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
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Call: #734-418-4115
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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