ACROSS
1 Item in a ’60s
drug bust
7 Marshal Tito, for
one
11 Friendly address
14 Make
effervescent
15 Queen’s place
16 Move on water
17 Generic City Hall
dog?
19 Caustic chemical
20 __ Toy Barn:
“Toy Story 2”
setting
21 Japanese
volcano Mount __
22 Guzzle
24 Half a prison?
26 Suffix for
professionals
28 Toon who often
wore a Metallica
T-shirt
29 Why some seek
a certain cactus?
32 Bacchanal vessel
33 Rested
34 Choler
35 Essay on
meditation?
39 Arboreal critter
41 “__ believer!”
42 Icon with a
curved arrow
45 Eschew medical
attention?
49 Certify
50 LAX stat
51 “Let her not say
__ that keep you
here”: “Antony
and Cleopatra”
53 Language from
which “julep” is
derived
54 Centrifuge site
56 Rosamund’s
“Gone Girl” co-star
57 Green
beginning?
58 Fighter whose
stock greeting
affects 17-, 29-,
35- and 45-
Across
63 However, to
texters
64 __ dixit
65 Shape, as dough
for cloverleaf rolls
66 Strong desire
67 Lacking a date
68 Adam, of the
“Bonanza”
brothers

DOWN
1 Holy men who
turn prayer
wheels
2 Cousteau’s
concern
3 Oxymoronic
skiing condition
4 All-
encompassing
concept
5 Gillette brand
6 “Empress of the
Blues” Smith
7 “The Tudors” sta.
8 Actress Tyler
9 GPS datum
10 Frost output
11 Eponymous
South American
leader
12 Beamish?
13 Warning words
18 Upbeat
23 “Obviously,
right?”
25 Their colour is
affected by
melanin
27 Fare on a flat
tortilla
28 __ test
30 Master
31 Roofing sealer
36 One of a biblical
trio

37 Global financial
org.
38 Tournament
elimination 
point
39 Diplomatic case
40 Dutch landowner
in colonial
America
43 Court action
44 Bony
45 __ pin
46 Pluto’s Egyptian
counterpart

47 Alternative to de
Gaulle
48 Buster who
portrayed Flash
Gordon
52 Uncalled for
55 Canaanite 
deity
59 Decide
60 Lee side: Abbr.
61 Cooper’s 
creation
62 Honorary legal
deg.

By Jeffrey Wechsler
©2016 Tribune Content Agency, LLC
02/12/16

02/12/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Friday, February 12, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

Classifieds

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6 — Friday, February 12, 2016
Arts
The Michigan Daily — michigandaily.com

Dance performance 
celebrates Black lives

By GILLIAN JAKAB

Daily Arts Writer

“Healing is just as important as 

protest,” choreographer Camille 
A. Brown wants to remind us. 
Although 
Brown and her 
dancers echo 
the 
serious 

assertion that 
Black 
Lives 

Matter, 
they 

seek to spell 
out why with 
their 
bod-

ies. 
“BLACK 

GIRL: 
Lin-

guistic 
Play” 

will 
unfold 

at the Power 
Center on Sat-
urday, as part 
of the UMS 
winter 
sea-

son. A dance 
piece 
set 
to 

an original score performed live 
and culminating in a moderated 
interactive discussion with the 
audience, the piece is a celebra-
tion of identity — both personal 
and that of a collective cultural 
history.

It harkens back to the unbri-

dled joy and expression (in 
metaphor, if not lived real-
ity) of childhood. The piece’s 
movement vocabularies thread 
through generations of Afri-
can American history, from 
West African drum beats to 
coded resistance in the Ante-
bellum South, club social danc-
ing leading up to the civil rights 
movement and on through the 
decades to Michael Jackson, the 
electric slide and urban rhythms 
of stepping and street games.

Maybe you paused at the title. 

What does it mean?

“‘Linguistic’ — when people 

hear that they automatically 
assume … is there text?” Brown 
said in an interview with The 
Michigan Daily. “That’s not the 
only way people communicate, 
it’s the language of the body.”

The term “play,” too, has a few 

meanings. There’s the obvious 

activity of merriment: playing 
children’s games on the street 
like Double Dutch. A play can be 
a gambit — a strategic or aggres-
sive move in pursuits like chess 
or love. Or there’s play as in a 
theatrical performance. Brown 
draws on all of the definitions 
and challenges us to an expan-
sive understanding of the word.

The title’s first part, “BLACK 

GIRL,” may seem self-evident, 
but after deconstructing the 
title’s description, we’re left to 
question the meaning of those 
words as well. What does it mean 
to be a Black girl? To whom? 
What are the images or stereo-
types we see?

“What about childhood, what 

was my childhood like? I real-
ized: wow you don’t see your 
childhood, you don’t see those 
games, you’re depicted as those 
stereotypes.” Brown said. “I 
wanted to do something differ-
ent than what I saw out there.”

Kyra 
Gaunt’s 
book, 
“The 

Games Black Girls Play” sparked 
the concept of Brown’s piece 
and as it took off from its origi-
nal form, it evolved, draw-
ing life from the dancers’ own 
stories. Like social dance, the 
established structure of the 
choreography gives way to per-
sonal interpretation and style. 
Each individual contribution 
adds a layer of flair, of experi-
ence and of memory. Through 
these shared stories, the danc-
ers articulate a time before their 
identity was a label tacked on to 
their bodies — a time when they 
just simply were, in rhythm and 
in movement.

“‘BLACK 
GIRL: 
Linguis-

tic Play’ is rooted in childhood 
memory, but it’s rooted in all of 
our childhood memories and 
all of our experiences,” Brown 
said. “So it’s not just me telling 
my story, it’s the company tell-
ing their stories. We had a lot of 
conversations. When you go back 
and you think about that period 
of time and when you think about 
identity: what was that point in 
your life when people started 
classifying you? You are short, 
you are dark-skinned. You are. 
You are. How did you feel about 
that? Going back, people really 
(began) unpacking that personal 
history.”

The piece is organized into 

three sections following the 
maturation of a Black girl in 
urban America. Brown herself 
plays both a young girl, around 
14, and later embodies a Black 
woman in motherhood — a chal-
lenging feat for a petite and 
youthful choreographer.

One section is dedicated to the 

movement lexicon of West and 
Sub-Saharan African and its sub-
sequent translations through the 
generations of African-American 
dance vernacular, detailed in 
the rich reference and resource 
guide found in the program. The 
“Pattin Juba” was a term used for 
the body percussion of slaves in 
the 18th century when dancing 
and drumming were forbidden, 
as a way to connect to their heri-

tage. Elements of the juba can be 
seen in social dances, including 
The Dougie, and even in urban 
street games like Double Dutch.

“The aspects of rhythm and 

creative identity are timeless, but 
the way people do it is progres-
sive,” she said. The thing about 
Double Dutch, even though it’s 
a childhood game — when you 
think about it and really dis-
sect it — it’s music. It’s musi-
cal compositions: its phrasing, 
it’s polyrhythms, you know it’s 
an extremely sophisticated art 
form, but because children do 
it, its seen as trivial. Also hand 
clapping games — I don’t know if 
you’ve played numbers, but that’s 
a hard game!”

A renowned choreographer 

and dancer, Brown had to ask 
herself and her dancers to strip 
away some aspects of their for-
mal dance training and get into 
expressions of socially-learned 
movement and style that were 
more personal and entirely their 
own.

“I told my stylist I want us to 

be able to walk off the stage and 
walk into the street and we don’t 
look any different from anyone 
else,” she said. So it was just a 
lot of stripping and it’s like, what 
does it really mean for you to 
be yourself and how would you 
dance your dance being yourself 
and not just being dancer num-
ber eight.”

Brown feels this piece in par-

ticular offers entry points for 
audience members to see their 
stories, whether or not they are 
Black or female, or even “danc-
ers.”

“When I create movement 

I’m not necessarily speaking to 
dance aficionados — I want it to 
be accessible to the people who 
do the electric slide at the party 
… And I think often times, espe-
cially at university, people see 
a dance show and they’re like ‘I 
don’t know that — don’t got noth-
ing to do with me. I won’t go,’ but 
its actually really for them,” she 
said. “And I’m always excited 
when I see students in the the-
atre. Always.”

With 
African-American 

social justice in the vanguard 
on college campuses and around 
the country, “BLACK GIRL: 
Linguistic Play” suggests that 
parallel to the response of activ-
ism, is the equally important 
celebration of cultural iden-
tity. We often focus on clashes 
and on protests highlighted by 
the media, and Brown reminds 
us to acknowledge the healing 
aspects of our communities.

“We definitely need to talk 

about the issues, but we also 
need to talk about the joy … and 
the authenticity, and the move-
ment, and the social dance and 
the relationships because that, 
in a sense, is answering the 
question: well why do black lives 
matter?,” she said. “This is why. 
There’s a history there, there’s 
sisterhood there, there’s a lin-
eage there. Those are the things 
that I wanted to elevate in this 
particular piece.” 

By NATALIE ZAK

Daily Community Culture Editor

He introduced the world to 

its first Analrapist, delivered the 
most infuriating audition of all 
time on his ’90s 
sketch 
show 

“Mr. 
Show” 

and has made 
increasingly 
poor 
deci-

sions under the 
guise of Todd 
Margaret. 
With a filmog-
raphy ranging 
from “Eternal Sunshine of the 
Spotless Mind” to “It’s A Disas-
ter” to “Alvin and the Chip-
munks,” actor and comedian 
David Cross has made his mark 
not only on the world of comedy, 
but also on the world of film, 
television and art.

And now, he wants to make 

America great again.

“I am extremely excited to get 

back out on the road after six long 
years away. I was very busy writ-
ing for The View, but now that the 
kids are off to college, my wife’s 
regiment has been transferred to 
McMurdo Station in the South 
Pole, and I’m near completion 
on Fallout 4, it’s time to start up 
the bus and bring my patented, 
fart-inducing laugh winces to 
a town near you,” Cross wrote 
on his Facebook page upon first 
announcing the “Making Ameri-
ca Great Again!” tour.

Although this is the explana-

tion most fans would prefer to 
believe, Cross’s sudden return to 
stand-up was a much more calcu-
lated decision, he explained in an 
e-mail interview with The Michi-
gan Daily. 

“We knew we weren’t going 

to be able to do more Bob and 
David’s this year because of Bob’s 
schedule, and simultaneously I 
found out that I had to have major 
shoulder surgery which has a 
long and intense recovery period 
where I can’t travel so I figured it 
was the perfect time to get the set 
together and hit the road,” Cross 
wrote.

The Bob referred to is Bob 

Odenkirk, a comedian, writer and 
actor who has accompanied Cross 
in projects over the years from 

HBO’s “Mr. Show” in the ’90s to 
Netflix’s revival series “W/ Bob & 
David” that premiered this past 
November.

After a six year hiatus from 

stand-up, Cross is returning to 
his roots on the stage for a 53-stop 
tour. Gracing Ann Arbor with his 
presence at the Michigan Theater 
this Saturday, Feb. 13, Cross will 
be presenting his signature form 
of alternative comedy.

Known 
for 
never 
writing 

punchlines in favor of freeform 
stand-up, Cross has been tak-
ing his routine city by city, mak-
ing improvements and changes 
as each performance passes. No 
performance is the same, and 
with each stop the comedic rants 
become slightly more finessed 
and calculated in their criticisms.

“I don’t really sit down and 

write my material,” Cross wrote. 
“For the most part it’s developed 
on stage … Experience tells me 
that the last few shows of the tour 
will be significantly different than 
the first few shows of the tour.”

This alternative form of com-

edy that involves the use of 
scribbled notes and improvisa-
tion began to develop in the ’90s. 
Alongside comedians like Louis 
C.K. and Janeane Garofalo, Cross 
participated in typical stand-up 
until venturing off into the free-
form stylings of “Un-Cabaret,” 
an alternative comedy troupe in 
Boston.

Since then, freeform stand-up 

has developed a larger following, 
going as far as to have its own fes-
tival on the West Coast.

“It’s not seen as ‘weird’ or ‘ama-

teur’ now. The fact that there is a 
HUGE Alternative Comedy Fes-
tival in LA (RIOT Festival) that’s 
in its fourth year is crazy to think 
about from the perspective of 
when the whole ‘alternative’ com-
edy scene started,” Cross wrote.

As an established comedian 

and actor, Cross has been a part 
of numerous projects, ranging 
from comedies with cult follow-
ings like “Arrested Development” 
to commercial successes in the 
form of “Kung Fu Panda.” Cross 
has, as a result, seen firsthand 
the reaction diehard fans have to 
fairly removed actors and actress-
es entering the mainstream, he 
regardless defines “selling out” 

differently from what one might 
imagine.

“It’s changed dramatically,” 

he wrote. Back in my day if you 
even wore a ‘Budweiser’ t-shirt on 
stage because they paid for your 
back line you’d be considered a 
sell out. Nowadays you can do a 
commercial for a fucking bank 
and no-one blinks an eye.”

There is a generational stigma 

around artists who enter into 
projects solely for commercial 
rather 
than 
artistic 
reasons, 

and often artists, musicians and 
actors will suffer because of 
this. The second a song or show 
becomes critically acclaimed, or 
an artist participates in a critical-
ly acclaimed endeavor, their lifes-
pans are drastically shortened.

It is difficult to explain this 

paradoxical 
phenomenon 
in 

today’s culture, because it appears 
to discourage success. But as 
Cross aptly observed, “Maybe it’s 
a generational thing.”

(And maybe Cross doesn’t 

notice the modern day trans-
gression of the term “selling out” 
because which projects he choos-
es to participate in isn’t affected 
by his fan’s reactions or unpro-
voked opinions from critics.)

Cross described his participa-

tion in commercially successful 
projects by saying “the choice is 
not to be miserable” in an inter-
view with The Believer in 2008. 
Despite what criticisms may be 
thrown his way, an individual’s 
choice to make a living from 
their passion should in no way be 
viewed as selling out.

But what can the dedicated fol-

lowers of Cross’s television and 
film career expect from his stand-
up? They should prepare for dis-
comfort and shock, but in the best 
way possible. His style is offbeat 
and challenging, but undeniably 
funny.

And so, Cross makes his return 

to stand-up in a stunning fash-
ion. As he makes his way across 
the United States, we can only 
hope that his tour will live up to 
the lofty precedent of its title. 
But in the end the final question 
remains: does Cross truly believe 
that we need to make America 
better?

“I don’t,” he wrote bluntly. “I 

was being ironic.”

David Cross in A2 

Camille A. 
Brown & 
Dancers

“BLACK 
GIRL: 
Linguistic 
Play”

Saturday, Feb. 
13, 8 p.m.

Power Center

$26-48

EVENT PREVIEW

David Cross

Saturday, Feb 
13, 8 p.m.

Michigan Theater

$35

WE’VE GOT ARTICLES 

ON OUR ARTICLES.

WE’VE GOT ARTICLES 
COMING OUT OF OUR 

EYEBALLS.

(SERIOUSLY. WE HAVE 

TWICE AS MUCH 
WITTY CULTURE 

COVERAGE ONLINE)

Go to michigandaily.com/section/arts 

to get the full Daily Arts experience

EVENT PREVIEW

