ACROSS
1 Drain problem
5 GI sought by
MPs
9 Jewish authority
figure
14 Fallon’s
predecessor
15 “Get a __!”
16 Estate measures
17 Like single-malt
scotch
18 Superfluous
individual
20 Food from
heaven
22 Long-necked
bird
23 Ivy League
school
24 Compilation of
wacky outtakes
28 Pioneer Carson
29 PC key near Z
30 Eastern path
31 Police warnings
33 Some deli
breads
35 Part on the stage
38 Stable female
39 Summer blouse
42 Steer clear of
44 iPhone voice-
activated app
45 Hunk of bacon
49 Like many warm
sweaters
51 Snaky fish
53 Miner’s discovery
54 Little terror
55 Olympian’s
achievement
59 Have to have
61 Flight connection
word
62 Capital of
Senegal
63 Ride around ... or
what the ends of
18-, 24-, 39- and
55-Across can do
67 Single
68 Occupied
69 Currency
symbolized by €
70 Coffee holders
71 Fax forerunner
72 Zipped
73 Editor’s “Leave it
in”
DOWN
1 Seaside eatery
2 Within the law
3 Without variation,
musically
4 “Please tell me
that’s not true”
5 Sitcom E.T.
6 PlayStation 3 rival
7 Put on the
market
8 “I’ll handle this”
9 Word before data
or deal
10 In need of aspirin
11 Crashing wave
12 Direct route
13 Lands in the sea
19 Shades
21 Abbr. in many an
urban address
25 __ of Sandwich
26 Tree anchors
27 Airport waiter
32 Performs hip-hop
music
34 Synagogue
36 Polynesian
wreath
37 Blundered
40 From square one
41 Concert ticket
info
42 “__ to Watch
Over Me”
43 Optimistic
46 “Watch it!”
47 Orchestrate
48 Recuperation
advice
49 Proceed without
preparation
50 Smoked salmon
52 Showed the
way
56 Hemingway’s
“The Sun Also __”
57 Really enjoy, as
praise
58 Allays the fears of
60 Prescription
amount
64 Bills coach Ryan
65 Wrath
66 Buddy of
Wynken and
Blynken
By Gary Cee
©2015 Tribune Content Agency, LLC
04/14/15
04/14/15
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, April 14, 2015
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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6 — Tuesday, April 14, 2015
Arts
The Michigan Daily — michigandaily.com
Neal Gabler talks
criticism’s future
By BENJAMIN ROSENSTOCK
Daily Arts Writer
Neal Gabler is not a person
who can be described with only
the epithet “writer.” Maybe
it’d be more accurate to call
him
“writer-journalist-critic-
professor-broadcaster
Neal
Gabler.” Gabler, who came to
the
University
of
Michigan
on April 9 to give a lecture on
whether film criticism is truly
necessary, may not write much
criticism himself anymore, but
he certainly has a broad wealth
of knowledge on the subject.
“Many people talk about this
as a post-critical age,” Gabler
said before the lecture, in an
interview. “Are we in a post-
critical age, where we form our
judgments for ourselves and
we don’t need that other layer
in between ourselves and the
film?”
Gabler was invited to give
the lecture by professor Hugh
Cohen of the Screen Arts and
Cultures
department.
Gabler
and Cohen became “friends
in film” when Gabler attended
the University as a student and
joined a film society in which
Cohen was the adviser. After
years of talking about movies,
seeing movies and traveling
to hear major directors speak,
Cohen asked Gabler to leave law
school and become one of the
first GSIs for his new course,
which became the preliminary
course for all Screen Arts and
Cultures majors: SAC 236, The
Art of Film.
“I was fully entrenched in
the film community here, and
it’s all because of Hugh Cohen,”
Gabler said. “He was best man at
my wedding. He was my friend
and my father and a lot of other
things.”
Gabler said, at that time,
though film was important to
culture all across the country,
Ann Arbor was the best place to
be a film connoisseur. Having
edited the daily newspaper at
Lane High School in Chicago and
feeling alienated in Ann Arbor,
Gabler decided to write film
criticism for the Michigan Daily.
“I was writing very, very
long pieces,” said Gabler, who
was inspired by the long pieces
of Pauline Kael, the acclaimed
New Yorker critic. “I was told,
‘You wrote more column inches
for The Michigan Daily than
any person in the history of the
paper.’”
Before the lecture on Thursday,
Gabler stopped by Cohen’s class
on writing film criticism to have
a discussion with the students.
Each student shared their interest
in film criticism and their reasons
behind it. Gabler noted that there
was no single critic who everyone
in the class reads — evidence of a
growing divisiveness in the film
community.
“There are no venues for
(film criticism),” Gabler said,
explaining why he rarely writes
criticism anymore. “There’s no
place to write criticism, certainly
not the kind that I like to write:
long, sustained, analytical pieces.
Secondly, when you’re an active
working critic, you’re reviewing
everything. I was seeing five
movies a week. Every year, if
you’re really lucky, maybe you
get three or four movies that are
worth engaging.”
Gabler
still
occasionally
writes about movies, but his
interests have broadened. He is
currently writing an expansive
biography of Edward “Ted”
Kennedy.
Gabler also teaches one class
a year at the State University
of New York at Stony Brook.
He has taught classes on film
criticism, creative nonfiction,
biography and the essay.
“My interest is twofold,”
Gabler said. “I try to teach them
how to become professionals.
I’m never interested in just a
skill set. I try to teach them
how to think about the world in
interesting ways. I get up every
day and I say to myself, ‘What
interesting thing do I have to say
about the world today?’ That’s
what I try to get my students to
do: to think about the world in
interesting ways because you
can sell that kind of work, and
it’s worth writing.”
Though Gabler calls himself
“a writer who teaches” instead
of “a teacher who writes,” he
cares deeply about education
and encouraging his students to
explore new points of view.
“I’m not just teaching how to
write an essay,” Gabler said. “If
I’m good at what I do, I’m trying
to teach you how to think about
the world. You take that little
piece, and you put it into your
own sensibility, and then you’ll
have another teacher and plug
that into your sensibility. By
the time you’re through with
your education, you’ve got all
these things out of which you’ve
formed your own sensibility.
That, to me, is the whole
function of education.”
In both Cohen’s class and
Gabler’s lecture Thursday night,
Gabler emphasized the danger
of aggregate scores from sites
like Rotten Tomatoes. He also
explained that criticism should
be more about exploring new
perspectives on a piece than
completing a checklist about
what strengths and weaknesses
a film does and does not have.
“It’s
an
instantaneous
culture,
and
you
want
something
instant,”
Gabler
said. “I’m an extremely strong
believer that you adjust to the
film; the film does not adjust to
you. I don’t have some sort of
critical rubric that I apply to a
movie. Never.”
Gabler occasionally misses
the days when film had such
a prominent role in culture.
In his view, the proliferation
of Internet criticism, social
media and a constant stream
of information have led to a
drastically different — if not
objectively worse — role for
film.
“Individual movies matter,
but the movies (of the canon)
don’t
matter,”
Gabler
said.
“They don’t dominate our lives
in the same way they once did.
They don’t rouse passions the
way they once did. And if the
movies
don’t
matter
much,
neither does film criticism.”
Still,
Gabler
does
acknowledge
that
criticism
may still hold great power.
In
Gabler’s
view,
common
objections to criticism, like that
reading criticism takes away
from the magic of the film, are
often misplaced.
“(Reading criticism) is not, I
emphasize, mutually exclusive
with any other movie-going
pleasure,” Gabler said. “It’s an
addition to the pleasure. Why
would anyone want to deny
himself or herself that pleasure?
Why would anyone want to
shrink the movie?”
One
of
the
issues
with
widespread Internet criticism,
Gabler said, is its inaccessibility.
“The
object
is
not
to
demonstrate how smart you
are, but how generous you are,”
Gabler said. “Do we really need
film criticism? Yes, I think we
do. I think we need this kind
of criticism: a criticism that
enables us to see what we might
not otherwise have seen, that
enables us to learn something
about ourselves, others and
the world that we might not
otherwise have learned.”
In the 1970s, when film and
criticism flourished together,
there was a symbiosis between
filmmaker
and
film
critic,
Gabler said.
“Every so often, I see a
film, and I really wish there
was a critic to analyze it in
some interesting way, a critic
against whom I could weigh my
own interpretation, a critic to
challenge me and illuminate the
film,” Gabler said, comparing
Pauline
Kael’s
widespread
accessibility to lesser-known
modern critics.
Still, Gabler hopes modern
criticism
can
overcome
its
limitations
and
regain
the
power it used to hold.
“(Critics) are vital to our art,
and they are vital to us,” Gabler
said. “You don’t analyze a movie
to death. If you are a good critic,
an essential critic, you actually
analyze it to life.”
“There are
no venues for
film criticism
anymore.”
ARTS INTERVIEW
ALBUM REVIEW
Storm feels stale
Despite some new
tricks, Halestorm’s
newest album is
achingly familiar
By CHRISTIAN KENNEDY
Daily Arts Writer
Halestorm’s newest record,
Into the Wild Life comes three
years after The Strange Case
Of ... ; howev-
er, after their
break,
they
seem to have
lost some of the
chic
pseudo-
rock touch that
breathed
life
into their work.
Opening
with “Scream,”
Halestorm
presents low-laying verses over
a consistent drumbeat, which
soars into the chorus only to
fall flat as lead singer Lzzy Hale
repeats a synthesized “scream.”
In the same vain, “I Am the
Fire” builds and builds, but
once the chorus arrives it feels
hollow.
About eight minutes into the
album, there is finally some
semblance of the Halestorm
infectiousness on “Sick Indi-
vidual.” The verses consist of
quick, evenly delivered lines
over a repeating guitar riff and
parley themselves seamlessly
into the chorus. This track,
unlike its predecessors, doesn’t
aim for a climactic chorus, and
the result is the fluidity that is
absent on “Scream” and “I Am
the Fire.”
Even though the climactic
rock chorus approach failed in
the first two tracks, Halestorm
perfects it in “Amen” — it’s
catchy, maybe a tad unorigi-
nal. But when a song makes you
scream and bang your head,
who cares if it feels like you’ve
heard the lyrics before? This
is the first song that makes me
want to give an amen.
“Dear Daughter” marks the
beginning of Into the Wild Life’s
slump. If “Amen” felt familiar
in the best way, “Dear Daugh-
ter” feels so in the worst way.
The production fails to keep the
edge of rock that normally char-
acterizes Halestorm’s slower
songs. It’s emotional, but not
powerful; and, in the end, it’s
boring. It just makes me think
how
much
better
Martina
McBride’s “This One’s For The
Girls” is. Also in the slump,
“New Modern Love” sounds
like the score of an unevent-
ful western movie. “Mayhem”
lures listeners in with its pre-
chorus whisperings, but soon
Hale is screaming and, for the
first time in her discography,
it feels as though she’s scream-
ing about nothing. “Bad Girls
World” is a less cohesive “Dear
Daughter,” but it isn’t as upfront
with its badness. The hook has
some grit, but after about half
the song you can’t help but
think to yourself, “Is this worth
my time?”
The album somehow finds its
way back on “Gonna Get Mine.”
This is what Into The Wild Life
should be. It’s gritty, in your
face and takes no prisoners.
Here, the subtlety of “Mayhem”
’s pre-chorus gets a full show-
ing in “Gonna Get Mine” ’s tit-
illating chorus. The transition
into the low-tempo “The Reck-
oning” is rough. Maybe “wild
life” refers to the ups and downs
present on the record because
not after long the album’s lead
single, “Apocalyptic” slams lis-
teners down and makes them
listen. From the first verse to
the final beats, “Apocalyptic”
is without a doubt the album’s
shining star. The verses and
chorus soar lyrically and inter-
mingle perfectly with guitars
and drums. The rhymes are
subtle enough to avoid sounding
cheesy, but prominent enough to
wrap Hale’s delivery in a slick-
ness that has been missing for
most of the LP.
The record ends on one of
its strongest notes — “I Like It
Heavy.” The slight synth heard in
the verses creates a strong contrast
with the brashness of the chorus.
It captures the aura of Hale and
leaves listeners with one lyric:
“Hallelujah motherfucker, take me
to church.”
Halestorm’s
experimentation
on Into the Wild Life resulted in
a mix of glossy rock songs, some
pointless screaming and a few
tracks that aren’t recognizable as
Halestorm at all. Experimenta-
tion aside, Halestorm has added
another handful of head-banging
rock songs to their ever-evolving
repertoire.
B
Into the
Wild Life
Halestorm
Atlantic Records
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“Hallelujah
motherfucker,
take me to
church.”