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Arts
Friday, December 4, 2015 — 5
‘Empire’ falters
in second season
Mediocre storylines
hurt Fox drama at
mid-season finale
By CHRISTIAN KENNEDY
Daily Arts Writer
At the sophomore season mid-
point of “Empire,” a week of quick
changes come to a close. First,
Cookie
(Tar-
aji P. Henson,
“The
Curious
Case of Benja-
min
Button”)
was taking over
Empire,
then
she
creates
her own com-
pany. Hakeem
(Bryshere Gray)
has PTSD from
his kidnapping,
then he doesn’t. Jamal (Jussie
Smollett) is gay, then he kisses a
girl. “Empire” ’s second season
thus far has been riddled with
half-played-out storylines. That,
coupled with an inconsistent sup-
porting cast, has taken a once-
glossy primetime soap and dulled
it down to its lackluster bits.
The root of “Empire” ’s prob-
lem is the mediocre prix-fixe
menu of storylines. You can’t pick
and choose which ones you want
and none of the courses are all
that great. The problematic writ-
ing reflects onto the characters
and the show’s overall quality.
The condemnable lack of ensem-
ble scenes due to fragmented sto-
rylines came to a mass collision
in Wednesday’s episode, leav-
ing viewers with even more new
questions than answers.
The Lyons no longer have rap-
port with supporting cast, most
of which have come and gone
sporadically. A three-dimension-
al Tianna (Serayah McNeill),
likeable Onika (Grace Gealey)
and stunning Elle Dallas (Court-
ney Love, “The People v. Larry
Flynt”) have been replaced with
Marisa Tomei’s painstakingly
boring lesbian venture capitalist
Mimi Whiteman. Tomei’s talent,
paired with Whiteman’s charac-
ter description, lends itself well
to the submissive tone emulated
throughout the first season. But
ultimately, Mimi Whiteman and
the lack of non-Lyon charac-
ter development highlight the
show’s dragging plot.
Though “Empire” isn’t down
for the count quite yet. There
are still moments of magic that
sparked viewers’ passion dur-
ing season one. The chemistry
between Alicia Keys and Jussie
Smollett is unbearably infectious,
despite the show’s unwilling-
ness to define their relationship.
Cookie’s speech at the women’s
prison, albeit unoriginal, felt gen-
uine and Hakeem’s subsequent
prison performance was one of
the season’s strongest.
As the first installment of sea-
son two closes, “Empire” once
again re-enters the “who’s gonna
win the kingdom” storyline that
has been looped in throughout
its lifetime; there has just been
another shuffling of teams. Ulti-
mately, the season closes with its
worst and best choices. A preg-
nant Rhonda (Kaitlin Doubleday)
was pushed down the stairs (pre-
sumably by a psychotic and also
pregnant Onika), consequently
throwing a wrench in one of the
season’s few well-functioning
storylines. And Lucious’s (Ter-
rence Howard, “Iron Man”) long-
awaited
humanization
comes
after Hakeem casts the decid-
ing vote to remove his father
as CEO of Empire. His break-
down, complete with gunfire,
tears and a comforting Cookie
hopefully mark a turn for
“Empire” ’s course.
“Empire” — the “Empire” that
broke records and captivated
viewers last season — is in the
second season’s fall finale some-
where. Out of focus and hidden
behind the copious amounts of
plot, the drama’s true potential
is kept afloat by the talent of the
cast and the show’s character
dynamics, but it will soon be in
danger of drowning within itself.
C-
Empire
Season 2 mid-
season finale
FOX
Wednesdays
at 9 p.m.
BOOK REVIEW
Dramatic ‘Witches’
By SOPHIA KAUFMAN
Daily Arts Writer
Stacy Schiff’s “The Witches:
Salem, 1692” is the kind of book
you forget isn’t fiction.
Though it’s a
bit long for those
not
already
acquainted with
Salem
schol-
arship,
“The
Witches” is still
accessible.
It
chronicles
the
beginning of the
Salem hysteria,
follows the esca-
lation of the tri-
als to fever pitch
and addresses the eerie silence that
followed the 19 executions of the
“witches.” Reading these stories
feels like watching a play — a seri-
ous, sometimes unwittingly and
darkly humorous play.
It began with a group of young
girls having fits and accusing
neighbors of witchcraft. Accused
witches either denied the charges
— effectively signing their own
death warrants — or confessed
and named other witches in turn.
The “afflicted” girls, as they were
known, rapidly became Salem’s
darlings. Ministers and other
leaders of the town hung on their
every word, tracked the quick,
darting movements of their eyes
in the courtroom and shrugged
helplessly as the girls screamed
and contorted their bodies in
pews, crying out that they were
being pricked by the specters of
witches they had named.
Schiff includes stories about
family feuds, adulterous relation-
ships with servants, jealous spouses
and the transparent machinations
of petulant teenagers. They startle
you into realizing the colonists of
Massachusetts Bay lived with the
same kind of subtle social politics
we do now. For better or for worse,
these accounts make the fantas-
tic events of Salem relatable to our
own lives. They increase the length
of the work as a whole, and some-
times teeter on the edge of being
extraneous. But they flesh out the
story that, historically, is too often
chalked up to a fluke year of frantic
religious fanaticism.
The creative retelling of these
tales is also where Schiff’s sense
of humor glints through the lines.
For example, she observes that
becoming an “afflicted” girl often
meant not having to milk the cows
(or do any of the other chores that
plagued Puritan girls from dawn
to dusk). Schiff is also completely
aware of her audience, slyly slip-
ping in references to “Harry Pot-
ter” and “The Wizard of Oz” in
the footnotes.
She also illustrates how reli-
gion was present in every aspect
of the colonists’ lives and how this
created an environment where
accusations of and hysteria about
witchcraft could (and did) spread
like wildfire. Witchcraft and reli-
gion were inextricably linked; acts
of sorcery were conflated with her-
esy. Witchcraft implied a contract
with the devil.
In studies of American history,
women have often been relegated
to paragraphs within chapters. But
it’s undeniable that women were
the central characters in the Salem
witch trials — they were the major-
ity of the accusers and the accused.
Schiff’s analysis of the witch trials
through a gendered lens is incred-
ibly astute without being dismis-
sive of the other influences that
played a role. Over the years, there
have been several lenses through
which people have viewed and
interpreted the Salem witch trials,
and Schiff manages to incorporate
many of them.
It’s impossible for us to ever have
a fully comprehensive understand-
ing of what transpired in Salem in
1692. Our primary sources are
limited; we have access to death
warrants, preliminary hearings
and confessions, but that’s about
it. Though Puritan girls in Massa-
chusetts Bay were more educated
than others of their demographic
at the time, none of them left jour-
nals or diaries.
Schiff’s book is deceptively
accessible. It reads like a novel, but
it represents painstaking historical
research and the putting together
of a thousand-piece puzzle — of
which a few pieces are forever lost
to us. The witchcraft trials repre-
sented a bizarre amalgam of gender
and class politics, religious fervor
and adolescent strains that culmi-
nated in the hanging of 19 people.
Schiff captures and communicates
this complexity to us, but she also
acknowledges that no matter how
far we strain to reach back through
time, there are some mysteries in
our history that will always elude
us, just ever so slightly out of reach.
Salem, 1692 is one of them.
The
Witches:
Salem
1692
Stacy Schiff
Little, Brown
and Company
Hanoian found work as an
organist in Washington, D.C.
and, in 2007, became the con-
ductor at Christ Church Grosse
Pointe
in
Michigan
before
accepting the conductor position
at the University.
“I applied and part of the job
description is conducting the
annual performance of Handel’s
Messiah in Hill Auditorium,”
Hanoian said. “That was one of
the projects that drew to me to
the position as the conductor of
the choral union as a whole.”
While the story of “Messiah”
is rife with Christian imagery,
Hanoian stressed that the story
can be appreciated by people of
all faiths.
“You can take the raw emo-
tion away from the person itself
and apply that to your own faith
and your own journey throughout
your spirituality,” Hanoian said.
In Handel’s “Messiah,” the
religious imagery is not the main
selling point, but rather the sheer
range
of
emotions
explored
throughout the work.
“Handel has created those
emotions through music in ways
that the human experience can’t
express in any other way, and I
think that’s one of the reasons the
community supports it year after
year, and that people keep com-
ing to the piece year after year,”
Hanoian said.
Those well versed in music the-
ory will appreciate Handel’s inno-
vative use of musical keys. The
performance begins in E minor,
a foreboding key that represents
the uncertainty of the world
before the birth of Christ. The
triumphant climax of the perfor-
mance — the Hallelujah chorus —
is in D major.
“D major is the triumphant
key,” Hanoian said. “In baroque
music, when you arrive at D major,
there’s usually trumpets and tim-
pani involved, and when trum-
pets and timpani are involved, it’s
usually something that’s heroic
and majestic.”
The change in key through-
out the performance mirrors
the emotional journey that runs
through the story.
“The way the piece evolves to
arise in D major is always fun to
see,” Hanoian said. “Most music
starts and ends in the same key.
This is not one of those pieces;
it starts in E minor and ends in
D major.”
Hanoian has inherited a choral
group that is incredibly versatile,
having performed with sym-
phony orchestras from Detroit,
Ann Arbor, Toledo and even San
Francisco.
“One of the things that’s a
unique challenge for me is that
they’ve done ‘Messiah’ for so
many years and they’ve had dif-
ferent conductors throughout
the years,” Hanoian said. “Every
conductor brings their own …
interpretation of what Handel
wanted. I think what the unique
challenge is for me, as my first
year, is introducing new perspec-
tives of the work ‘Messiah’ to the
Choral Union and seeing how
they react to all of that, and to see
how some things that have been
ingrained in them over the years
may or may not change from one
year to the next.”
In addition to its adaptability,
another strength of the Univer-
sity Choral Union is its intermin-
gling of people of all ages who
work together to create a great
work of art.
“One of the intergenerational
things that excels in (the group)
is having someone who’s sung
‘Messiah’
with
someone
for
whom this may be a brand new
piece,” Hanoian said. “To have
the experienced singers mentor-
ing and leading the younger ones
is always a wonderful thing.”
TV REVIEW
FOX
Kanye’s workout plan is better.
MUSIC NOTEBOOK
Tasty musical meals
By CARLY SNIDER
Daily Arts Writer
Music is like food — deli-
cious, satisfying and necessary
to live. Those who try to abstain
are depriving themselves of vital
nutrients. Those who only par-
take in junk are doing their souls
a disservice. Just like music, food
is simultaneously universal and
extremely varied. It can be dif-
ficult to craft but is even more
pleasurable to consume. Presenta-
tion is important. It is an art that
has been practiced and perfected
for millennia and one that is con-
tinually advancing. A chef mak-
ing a multi-course meal is akin to
a musician constructing a setlist:
following a predetermined agen-
da to maximize the consumers’
enjoyment.
First, some pre-dinner drinks.
In the musical realm, these are
tracks that loosen up listeners and
wet the palate, something unas-
suming but enticing. It can be
fruity or rich, but it needs a kick.
Deptford Goth’s “Union” is the
perfect cocktail — the soundscape
is dense, the lyrics are sultry and
the beat is progressive. It can be
consumed passively or with vigor,
just like a fine glass of wine.
Next, the appetizer. This course
should build off of the mood
established by the initial musical
tasting, adding another dimen-
sion to the experience. It may be
a good time to draw listeners in
with a fan-favorite, bringing up
sensory memories of pleasant
pasts. Make them feel comfort-
able before throwing them into
the main course. A tasty appetizer
might consist of Marina and the
Diamonds’s “Froot,” a bubblegum-
lacquered pop track bursting with
innuendo. Marina’s voice com-
mands attention without being
powerful enough to overshadow
what is to come, like a light but fla-
vorful soup.
The main course, the focal point
of the evening. This is the art-
ists’s time to shine, to truly show
their ingenuity and skill. Gener-
ally lengthier and heartier than
any of the previous presentations,
the main course may span mul-
tiple tracks. They should play off
of each other, both through simi-
larity and distinction. The songs
could be lengthened, remixed or
mashed up. Whatever the method,
there has to be a standout moment
— an unforgettable culmination
of sensory stimulation. It could be
anything from the first bite, tip-
ping diners off to the delectabil-
ity to come, or the final mouthful,
making the art of what they have
just experienced apparent. A main
course combo might consist of
“Call Your Girlfriend” by Robyn
moving into “Empathy” by Crystal
Castles, topped off with “Alive” by
Sia, creating quite a colorful plate.
Wrapping it up, a little some-
thing sweet. Mirroring the inten-
sity of the appetizer, dessert
should ensure that the evening
leaves the recipients of art full but
not over-satiated, pleasantly fed
but not lethargic. The taste left
in their mouths should be one of
simultaneous satisfaction and of a
longing for more. Like a delicately
whipped chocolate mousse, Arc-
tic Monkeys’s “Why’d You Only
Call Me When You’re High?” is
the perfect cap to any evening.
The dessert should create an air of
possibility, a sense that the night is
still young, that there will always
be more art to consume.
The streams of art run deep. No
matter how different the forms,
the emotive and personal nature
of creation runs through all medi-
ums. Whether an album or a salad,
a new single or an individual take
on a classic dish, art is made to be
consumed.
TV NOTEBOOK
Fallon transcendent
By SHIR AVINADAV
Daily Arts Writer
When my mother and I sit down
to watch TV, as with any family,
there’s typically some contention
over which program to watch.
She’ll put up a fight against what-
ever sitcom is playing on a mara-
thon loop and objects to the
reruns of “Keeping Up With The
Kardashians” that constantly air.
After I berate her for her devo-
tion to “The Voice” and sensa-
tionalized local news, we finally
settle on yet another episode of
“Friends” or some Katherine
Heigl movie that’s already half-
way through its airtime.
Yet, since I’ve gone off to college,
every time I return home, we sit
down every night promptly at 10:30
p.m. armed with snacks and mugs
of tea to watch “The Tonight Show
Starring Jimmy Fallon.” What is it
about this charismatic host and the
series of parodies, celebrity guests
and viral sketches that prompts my
mom and I to overcome our differ-
ences and dedicate over an hour to
watch his show? The same ques-
tion can be asked of his nearly 3.9
million viewers.
Late night talk shows — a staple
in many American homes — are
more than just a reflection of the
nation’s cultural climate. They’re
a ubiquitous part of the nightly
routine of viewers who — com-
forted by the regular presence of
witty hosts carefully selected by
networks — are a living part of
the long tradition of late night TV
dating back to the ’50s. With the
succession of new late night talk
show hosts in recent years, it’s
important to note that this tradi-
tion has been carried out in much
the same way, slightly varying
with the experience and person-
alities of different hosts.
For Fallon, whose program rates
highest among 18-49 year olds, his
focus is endearingly rooted in a
genuine desire to have fun and
entertain audiences. Aided by a
Grammy-winning band, the tal-
ented announcer and writer Steve
Higgins and a long list of celebrity
guests, Fallon exudes a youthful
charm while embracing the show’s
heritage. While this legacy pre-
dates the onset of my mother’s and
my fascination with the show, its
imminence can be felt in each epi-
sode. The feeling of being a part of
something encompassing years of
tradition and culture, something
that began before my family’s
arrival to the U.S., and has contin-
ued since, connects my mom and
I not only to one another, but to a
culture not fundamentally a part of
our identities.
Though my mom and I grew up
in two completely different worlds
(she was born and raised in Israel,
while I was raised in the U.S.),
watching Fallon poke fun at presi-
dential candidates and hilariously
execute uncanny impersonations
of celebrities bridges the cultural
gap between us. As much as grow-
ing up with two cultures indepen-
dent of one another was a gift, it
also created a disparateness that
I’ve had to work my whole life to
reconcile. Part of this disparity was
fostered by my mom’s dissociation
from many aspects of American
culture I had to learn on my own.
Almost 20 years later, however,
the gap has grown smaller — in
part due to the expanse of media
that imbues American audiences
with the nuances of its culture.
For today’s young adults, who
spend most of their time in front
of screens, it’s rare to find a form
of entertainment that grabs their
attention while also appealing to
their parents’ traditional sense
of humor. Though late night TV
has reached younger audiences, it
has failed to represent and engage
more diverse audience members —
who are alienated by the predomi-
nance of white men hosting late
night shows.
Despite issues of diversity, late
night TV’s longevity contributes to
a shared culture among audiences
— something Fallon embodies. In a
2013 interview with GQ magazine,
Fallon says of “Late Night” (the
show that groomed him to take
on his most recent hosting gig):
“On ‘Late Night,’ it’s like we’re all
in on the joke.” This attitude, car-
ried on to “The Tonight Show,” has
generated a similar feeling among
audience members. And for an
hour each night, this feeling tem-
porarily relieves the discrepancy
between the preferences and atti-
tudes bred by the cultural and gen-
erational differences between my
mom and me.
NBC
Way to sit at that desk without laughing.
MESSIAH
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