first day you always have to acclimate—figure out the lay of the land, situate yourself in the environment. My first day actually started the night before at Detroit’s eccentric C-Pop Gallery with a pre-party featuring Planet E’s Monty Luke. (Though many people started their evenings even earlier with the official Paxahau pre-party at the Fillmore Detroit featuring the Prodigy, on tour for the first time in 8 years.) From there, it was on to a more unlikely space for dub bass and trance—Bookies, the newly relocated sport-centric megaplex located on Cass behind Foxtown. These pre-parties bled into the first day of Movement—a comparatively toned-down experience—which gave way to the first round of official after-parties.

Some of the most buzzed-about aspects of Movement (after the initial Internet explosion of “ZOMGZ THE LINEUP NOM NOM NOM!” dies down) are the after-parties. While grooving at the festival, you’re likely to be approached with half a dozen promoters handing out flyers to their various after-parties, many featuring some of the international talents featured on the festival’s bill—except in a smaller, darker, louder, boozier environment that could potentially continue on well after sunrise the next day. The locations range everywhere from art galleries to goth clubs to restaurant patios to yes, even sports bars, all transformed into feverish techno havens for the weekend. The festival is in a lot of ways just a precursor to the late-night/wee-hour parties that happen afterwards; at my best count there were some 70 or so, making the stage-hopping at Hart Plaza by day look like an amateur’s game. Always one to stay on top of the trends, this year Huvaere & Co. honored 13 such parties with the official Paxahau Blessing, partnering up with local promoters and businesses to make some of the festival’s best after-parties an official part of the festival itself.

“Every year since we began producing Movement in 2006 we have produced and worked with some great local promoters to develop official Movement after parties,” Huvaere notes. “The people that come to Movement truly enjoy the music, so by promoting official after parties fans are able to keep the party going once the festival has ended. It is great for the fans of the music as well as the local economy.”

Another partnership new to this year is Movement: Detroit’s Electronic Music Festival’s partnering up with Movement: Torino, the Euro version of the festival launched in 2006 and held over Halloween weekend in the Palaolimpico stadium built to host the XX Winter Olympic Games in Turin, Italy. Huvaere hopes that with this partnership the two festival producers “will work together to promote one another’s festivals, while Paxahau will be instrumental in helping them book electronic music artists to perform at Movement Torino. This partnership will help to strengthen the Movement brand and expose more people Detroit’s rich Techno culture.” To which I say: field trip!

Day One/Night Two found me at 5 E Gallery for the Detroit Techno Militia show (and maybe somewhere else too but who even knows anymore); Day Two/Night Three found me self-diagnosing the self-inflicted bodily trauma from the night before in the Movement VIP lounge, watching Loco Dice vs. Luciano from the comfort of behind the stage while double-fisting Vitamin Water cocktails (‘cuz you gotta get your vitamins). Hey, you didn’t think I was just writing this piece for shits and giggles did you? Press passes, beyotch! 

But Day 3: ah, that was the day. Bad Boy Bill.  Afrika Bambaataa.  Adultnapper.  Bassnectar.  Carl Craig.  Benny Benassi.  Kevin Saunderson.  Derrick May.  OMFG.  It is refreshing to see an event of this magnitude practicing the time-honored art of saving the best for last—or perhaps the showbiz credo “Always leave them wanting more.” And more we got: Benny Benassi to be exact, my personal favorite of the festival who then spun at the official closing party at Plan B Nightclub—that final closing party that I left feeling so very bittersweet.

Despite all the new fancy partnerships taking this year’s Movement in a fresh new direction, in many ways this year also marked a return to the festival’s roots: on May 22nd, 2009, in a press conference with then-mayor Ken Cockrel, Huvaere announced that Paxahau officially named DJ Carl Craig the new Creative Director for Movement 2010. This was a landmark announcement, confirming that, under Huvaere’s steadfast leadership, the festival has been fully reborn, shedding finally all of the bad blood that came before.

Says Huvaere of the decision to reinstate Craig as Dreative Director: “I have known Carl for about 15 years now. We (Paxahau) have always had a very positive relationship with Carl. We have a tremendous amount of respect for him and were excited when he agreed to become the new Creative Director for the festival.

‘He has a complete understanding of the history of Techno Music in Detroit. He understands its impact around the world because he lives it every day. Carl is a musical visionary whose ambassadorship is unparalleled. The decision was natural and appropriately timed. We have all been busy with management of various projects over the years, this was time to recognize the history as well as the future of this great city and work together as a stronger team for the evolution of the festival. Carl has had vision for this festival since it began, and we are happy to be able to facilitate his involvement into the future.”

2010 will be another landmark year for Movement, marking the festival’s 10th anniversary. Big plans are in the works to make this festival the best yet, and Huvaere promises that “preparations for the 10 year anniversary began as we were finalizing the details for Movement 2009.” After seeing first-hand what they’ve been able to pull off so far, I have complete faith that the Paxahau team will make good on their promises.

Until then, I’ve done you the favor of putting together a little list of things for you to keep in mind for next year. You’re welcome.

Movement Survival Guide
1. 2 quarts vodka
2. 64 ounces of water
3. 3 removable layers of clothing for extreme temperature shifts
4. A painstakingly detailed plotted and annotated Google map of various after-parties with driving directions and force-rank prioritization based on three tiers of importance: who’s playing, how much, and how late
5. A healthy sense of irony and a high tolerance for flashing, spinning neon lights
6. Already-damaged hearing that will not be negatively affected by excessive bass
7. Lots of cash for booze inside festival grounds when you can’t easily access the two quarts of vodka in your car
8. A tattoo on your forearm that says “Eat,” just in case you forget
9. A list of phone numbers for local cab companies
10. A contingency plan should the friends you came with leave/pass out without you

All photos courtesy of this guy:

Sean Gabriel Photography

Here in Michigan, and especially in metro Detroit, the sky is falling. This is the worst recession that the majority of us will have ever lived through, and could potentially be the worst recession in Michigan’s history. Things are bleak; there’s no denying it.

But if you were at last week’s 10th Annual BravoBravo! fundraiser, you’d never know it.

The BravoBravo! Gala Fundraiser, the largest fundraising event for the Detroit Opera House, is the premier social event of the year, drawing in crowds of thousands of metro Detroit’s bright and beautiful, the socialites and the power players, the art lovers and scene-stealers. Whether there out of a sincere desire to support the arts or just there to see and be seen, all attendees converge under the roof of the glorious Opera House to sample food from over 40 over the area’s finest restaurants and catering companies and listen to music from top local talents.

And this year’s event, despite the loss of major sponsorship from Lexus and some significant changes to ticket pricing and availability, was one of the finest.

BravoBravo! is organized by Encore, the Michigan Opera Theatre’s young professionals organization. Filling the gaps of tremendous losses due to state and corporate sponsorship budget cuts, this group of some 30 young adults was charged with putting together one of the most important fundraisers to date. To which all I can say is, “Bravo!”

“This year’s event was a huge success,” said Nicole Brown, a member of Encore and one of the biggest supporters of Detroit’s young professional growth and advancement movement. “We sold out for a second straight year in a row while raising much-needed funds for the continued restoration and operation of the Michigan Opera Theatre and Detroit Opera House. What makes this one of the most successful young professional fundraising events of the year is that it brings together the best of Detroit. From the best in entertainment to food you can experience it all at BravoBravo! and this year was no different.”

And how. This year found Paxahau (who manage Movement: Detroit’s Electronic Music Festival) DJs spinning in the outside tent, Funk Night (voted the best party in the America by Paper Magazine) DJs spinning upstairs, the swingin’ sounds of the Cherry Poppin’ Daddies in the main theatre, and of course lots of jazz to complement the vintage jazz theme of this evening.

I must also say “Bravo!” to the decision to limit ticket sales from the upwards of 2,300 from last year; after issues with overcrowding and limited traffic flow, organizers decided to instead reduce the number of tickets sold by several hundred and raise individual ticket prices to offset the limited ticket sales. The result was a much less crowded event in which everyone was able to move freely throughout the main halls and theatre without waiting in long lines or being jostled around. The wait at all the food and drink tables was short and there was space enough for people to enjoy their food once they got it. Overall, this made for a much more enjoyable experience, and moving forward I hope that this decision sticks.

And the food—oh my. No corners were cut here: 24 Grille (whose pan-seared foie gras on a bed of green goddess salad with truffled cotton candy was the crown culinary jewel of the evening), Opus One, Roast, Saltwater, Crave, Taste Pizzabar, Mon Jin Lau, Chen Chow Brasserie, Wolfgang Puck Grille, Vicente’s Cuban Cuisine, Bourbon Steak, Angelina Italian Bistro…plus some 30 or so more of the area’s best restaurants offering mouth-watering samples of tuna tartare, cornbread stir-fry, lobster bisque, sweet crepes, pulled pork and suckling pig, and a candy-colored rainbow of confectionary delights. Modeled like a large-scale industry wine tasting only with elegant food instead and best likened to the finest strolling buffet you will ever see in your life, BravoBravo! is a veritable foodie paradise, a destination for epicureans to nibble and nosh on a wide array of different foods from an even wider array of restaurants. Whether exploring new tastes (and you simply must) or falling back on old favorites (I couldn’t really pass up Taste, now could I?), this is as much the premier social event of the year as it is the premier culinary showcase of the year.

The outdoor patio area was also newly enhanced with an extended bar and added restaurant presence, and once again became the place where everyone seemed to gravitate towards the end of the night. Grooving to the beats of DJs Chuck Flask and Jenny LaFemme, the night ended with a certain kind of euphoric rush—good food, good music, and good company all making this one of the best nights of the year. No one wanted it to end, but then again…there’s always next year.

In the true spirit of Detroit DIY, keeping hope alive in even the most difficult times, the team behind BravoBravo! once again proves that no obstacle is too great to overcome. Even with a shoestring budget and a huge loss of sponsorship, they still put together another amazing evening. Thanks again Encore, for this truly spectacular event; to the rest of you, I’ll see you at the 11th anniversary!

All photos by Sean Gabriel Photography.

Photo by Sean McClelland

They rock. And they roll. The Detroit Derby Girls are just one of some 63 all-female owned and operated roller derby flat-track leagues across the country. For years I’ve heard about the Derby Girls, their commitment, their camaraderie, their community-mindedness, their overall coolness. But it wasn’t until I witnessed it for myself that I learned what it truly means to be a Derby Girl.

Photo by Sean McClelland

Roller Derby began as a note on a napkin inside a Chicago Johnny Rocket’s in 1932. After that, the national derby scene exploded over decades of increasing showmanship and ratings boosts, under the leadership of Leo Seltzer. Its popularity ultimately became its downfall, as derby became more concerned about the spectacle than the sport, and by the ‘90s it had faded off into oblivion. That is until 2001, when the sport of roller derby was resurrected in Texas, conceived as an all-female athletic event. The Women’s Flat Track Derby Association (WFTDA) was born, which regulates the national flat-track roller derby rules and offers the chance for inter-league bouting and championships. The Detroit Derby Girls were officially formed in January 2005, and were ready to play their first bout in February 2006. They now stand over 60 skaters strong with four home teams, a travel team, and a “B” team.

Photo by Sean McClelland

There is so much to learn and understand about the sport of flat-track roller derby that it can be daunting as a newcomer to take it all in. But the bottom line is this: it’s a sport. A real full-contact sport with real injuries, real risks, real (but few) fights, and real athletes. The Derby Girls practice for several hours twice a week in addition to their regular bouts. Members make a significant time commitment to the league, and they do so happily. What struck me as being so impressive about the Derby Girls was their obvious commitment to their team and the other members; by signing up for the Derby Girls, you’re effectively joining a new family. They will embrace you and uplift you, but they will also keep you on track (literally and figuratively). Derby Girls train hard, they play hard, they reach out to the community and partner up with businesses and nonprofits, they support each other, and they kick ass on a flat-track. And that’s pretty much what you need to know about derby.

Photo by Sean McClelland

For a league that began as an idea at a New Year’s Eve party inside the home of player Scarlett Fever, these girls have come a long way. Starting out with no money for rink rental or to absorb the costs of organizing a sporting league, their practices were first held inside the Bohemian Social Club (now the Bohemian National Home) in Corktown, while it was still very much under construction. Through fundraisers, meet-and-greets, and by reaching out to friends and the tight-knit local music scene, the Girls were finally able to rent out a “real” rink for practices, and then were able to host their first bout at the Masonic Temple “Drill Hall” (where they have played ever since). This inaugural bout was in front of a sold-out crowd of 800, and they’ve been selling out the Masonic consistently ever since. From day one they were their own fundraisers and promoters, and the buzz they were able to create from the beginning has led to a fanbase of thousands of die-hards and fascinated observers.

Photo by Sean McClelland

It is this DIY spirit which makes the Derby Girls who they are, and it manifests itself in every aspect of their play. They enjoy playing on a flat track (a track that is set on the floor, as opposed to an elevated banked track) because it allows them to be closer to their fans, to slap high-fives and shake hands with them and allow them to feel as if they’re part of the action. (Trackside seating is at your own risk, of course.) Though they bout against each other, all the teams that are part of the DDG league train and practice together, and they all push each other to be better skaters, better athletes, so that together they can develop and grow as a unified league.

Photo by Sean McClelland

But you just can’t truly understand the sport until you see it first-hand. On Saturday, March 14th, I had the chance to see the D-Funk All-Stars battle the Detroit Pistoffs in a bout that was (to me, as a derby virgin) fast-paced and thrilling. Make no mistake, this sport is hardcore—the Girls hit, shove, trip, fall, skid, slide, bruise, and occasionally break. The action is intense, and even if it is your first bout you’ll find yourself holding your breath to watch the Jammer (the only player who scores by breaking away and lapping the pack) break through, cheering on as the lead Jammer (the first one to pass through the pack) repeatedly dodges the other team’s defense to lap them again and again, wincing when a defensive player gets shoved and goes skidding into the crowd, and smiling at the clear camaraderie that exists between the players as they help each other, look out for each other, and show each other signs of encouragement.

Photo by Sean McClelland

The crowd is a clear example of roller derby’s wide appeal, as well as the Derby Girls’ all-inclusive attitude. The crowd was full of children (in fact, children under 12 are admitted free), elderly folks (many of them parents of the players), couples of all orientations on dates, groups of college-age students, punk rockers, artists, and rabid sports fans. Black/white, gay/straight, male/female, young/old—if you can cheer them on, they’ll welcome you in, and you’re guaranteed to have a good time. (My favorite moment was witnessing a woman in her 60s pour a beer into a funnel for a quadriplegic man to drink, and him griping at her when she wasn’t pouring fast enough.)

Photo by Sean McClelland

While the Derby Girls are all about the sport and the sportsmanship, there is certainly a fair amount of quirkiness that is present at any bout. The referees for the bout (there are five on the track at any time) looked like a demented Greek chorus, sporting togas and gold metallic short shorts. The Motor City Rah-Rahs are the DDG’s official goth/punk cheerleaders, and the intermission is filled with punk rock music. Yes, the girls do wear fishnets and short skirts, but it is not about being provocative or exploiting their sexuality—it’s all about self-expression and unleashing some excitement (besides, what else are they supposed to skate in, pants?). And no, they’re not tattooed man-hating lesbians. Some have tattoos, and sexuality has nothing to do with the sport. The Derby Girls have doctors, waitresses, engineers, teachers, accountants, hair stylists, wives, and moms on their league. Derby attracts women from all backgrounds who are interested in a highly athletic, competitive sport which encourages diversity and promotes community involvement. The sport has wide appeal for athletes and an even wider audience appeal…plus it’s just plain fun.

Photo by Sean McClelland

Another thing which impresses me about the Girls is their involvement in the community. They make regular appearances at festivals, concerts, and various events to introduce themselves to people, promote derby, and hang out with fans. Every bout is a benefit for DDG’s featured charity; this season’s featured charity is Alternatives for Girls, a nonprofit organization based in southwest Detroit which serves homeless and at-risk girls and young women through various programs of empowerment. The Girls are looking out for the girls of the community, and for that they deserve the utmost respect. They’re not in this for the money or the fame, but for the love of the game.

Photo by Sean McClelland

The bout ended with a score of 112-57, a win for the D-Funk All-Stars. By the end of the bout, watching the players hug, high-five, shake hands, and mingle with the audience, I felt as if I had truly experienced being a part of something. The sense of inclusion and teamwork is pervasive and infectious, and as the Derby Girls always say, “our fans have helped the DDG get to where they are today…Detroit wouldn’t have Flat Track Roller Derby without [them]!” At a Derby Girls bout, you’re not just an audience member or a bystander; you’re a part of the sport, a part of the event, a part of the excitement. It’s no wonder then that derby fans can be as vocal and as animated as a hockey fan at a playoff game, when they themselves feel that their team’s win is their own. And for the Girls on the track, derby isn’t just a sport—it’s a way of life. They live it, they breathe it, they are it. And with such strong examples of leadership, teamwork, sportsmanship, and philanthropy, I really can’t think of a better code to live by—short skirts, fishnets and all.

Get to know a Derby Girl:

Carey Finn/Cookie Rumble Team/position: Captain of the Detroit Pistoffs, Blocker/Jammer/Pivot City: Ferndale How/why I got to be a Derby Girl: Funny story actually….my old roommate used to bartend at the 2500 club. The DDG was having their first fundraiser (the HOT party) and I happened to be up there the same night. I was awestruck by these awesome women and what they were trying to build, but too chicken to sign up. So my friend signed me up behind my back. I got a call from Scarlett fever telling me when they were going to be at Riverside for open skate (she pretty much scared me into going) and the rest, they say, is history. What I do when I’m not kicking ass in the rink: I work at Origen Financial Services to fund my derby habit. When I’m not working, I’m either playing derby, thinking about derby, dreaming about derby, or eating burritos. Derby derby work derby derby burritos. Repeat.

Krista Wollam/Elle McFearsome Team/Position : Detroit Pistoffs – Pivot and Jammer City: Livonia How/why I got to be a Derby Girl: My sister (Cookie Rumble, also of the Detroit Pistoffs) was “recruited” by one of her friends (who signed her up without her knowledge). After she participated in the first official Detroit Derby Girls practice at the Bohemian Social Club, she couldn’t stop talking about how much fun it appeared to be and how nice the other skaters were. So, having always been an extremely active person, I was immediately jealous of her participation in this new sport, and not having any other athletic commitment at the time, decided to attend the second practice. I was hooked, and have been playing ever since. What I do when I’m not kicking ass in the rink: Is there something besides Derby? Actually, I spend my days working as a systems analyst at the University of Michigan, supporting my 10 year old son, Kyle, in his scholastic and athletic endeavors, and in general, trying to balance them all without mentally exploding…

Laura Livingston/Roxanna Hardplace Team/position: D-Funk All-Stars, Jammer, etc. I am on the D-Funk Allstars home team. I tend to play Pivot, Jammer, or Outside Blocker. City: I am from Ann Arbor How/why I got to be a Derby Girl: I have always loved to skate. I grew up as a figure skater, and although I still love to figure skate, as an adult I was ready to try a different kind of skating. When I heard that Detroit had a Roller Derby league, I decided that this may be a good way to keep skating in my life. I also have always enjoyed team sports. Being a part of a Roller Derby team provides a sense of group purpose and unity with my teammates that you don’t get from individual sports. We all have one purpose when we are on the track. Knowing that you have the support of your team to cheer you on when you make a great hit, or encourage you to keep trying when you have a difficult jam, is one of the many reasons why I love this sport. What I do when I’m not kicking ass in the rink: I am a Pediatric Nurse, so when I am not playing derby, you can usually find me at work in the hospital. That is what is great about Roller Derby. I can be tough and hit other skaters as much as I want on the track, and then go back to real life and provide care and comfort to my patients.

First Midwest Literary Walk
April 18, 2009, at 1 p.m.
Chelsea, MI

The Chelsea Center for the Arts and the Chelsea District Library are pleased to present the first ever Midwest Literary Walk in Downtown Chelsea. With the inspiration of M.L. Liebler, the program will bring together many of America’s best-known, award-winning fiction writers and poets, along with internationally-acclaimed Beat Generation writer and playwright, Michael McClure. Also in attendance will be Oprah Book Club author Bret Lott. This program will present a sample of readings in intimate settings around downtown Chelsea.

The writers and their locations on Saturday, April 18 are:

1 p.m. – The River Gallery: Keith Taylor, Janet Kaufman, Macklin Smith
2 p.m. – The Chelsea Gallery: Michael Zadoorian, Bill Harris
3 p.m. – Cranesbill Books: Bret Lott
4 p.m. – Zou Zou’s Café: Community open mic with M.L. Liebler’s Library Workshop
5:30 p.m. – The River Gallery: Reception and book signing with guest of honor Michael McClure
7 p.m. – Chelsea District Library: Michael McClure, M.L. Liebler

For more information:
Chelsea District Library at (734) 475-8732

Belozro

When visiting the Russell Street Bazaar Creative Arts and Antiques Festival this weekend make sure that you allow time to explore the galleries and studios in the Russell Industrial Center.

The Russell Gallery is presenting an exhibition entitled, “Detroit: A New Beginning”. This mixed media show presents art works from many regional artists showcasing metalwork, painting, and photography. One of these artists featured in the Russell Gallery is BeloZro. He is known nationally for utilizing his own unique neo-calligraphic style. Combining a type of impressionism and realism with a subject matter that adds a touch of elegance. “I am not concerned about painting exactly what I see as much as I am celebrating color and using it to express myself forcefully” he say’s of his work.

At Detroit Industrial Projects you’ll find An installation by Steve Coy, Deon Foster, Dave Sanders and Cedric Tai. Anita Andersons is displaying New Works – Collage On Paper. More information is available here.

The Russell Bazaar is located in the historic Russell Industrial Center, seven interconnected buildings designed by Albert Kahn and finished in 1925 on a 25-acre site near I-75 and I-94 in Detroit (exit 54 off of I-75).  Kefellinos purchased the Center in 2003 to create a community for small companies in creative industries. At the same time he saw an opportunity to build a unique shopping and entertainment destination for families that captures the unique creative and industrial spirit of Detroit and gives it a festive, international flair.

The Russell Bazaar is based on street markets found all over the world, except the Russell Bazaar is under one roof. It provides a terrific experience for shoppers and gives local artists, craftspeople, and many other types of small businesses a low-cost “storefront” in a lively environment. It’s generating excitement, jobs and economic opportunity at the same time.

At the Russell Bazaar you’ll find more than 150 specialty shops offering unique designerwear, jewelry, hand-made arts and crafts, housewares, food, gifts, bath, and beauty products all under one roof. Enjoy entertainment and giveaways too. Visit the Russell Bazaar at the Russell Industrial Center today.

Click here for more information and a schedule. Food Court and some stores/services are open seven days a week. For more information call  313-915-1164 or visit http://russellbazaar.com/

Saturday, March 21, 2009 – 10:00am – 3:00pm

Music Hall Center for the Performing Arts

Rapper Diddy is searching the country for musicians as he puts together an all-star band to back him up on his upcoming tour, and you could be a part of it!

Diddy is putting out the word for male and female musicians and vocalists to try out for his touring ensemble. Band members who play guitar, bass, keyboards and drums will be considered, as well as male and female backup singers.

Tryouts will be Saturday, March 21, at the Music Hall Center of the Performing Arts, 350 Madison, Detroit, beginning at 10 a.m. (The line begins forming at 7 a.m.) You must be at least 18 years old and you have to have valid I.D. to show proof of age. Call 313-887-8500 or visit http://www.myspace.com/mtvmakinghisband

By Cybil Codish

Six alumni  from University Liggett School  will be on hand for the Young Alumni Art Exhibit held w in the Manoogian Arts Wing through Feb. 20. The former students will display paintings, drawings and photography and other work in the art show. Three alumni, Matthew Smith, Justin Rock and Adam Serafino will provide the music for the exhibit opening, which will be from 7 to 9 p.m. Friday, Feb. 13 in the Arts Wing.

The exhibit will feature the work of alumni Andrew Blake, Megan Carleton, Cybelle Codish, Stefania Ford, Inga Moss and Alli Abdallah. The students come from a variety of backgrounds, which will show through in their work. 

For Cybelle Codish, ’94, art was a family tradition and she’s happy to continue the work. “Art was something I was always doing,” Codish said. Codish came to Liggett in 1990 as a freshman and received the Ross Roy and Sally Memorial Arts Scholarship.

Codish focused on traditional art when she came to Liggett, but she credits Liggett art teacher Karen Katanick for introducing her to photography. After attending the Art Institute of Chicago on a scholarship, Codish began taking pictures of bands for local newspapers and publications and found her niche. She is now a local photographer focusing on bands and musicians. Codish started her own company, Studio C, and is doing national and international work. “It’s never dull,” Codish said. “I go anywhere from South Africa with a band to a local home in the area.”  

Codish will display five pieces in the art show, all music-industry related. This will be the second time her art has been on display at Liggett. In 2000-01, she had a show in the arts wing.  “I will always participate in events like this for Liggett. The school was integral in the direction I have taken in my life,” Codish said. 

Stefania Ford, an ’06 graduate, studies mainly figurative art and is currently studying sculpture at Washington University in St. Louis. She hopes to continue her art studies in graduate school and eventually teach art.  “My mom went to art school and she was always really supportive of me and encouraged me to get into art,” Ford said. “I had a lot of support

By Inga Moss

Ford said she was always afraid of a fine arts degree, thinking she might struggle to find work. As a senior at Liggett, she did her Senior Project at a local ad firm to learn about advertising. The Senior Project allows students to work as an intern at metro Detroit businesses for a month during their senior year, capping off their education with a real-world experience. That project, combined with a study abroad opportunity in Italy, helped Ford decide to take the plunge and get a fine arts degree, because it is what she really loves. 

This will be the first time Ford’s work has been on display at Liggett. She has participated in a number of student art exhibits in college as well as a sculpture show in St. Louis. Ford will be displaying a number of portraiture pieces. She said she is really happy with the color palate she has developed for herself and the vibrant colors she used for the pieces on display.   

ULS has sponsored local artist exhibitions since 1996 and there have been more than 125 to date. Artists are usually local residents who have studied art in their post-secondary education. Each artist treats the exhibition as a mini retrospective, featuring anywhere from 20 to 40 pieces from their collection. The art is for sale and ULS receives a small commission from any sales. 

The gallery is open from 8:30 a.m. to 4 p.m. Monday through Friday, excluding school holidays. Liggett is located at 1045 Cook Road, Grosse Pointe Woods, Mich. 

For more information on University Liggett School, visit the ULS website at www.uls.org.

The exhibition will take place in two parts.  Students in grades 7 through 12 are eligible to submit work for jurying, either individually or as a portfolio.  Works may include 2D media such as photography, pencil and watercolor, as well as 3D pieces in a variety of material.  Art instructors from Macomb Community College will select one work to receive the “Best of Show” award, a $500 cash prize sponsored by Ken Hoover.  The senior with the best portfolio will receive a $500 college scholarship sponsored by the Anton Art Center.

Teachers submitting work by students in grades 7 through 12 must pay a $50 entrance fee per school.  A school’s application and artwork must be submitted by an art teacher affiliated with the school.  Teachers of students in grades K through 6 may submit up to one 2D piece per grade per school, with no entrance fee.  All primary student work submitted by the deadline will be displayed.

Public, private, parochial and charter schools are all welcome.  For further details and an application packet, call the Anton Art Center at 586-469-8666.

Honorable Mention ribbons will be awarded to outstanding work at each grade level, and each student who participates will receive a Certificate of recognition.

Awards and ribbons for students in grades 7 through 12 will be presented at the Opening Reception, Sunday, April 5, 1-3 pm.  The Opening Reception will be hosted by the Clinton Township Optimists Club. 

Ribbons for students in grades K through 6 will be presented at the Closing Reception, Sunday, May 3, 1-3 pm.  The Closing Reception will be hosted by Mount Clemens alumni of Michigan State University.

For more information, call the center at 586-469-8666 or visit www.theartcenter.org.  The Anton Art Center is open Tuesday, Wednesday, Thursday and Saturday, 10 am to 5 pm; Friday, 10 am to 6 pm; and Sunday, 12 noon to 4 pm.  The center is closed on Mondays.