Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Roam
4 Got ready for
company,
perhaps
9 Norse shape-
shifter
13 Word often
following “further”
14 One adopting a
puppy, say
15 The Tempter
16 Trivial amount
17 *Bargain dairy
product?
19 Go out
20 Dedicated lines
21 Eliminates
completely
22 Bar supply
24 Farm cries
25 Vessel with a
spout
26 Database
command
27 Spots
30 __ of roses
32 *Nickname for a
roller coaster
highlight?
34 Reclined
35 Easily provoked
36 Soap containing
ground pumice
37 *Security workers
asleep on the
job?
39 Only Dwarf
without a beard
40 Had
41 Goes after
42 Oath for
toondom’s Dick
Dastardly
43 Provide money
for
44 It’s named for a
trapeze artist
47 Turkish tabby
50 Deaden, as a
piano string
51 Reason for an
extra period
52 *Really hot cold
drink?
54 Violin ending
55 Cuckoopints, e.g.
56 Merge
57 “Well now!”
58 Bar offerings
59 It’s a stunner
60 Reject
DOWN
1 They may be
noble
2 __ Reader
3 Holiday rate,
perhaps
4 Loser-to-be?
5 Stray
6 Arab potentate
7 Muscle mag
display
8 Green Day
drummer __
Cool
9 Lorenzo of
“Renegade”
10 Man with rising
aspirations?
11 Iron-rich cabbage
12 Signs
15 Layered clouds
18 Neighboring
23 Bluegrass
characteristic
24 Transvaal
settlers
26 Shakes off
27 2002
Cage/Streep film
28 Honky-tonk
29 Fix, in a way
30 Goya’s “The
Duchess of __”
31 Stretched
32 Overused
33 Unsportsmanlike
look
35 Regional animal
life
38 Seizes
unlawfully
39 Medicine
dispenser, and,
in another way, a
hint to the
answers to
starred clues
42 Bump at the
office, maybe
43 Bar heads
44 Blue gem, briefly
45 Hindu sage
46 Withdrawal
process
47 Open a touch
48 Not
49 Kindergarten
staple
50 Spanish lady
53 Hardware item
By Peg Slay
©2015 Tribune Content Agency, LLC
04/10/15
04/10/15
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Friday, April 10, 2015
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
THESIS EDITING. LANGUAGE,
organization, format. All Disciplines.
734/996‑0566 or writeon@iserv.net
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www.theisland‑
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SERVICES
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SUMMER EMPLOYMENT
6 — Friday, April 10, 2015
Arts
The Michigan Daily — michigandaily.com
HBO film reminds
us why the singer is
timeless
By SOPHIA KAUFMAN
Daily Arts Writer
“Ladies and gentlemen … Frank
Sinatra.”
Few figures in American music
history
can
claim to have
the same hyp-
notic hold over
the
American
music
scene
that
Frank
Sinatra had and
still has. His
crooning voice
floats from our radios during the
holiday season, or serves as the
subtle, yet recognizable back-
ground music for period films; his
music seems to possess a mysteri-
ous timelessness unattainable for
anyone else. But Sinatra the man
is just as intriguing as his music is
mesmerizing, and Alex Gibney’s
four-hour
long
documentary,
“Sinatra: All or Nothing at All,”
captures this mystique.
How do you capture the
essence of a man larger than
life? You never take your eyes
off of him, according to Gibney’s
documentary. The entire four-
hour piece consists of old foot-
age of Sinatra’s performances,
clips from his films, photographs
and news clippings with voice
overs by recognizable figures
like Bruce Springsteen or Terry
Teachout. There’s not one piece
of footage from the interviews
conducted for the film, only
audio recordings. From the first
few seconds of a lazily seduc-
tive static record player scratch,
to the last few notes of his daz-
zling “New York, New York”
performance, you are completely
immersed in Sinatra’s character,
his voice, his charisma — there’s
no one else to distract you.
Gibney structures the docu-
mentary by following the song
setlist
of
Sinatra’s
so-called
retirement concert in Los Ange-
les in 1971, using each song to
mark a new chapter in Sinatra’s
story. It begins with a young
teenager from Hoboken who
loved his mother Dolly and was
kicked out of his house by his
father for quitting high school to
sing. The documentary follows
Sinatra through each pit stop on
the way to a skyrocketing solo
career from music to acting, pay-
ing close attention to how his life
intersected with those of other
icons like Elvis Presley, Martin
Luther King, the Kennedys and
various other presidents.
There’s nothing new about
Sinatra that people haven’t heard
before; what is different about
this version of the tale is how
well-rounded it is. Sinatra’s life is
vivified by ample cultural back-
ground. There’s footage of people
during The Great Depression
and of glamorous movie stars in
Hollywood; there are extended
shots of other household names
of Sinatra’s time, including Walter
Cronkite, Elvis Presley and Mia
Farrow. The lack of interruption
from current faces (such as the
experts on Sinatra) contributes
to the documentary’s effect by
embodying the feel of the Ameri-
can psyche during these times.
There’s no direct criticism
or open discussion of Sinatra’s
flaws, but it doesn’t keep up the
untarnished romantic image of
him either. He may have been an
icon, but he was still very much a
product of his time period. While
he’s credited with changing per-
ceptions of immigrants and push-
ing for African American rights,
there are hints that his personal
relationships didn’t always reflect
this gold-hearted activism.
Of course his complicated rela-
tionships with women are any-
thing but secret. “He reeked of
sex,” according to Ava Gardner,
the sultry film star with whom
he conducted his first affair while
married to his first wife Nancy.
Few men of the time exuded sex
appeal in the sophisticated yet
irresistible way Sinatra did. All
four of his tumultuous marriages
were characterized by passion-
ate affairs and a habit of spring-
ing divorce papers on his wives,
not to mention flirtations with
big names in Hollywood. Despite
his various relationship highs and
lows — Sinatra never quite went
out of style, even when the bobby
soxers began screaming Presley’s
name instead of his own. Few
people in America have had such
complicated relationships with
newspaper headlines.
Some stories could have been
cut down for the sake of time,
such as the story of his son’s kid-
napping, which felt surprisingly
off-topic for the amount of time
it took. Some of the auditory
contributions felt too measured
and practiced, so it’s almost too
easy to tune them out. But Gib-
ney made a smart decision when
he chose to focus on the music.
Each song he uses is recogniz-
able in its effect and emotion —
the stripped down sound of “Try
a Little Tenderness,” the evoca-
tive appeal of his rendition of
“Ol’ Man River” or even the wry
humor on “That’s Life.”
“Sinatra: All or Nothing at All”
doesn’t feel like it is piecing togeth-
er or pulling apart an image of the
legendary figure radically differ-
ent from the one most of us have
of him. The documentary’s length
allows it to organically retell the
story of a complicated man, but for
all that, it doesn’t feel like view-
ers get inside Sinatra’s head. This
makes for a startling contrast
with Gibney’s latest work “Going
Clear,” an exposé on the church
of scientology in which he delves
into the minds of former scientolo-
gists at length. But by the end of
this documentary, it feels like we
aren’t supposed to be able to delve
into Sinatra’s psyche — it doesn’t
appear that anyone else during his
lifetime was able to either. So we’ll
just have to be content with the
biographies, articles and of course,
as the documentary reminds us,
the timeless music. Happy belated
100th birthday, Sinatra.
New Sinatra doc
captures mystery
A-
Sinatra: All
or Nothing
at All
HBO
FILM REVIEW
By KEN SELANDER
Daily Arts Writer
In planning out a music video,
there are a number of mostly
intangible things you don’t con-
sider. For one, the importance
of complying with the director
is often overlooked. While you
might have your own ideas for
the video, it’s their job to think
how such a shot would play out
in editing and timing with the
song. They usually know what’s
best, as much as you might want
a shot of you doing BMX bike
tricks outside at night in bad
weather and poor lighting. It’s
also easy to be impatient, even
though quality clearly takes
time. Most notably, however,
is how awkward it can be to
film in places where any pass-
erby can see you recording.
Jumping around outside in an
attention-grabbing outfit spe-
cifically selected for the music
video while lip-syncing to the
track you recorded yourself on a
loud speaker can feel a bit silly
and uncomfortable – especially
when passerbys are staring at a
commotion of high quality cam-
era equipment recording some
goofball dancing around to a
parody song.
For my music video project,
the
recording
process
took
place over two days, probably
amounting
to
seven
hours
of time spent, and about a
couple hours of footage. I’m
lucky enough to have two
friends, Lingene and Chris,
with extremely high quality
camcorders,
stabilization
equipment, experience behind
the camera and an attention
to detail that allowed for a
video quality comparable to
those produced by plenty of
cinematographers hired by real
rappers.
They
then
labored
through the editing process,
which took about two weeks,
with
school
slowing
things
down. The video editing process
can be tedious and frustrating —
a reality I learned from various
skateboard and snowboard edits
of friends and me that I made in
high school for fun. After all this
hard work, the final product was
ready and released to the masses
via YouTube.
The friends who have been
kind enough to watch the paro-
dy music video we made (often
only after my encouragement)
all get a good laugh out of it, and
we’re very proud of the final
product. Soon after, I talked
with my friend Chris about the
music video, and told him I’d be
sure to give him due credit for it
whenever it was brought up. He
responded kindly, and in con-
versation casually mentioned
that “It’s OK. No one cares
about the editor.” This really
struck me, knowing how much
work he and Lingene had put
in behind the scenes, but then
I thought on how this state-
ment seems to hold a lot of truth
across the rap industry, too.
Before the Internet, most
music videos surely saw almost
all of their play come on media
outlets like MTV – a funny
thought considering the chan-
nel’s programming nowadays.
With the explosion of the Inter-
net, it would’ve been a safe
bet to venture that rap music
video directors would begin to
receive more recognition, much
as producers have. Sadly, it’s
simply not so.
With the natural course of
development of the Internet,
mixtapes can now be widely
promoted,
distributed
and
downloaded.
Along
with
a
wider audience for mixtapes,
producers also started branding
their productions in the form of
shout outs and adlibs on tracks.
Producers like Zaytoven, Mike
Will Made It, Young Chop and
many more have come into
mainstream rap consciousness
through what is essentially a
creative promotional marketing
technique (in addition to their
beats, of course). Such promo-
tion is now a common practice
and can usually only be escaped
by listeners on actual rap
albums which shed the repeti-
tive DJ/producer shout-outs as
a form of quality control. Heck,
just yesterday I was listening
to a Young Thug mixtape pro-
duced by DJ Esco, and I can still
hear “DJ Esco the coolest dee-
jay in the world!” in my head.
Despite all the recognition
the
Internet
has
helped
bring to producers — and
even
photographers,
in
cases like Cam Kirk and Dan
Folger — it doesn’t seem that
cinematographers/directors
have followed suit into the
mainstream rap conscious.
There are basic reasons why
video directors have not fol-
lowed others in rising to fame
since the Internet has allowed
a potential venue for newfound
stardom.
Obviously,
being
behind the camera means you
are not in the video. The cred-
it they do get is typically only
allowed during the intro and/
or conclusion of the video, but
can easily be overlooked. If
music videos were to be tagged
with a cinematographer/editor
watermark on screen the entire
time, it would take away from
the rapper around whom the
video is focused. Even worse
in my mind, it would be in bad
taste. Photographers, on the
other hand, can excuse the use
of watermarks as a means of
preventing copyright to vali-
date their use, simultaneously
helping establish recognition
for themselves.
More generally, the nature
of music videos makes it hard-
er to be recognized as a direc-
tor. The videos contain a lot of
stimuli – scenes are constantly
switching up and there’s often
tons of action. In contrast, a
picture is still, and its analysis
is simpler. Also, the variance in
output probably plays a big role.
Producers can put out plenty of
mix-tapes featuring only their
beats with various artists and
at the same time have other
beats on individual tracks, art-
ists, albums and mix-tapes.
They can sit on beats, and wait
to use them for a moment when
the chemistry with a rapper is
right. The recording and edit-
ing process for music videos is
long and tedious, so production
is slower for that reason. Also,
directors cannot sit on music
videos like producers can sit on
beats, because it’s crucial for
them to be released at the right
time for maximum popularity
and relevance.
Surely, people closer to the
rap music industry are more
conscious of music video direc-
tors — like “The Devil,” who
I was first introduced to in
Noisey Atlanta. As far as I’m
concerned, the average con-
sumer of rap music and its
related media isn’t aware of
directors and probably doesn’t
pay the topic much mind. There
isn’t a “mixtape” for music
videos whereby directors can
achieve better name recogni-
tion among consumers, but I
think something of the sort
would be the best way for it to
happen. Creating lower quality
videos for lesser known artists
probably wouldn’t do the trick,
unless directors could actively
and accurately search out tal-
ented up-and-comers. Perhaps
if directors were to start mak-
ing lower budget music vid-
eos for lesser known songs by
already famous artists they’d
have a better chance at wider
recognition. With quicker and
increased production, and per-
haps the opportunity to slap
more director branding onto
rap music videos — because the
artistic/musical value of non-
hits is less important than hit
songs — directors could start
having their names better rec-
ognized amongst mainstream
consumers of rap music.
What I learned from
making a music video
COURTESY OF KEN DIESEL
Is that a money flip phone?
MUSIC NOTEBOOK