2B — Thursday, February 18, 2016
the b-side
The Michigan Daily — michigandaily.com
Though Myers refrains from
any sort of push-marketing,
assuring me he’ll never “be out
on Ann Arbor street-corners
blowing
the
Mighty
Good
horn,” the coffee shop is wildly
popular — particularly for its
brown sugar sea salt latte, an
original creation.
“We came up with it four or
five years ago,” Myers said. “It’s
probably the most successful
drink we’ve ever come up with.
We make that all from scratch;
everything we make here is
from scratch.”
Among
their
scratch
creations are slow jams, butters
and
apple
compote.
Other
gourmet innovations include
their unique adaptations of
nitro cold brew and continually
trending
toast
bars
—
my
personal recommendation is
the brie and apple compote
toast; upon first bite I was
weak, in love, crying, etc.
“I’d been looking at toast
bars for a long time, ever since
I started reading about them
in San Francisco,” Myers said.
“We started it here maybe a
year or two ago and it was slow
to pick up, but it’s really popular
now.”
Mighty Good aims to provide
as many local ingredients as
possible. Bread and Sunday
pastries come from Detroit’s
Avalon Bakery, Tasty Bakery
provides gluten-free treats and
the Pastry Peddler supplies
their beloved baked goods.
Despite offering a diverse food
menu, Myers regards the noms
as secondary to the coffee.
“We’re careful not to dilute
that we’re a coffee shop and
that food has to complement
that, not be who we become,”
he said.
During the coffee shop’s
infancy
and
original
menu
development, they offered only
brewed coffee and flavorless
lattes. Myers refers to the
sparse drink menu days as
the
cafe’s
“purist
track.”
Eventually, a barista mixed
flavors from scratch on her own
time and assembled a book of
her creations. She presented
her ideas to Myers, the staff
chose five of them to sample
and eventually narrowed it
down to a few, which remain
behind the bar.
“Any development is the
work of collective intelligence,”
Myers said. “It’s a way better
way to work when everyone’s
involved.”
The
team-inclusive
menu
amendments typically occur
with
the
changing
of
the
seasons. The honey lavender
latte,
for
example,
was
a
springtime addition.
“At the end of the day, we’re
coffee snobs to ourselves, but
not to our customers,” Myers
said.
Besides the fueling function
of
caffeine,
Myers
stays
motivated by the creativity of
the coffee industry, one that
harkens back his memories
of art school. He missed the
artistic
craftsmanship
that
once seemed a relic of a bygone
era, but rediscovered it through
the medium of coffee.
“When I was in art school I
was doing hands-on craftwork,”
Myers said. “Computers took
over
and
digital
art
took
over. The pace of everything
compressed, so your output was
more important than the craft
of what you were doing and I
missed that. This is more like
what I went to art school for —
it’s a craft business.”
But when he was plotting a
career shift 10 years ago, Myers
couldn’t foresee Mighty Good’s
trajectory. What were once
spreadsheet business goals as
part of a 10-year plan quickly
became realities within a few
years.
“Ten years ago I wasn’t
thinking about any of this, I
was just figuring out how to
start a business that could turn
into something,” he said. “Now
that I have an opportunity to
do something for the people
who work here and people in
the community. Now it’s, like,
how can I create stable jobs for
people? How can I maintain
our core business and not screw
that up? How can I do more
community involvement?”
When he’s not pondering
Mighty Good’s progress or
future projects, Myers makes
a point to stop in the Main
Street shop whenever he can —
occasionally making himself a
specialty drink or sipping black
coffee, his drink of choice.
During my visit on Valentine’s
Day, he was waiting on a heart-
etched latte to Instagram.
Maybe it was his passion
for the work talking, or the
fact that his wife was working
alongside him that day, but
Myers divulged the best way to
take your coffee.
“Just
sharing
it
with
someone. That’s a fantastic way
to drink coffee every day.”
By MERIN MCDIVITT
Daily Arts Writer
Angela Flournoy writes
about topics ranging from
haunted houses and real estate
prices to
the Great
Migration
and not-
so-great
marriages.
While not
everything
in her novel,
“The Turner
House,” may
be familiar
to readers at
the Univer-
sity of Mich-
igan, most of
it probably
should be.
After all,
it takes place just down the
freeway, weaving in and out
of Detroit and its suburbs and
finding a home on the fictional
Yarrow Street.
The up-and-coming young
writer will read from her debut
novel at 5:30 p.m. Thursday as
part of the Zell Writers Series
at UMMA’s Helmut Stern Audi-
torium. Following her talk, she
will be available to sign copies
of the book, which emerged as
an instant classic in 2015.
Heralded by major literary
and news sources as one of the
most promising new novelists
of her day, Flournoy tells the
story of 20th-century Detroit
through the lens of the Turner
family and their ups and downs
— mirroring the city’s convul-
sions, shifts and changes.
As the state of Detroit has
become more of a national
issue, the facts and figures of
urban decay in the city have
become familiar, cited in
everything from documentary
films to political debates.
“There’s value in ‘macro’
kind of analysis because that’s
how you find about trends and
how things are happening on
a large scale,” Flournoy said
in a recent interview with The
Michigan Daily.
But this singular focus left
the human element out of the
narrative completely.
“Most of it was non-fiction,”
she said. “So it was like, ‘This
is how many people lived here
in 1947, how many people were
here in 1978, etc.’ ”
Putting faces and relatable
stories to the city’s decline was
something Flournoy hoped
would bring Detroit home for
her readers.
“I read those books, and it
was useful. But what was more
useful was to imagine, ‘What
does it actually feel like?’ ” she
said. “The value of fiction is that
it can make numbers come to
life, because if you focus on the
very, very particular of indi-
vidual people, you really look at
something from the inside out.”
Flournoy’s extensive research
and intuitive understanding of
the city’s varied perspectives
enriches her writing. But so did
her point of view as an outsider.
She grew up in Los Angeles,
a city with some of the same
strengths and problems, but
also a very different atmosphere
than the Motor City.
“For me, it was actually really
exciting to write about a place
that I had not lived, but that I
had some experience with,” she
said. “I think that for writers
sometimes, the thing that is
closest to your own experience
is the thing that you don’t really
have the right perspective to
write about because you want
to be loyal to what really hap-
pened. You have to figure out
something that you’re familiar
with, that you have an under-
standing of, but where there’s
room to still explore and dis-
cover new things.”
As Flournoy’s work spans
decades of American history,
her life now zigzags the country
as book tours, family and work
pull her in different directions.
The LA native teaches in New
York City at Columbia Univer-
sity and The New School, when
she’s not meeting fans of “The
Turner House” all over the
United States. What little free
time she has is devoted to writ-
ing, a schedule that she finds
challenging and inspiring at
the same time.
“I actually think that the
busier I am, the more excited
I am to write,” Flournoy said.
“Then the next part of that
puzzle, though, is actually find-
ing the time. But I am slowly
putting together the ideas,
and some early, early pages of
something new.”
New work and research will
undoubtedly pull her into yet
another community, captur-
ing its sense of place and indi-
vidual details with razor-sharp
insight. But Flournoy will
always keep a little space for
Detroit, the inspiration for the
novel that launched her career.
Some Detroiters seem to think
she’ll keep that inspiration, too.
“The most rewarding part
of the process is, especially
when I’m in Detroit, and I hear
people say, ‘This is a book that
feels like Detroit,’” she said.
“That’s really your goal as a fic-
tion writer ... that’s what you’re
trying to do.”
Flournoy at UMMA
EPISODE REVIEW
Now in season 41, “Saturday
Night Live” is like your cool old
grandpa: sometimes cringe-
worthy, but ultimately still
kicking and
keeping up
with the kids.
On this
week’s
episode,
hosted by
Melissa
McCarthy
(promoting
her new
movie, “The
Boss”) and
rapper Kanye West, the highlight
of the show was the spoof movie
trailer called “The Day Beyoncé
Turned Black.” Created in
response to last week’s media
uproar about Beyoncé’s music
video for “Formation” — the
video hints at police brutality and
the Black Lives Matter movement
— the “SNL” trailer mocks “the
day white people never saw
coming,” as if Beyoncé’s race
revelation is a disaster movie.
There’s fire in the streets,
cubicles collapsing and an office
worker crying in agony, “I got a
hot sauce in my bag, swag ... What
does that mean?” (It means that
everyone should seriously settle
down about Queen Bey’s artistic
choices.)
Keeping up the theme of music
superstars, another pitch-perfect
skit was “Kyle v. Kanye,” where
Kyle Mooney of “SNL” challenges
Kanye to a rap battle. Mooney is
serious about it, too — he tells a
dramatic backstory of his dream
to be the best rapper alive, rather
than just a “heartthrob on the
rise” — and if he can out-rap
Kanye, his dreams will come
true.
Unfortunately, Mooney’s best
rhyme is “Kanye West, you need
a mint for your Kanye breath,”
and Kanye crushes him. But like
most “SNL” skits, the humor’s in
miscommunication: after their
showdown, Mooney confesses,
“That was the biggest mistake of
my life ... I just destroyed Kanye
in a rap battle and now he’s
probably really sad.”
Onstage, McCarthy’s
monologue was forgettable, but
Leslie Jones slayed Weekend
Update by describing her perfect
valentine, giving hope to picky
singles everywhere. Cheers to
love, rap and Queen Bey.
- HAILEY MIDDLEBROOK
A
SNL
Season 41,
Episode 13
Saturdays at
11:30 p.m.
NBC
Angela
Flournoy
Reads “The
Turner
House”
Thurs. Feb. 18
at 5:30 p.m.
UMMA Helmut
Stern Audi-
torium
Free
COMMUNITY CULTURE PREVIEW
By JOEY SCHUMAN
For the Daily
It’s not that ridiculous to label
Kanye West as the best musi-
cian ever. His creative potential
knows no boundaries, his flow
knows no hesitation and his ego
knows no flaws. His status seems
bulletproof. But in honor of the
release of The Life of Pablo, his sev-
enth solo studio album, it seems
appropriate to take a look at a
crucial, uninvestigated issue: just
how playable is Kanye at bar/bat
mitzvahs? We know Kanye can
hold the summer down, but can
he hold down the basement of the
local Doubletree hotel on Satur-
day nights from 6:30-10:30? Let’s
speculate.
Any bar mitzvah vet knows
the night starts off with some
speeches from friends. No doubt
the spotlight is on the bar mitzvee
during this time, but at least a
little background music is needed
to distract from the revolving
panel of pre-pubescent hypes.
Enter “Runaway,” off Kanye’s
2010 masterpiece, My Beautiful
Dark Twisted Fantasy. Now’s the
time to forget all those bro fights
over the Xbox — all douchebags,
assholes and scumbags are forgiv-
en here. Introspective, apologetic
and triumphant, the record per-
fectly encapsulates the emotions
of the made-for-Insta moment.
After a routine game of “Coke
& Pepsi,” it’s time for the grand
entrance. And is there any better
soundtrack for the moment than
“Touch the Sky?” The schmoozing
is over, the Torah has been read
and the challah has been blessed.
This moment calls for self-admi-
ration, and ’Ye’s 2005 hit serves
as the ultimate mazel tov.
Now it’s time for the real
party to start, which is where it
gets tricky. Kanye has bonafide
bangers, there’s no doubt about
that, but what the party needs
most are kid-friendly bangers,
the type of banger you’d feel com-
fortable playing with your Rabbi
in attendance. This methodology
eliminates “Blood on the Leaves”
(lots of Molly references) and
“N****s in Paris” (self-explana-
tory), thus spurring a fallback to
more appropriate classics such as
“Stronger” and “Gold Digger.” In
a room with such a broad range
of personality, time-tested jams
prove both versatile and nostal-
gic.
The adults want to turn up as
well, and during the kids’ dinner
break “Slow Jamz” seems like the
perfect answer to that. The song,
with its soulful tone and refer-
ences to Marvin Gaye, Luther
Vandross and Anita Baker, is
most likely to resonate most with
the 40-and-over crowd. It’s really
just a desperate grasp to play
classic-sounding shit in the hopes
that old people like it.
Soon, everyone realizes that
old people can’t really dance, the
catered chicken nuggets are way
too rubbery, the seating arrange-
ment is pretty awkward and
the seventh graders are way too
hormonal to be dealing with any
of this. Besides, is anyone feeling
the love? It’s time for the Snow-
ball, and one overly-Old Spiced
bar mitzvah boy is ready to make
his first pick, something that
he totally hasn’t been thinking
about for weeks. Cue up “Devil
in a New Dress” to set the mood.
For everything the dude is too
awkward to say, Kanye is there:
“Put your hands to the constel-
lations / the way you look should
be a sin, you my sensation.” ’Ye
inserts a bit of romanticism into
a situation that clearly needs it.
He plays matchmaker with his
intimate bars. Who knows? If the
lucky lady is Jewish, she could be
a keeper.
Enough with the young love,
though. The first notes of “Hava
Nagila” ring out, and that means
it’s time for the Horah, a Jewish
dance traditionally done during
joyous times. When it’s time for
bar mitzvah boy to be hoisted,
“Celebration,” a fun jam off Late
Registration (2005) takes over
the speakers. Mr. West knows
how to set the mood, and this one
is of regality and commemora-
tion. Grab a drink, grab a glass of
Manischewitz. Everyone in atten-
dance needs to know what this is.
It’s a celebration, bitches.
Following all of the mishigas,
the giveaway is distributed and
regular sweatpants appear to be
the move over joggers. Such a dis-
appointment is the most tangible
evidence to all fuccbois in atten-
dance that it’s time to go home.
“I Am a God” plays on the way
out. Rites of passage! Emotions!
Yeezus! His divine influence
transcends religion. His holy
music defies traditional strictures.
L’chaim, indeed.
Kanye at my mitzvah
GOOD MUSIC
“Worst bar mitzvah ever.”
KANYE WEEK
COFFEE
From Page 1B
By CATHERINE BAKER
Daily Arts Writer
For me, 2016 is the year of the
singer/songwriters. After spend-
ing most of the last few months
listening to “Hamilton” on repeat
(allowing for a small break to
learn all the words to Adele’s 25,
of course), I have missed many
of the major musical movements.
(Try saying that five times fast.)
Now that I am emerging from my
Lin-Manuel Miranda-induced
haze, I finally have ears for some-
thing other than “Satisfied” and
“Aaron Burr, Sir.”
At the forefront of this new
movement in my life is Evan
Blum. While there’s very little
available information on Blum
himself, I know he has very few
Spotify followers, no website
other than his YouTube homep-
age and no active Twitter to
speak of. His musical style ranges
from acoustic to electronica, yet
remains extremely self-reflective
and lyric-based without sounding
overdone.
Blum’s debut album, Cloudy
Head, was released in 2015 and
contains seven songs, each of
which utilize their own style
and genre to create a diverse, yet
cohesive lineup. Opening with
“Everyone’s Got a Story,” Blum
channels his inner-Mat Kearney
with echoing vocals and a rap
verse that criticizes society’s
perceptions of people. Blum is
aware of other’s struggles and
notes that, “I cannot judge when
I know so little.” It is a reminder
that even in a divisive and judg-
mental culture, it is important to
be cognizant of everyone’s dif-
ficulties.
“Two Girls” is a steady, guitar-
based song with a heavy bass.
No major swells make it either
boring or soothing depending on
your perspective, but the search-
ing and questioning lyrics, “What
about all the plans we made
together?” hope to find a lost love.
Switching gears, “See Where It
Goes” starts with featured artist
Katherine Eva ethereally vocaliz-
ing before bringing in elements of
light electronica such as syntheti-
cally produced sounds. Eva and
Blum’s harmonies are light and
airy, asking again, “Is it too soon?
/ Is it too fast? / Is it too much? /
Can we make it last?”
“Growing Up” brings back
the electronic vibes again and
soothes the previous song’s ques-
tions, reassuring that as we grow
older some things will change
and some will not. Blum sings,
“Baby, baby, tell me it’s alright /
We’re gonna be okay.” Bringing
out a heavier beat, Latin-flared
guitar and quick syncopation,
“Down to Your Street” is seduc-
tive and quick-witted with echo-
ing and smooth vocals crooning,
“Baby, it’s simple / Roll down the
window / Crank up the bass real
loud.”
The first song of Blum’s I lis-
tened to, and also my favorite
from the album, was “Some-
body.” Reminiscent of Andy
Grammer, the recurring, simple
piano tune and internal rhymes
only serve to emphasize Blum’s
talent as a songwriter. It brings
the story Cloudy Head has been
telling to a close, urging some-
one to “Tell her that I love her /
Tell her that I need her tonight.”
The closing song, “Someone
for Sam” describes a man named
Sam by listing his characteris-
tics, but in doing so, creates a
persona that we can all relate to.
The final lyrics are poignant and
intrinsically reflective, musing,
“I heard there’s a fish in the sea
for everyone / Just swimming
around feeling sad and blue /
But if those fish only knew / Sam
feels lonely too.”
Evan Blum may be an
unknown singer/songwriter, but
the universality of emotions and
situations described throughout
Cloudy Head allow everyone to
take a piece of the music with
them. Jam-packed in just seven
songs, Blum does what many
struggle to do in half the time —
he connects with his listeners
and sends them away changed.
Up and coming Evan
Blum worth a listen
MUSIC NOTEBOOK