The Michigan Daily — michigandaily.com
Arts
Monday, February 22, 2016 — 5A

HEY.

YOU'RE 
DOING GREAT 
AND WE 
know you 
can do it. 

Don't give up!

Classifieds

Call: #734-418-4115
Email: dailydisplay@gmail.com

ACROSS
1 Nickel or dime
5 Zenith
9 Toboggan, e.g.
13 Fairy tale villain
14 Visitor from
space
15 Soft drink nut
16 “You almost had
it”
19 2016 Hall of
Fame inductee
__ Griffey Jr.
20 Weighty books
21 Curved fastener
22 Flabbergast
23 UPC-like product
ID
24 “Mork & Mindy”
or “Mike & Molly”
32 Beef cut
33 Reason for a cold
sweat
34 GI chow
35 Writing fluids
36 Parking __
38 Gaucho’s
weapon
39 Dental suffix with
Water
40 Slim racetrack
margin
41 Slightly open
42 Event where
many dress as
Stormtroopers or
Klingons
47 Question
48 Grandson of Eve
49 Malice
52 Sans serif font
54 Hawaiian tuna
57 What polar
opposites have
60 Tiny pasta used
in soup
61 Washington’s __
Sound
62 “Agreed!”
63 Smile ear to ear
64 Enjoy a novel
65 After 1-Across,
pregame football
ritual, and what’s
literally found in
this puzzle’s
circles

DOWN
1 Tilt to the side, as
one’s head
2 Look at wolfishly
3 Small laundry
room appliance
4 Nintendo’s 
Super __

5 Homecoming
attendees
6 Refer to in a
footnote
7 Clothing store
department
8 Music producer
Brian
9 Slopes fanatic
10 Letterhead
emblem
11 Israeli airline
12 Missile in a pub
game
14 Regarding
17 Singer James
18 “My Fair Lady”
director George
22 The “Star Wars”
planet Tatooine
orbits two of
them
23 Lasting mark
24 Mishaps
25 Greek column
style
26 Kipling mongoose
Rikki-__-Tavi
27 Many times
28 Bridal bio word
29 Texting icon
30 1964 Tony
Randall title role
31 Thirst (for)
36 Lampoon

37 Spanish “that”
38 Array on a
dugout rack
40 Japanese-
American
43 Get to the bottom
of
44 Marked with
streaks, as cheese
45 Put into law
46 __ contendere:
court plea
49 Stuffed shirt

50 Peruse, with
“over”
51 Chichén __:
Mayan ruins
52 Fever and chills
53 Capital of Latvia
54 Bullets and such
55 Soil-shaping
tools
56 Wayside lodgings
58 “Talk of the
Nation” airer
59 Yoga class need

By Janice Luttrell
©2016 Tribune Content Agency, LLC
02/22/16

02/22/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Monday, February 22, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

! NORTH CAMPUS 1‑2 Bdrm. !
! Riverfront/Heat/Water/Parking. !
! www.HRPAA.com !

4, 5 OR 6 BEDROOM HOUSE
1119 S. Forest ‑ May or September
$2800 ‑ $3500 based on number of ppl
 Tenants pay all utilities. 
Parking and laundry available
Showings M‑F 10‑3; 24 hour notice 
required. www.deincoproperties.com
734‑996‑1991

ARBOR PROPERTIES 
Award‑Winning Rentals in Kerrytown, 
Central Campus, Old West Side, 
Burns Park. Now Renting for 2016. 
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1 & 2 Bedroom Apts on Wilmot
Avail Fall 2016‑17
$975 ‑ $1575 Plus Electric to DTE
Coin Laundry Access, Free WiFi
Parking Avail $50‑$80/m
CALL DEINCO 734‑996‑1991

4 BEDROOM HOUSE 
NORTH CAMPUS/HOSPITAL 
1010 CEDAR BEND ‑ $2400 + utilities
PARKING & LAUNDRY 
734‑996‑1991

2016‑17 LEASING
EFFICIENCY and 1 & 2 BDRM APTS
344 S. Division $835/$855 
610 S. Forest $870
508 Division $925/$945
 1021 Vaughn (1 left) $1410
By 
location: 
Fully 
Furnishing, 
Parking 
Incl, 
and Free Internet
Prime Student Housing
734‑761‑8000 www.primesh.com

2, 3 & 4 Bedroom Apts @ 1015 Packard
Avail for Fall 2016‑17
$1400 ‑ $2700 + gas and water; Tenants 
pay 
electric 
to 
DTE; 
Limited 
parking 
avail 
for $50/mo; On‑site Laundry
CALL DEINCO 734‑996‑1991

5 BEDROOM APT Fall 2016‑17
$3250 + $100/m Gas & Water
+ Electric to DTE, 3 parking spaces 
1014 V
aughn #1 ‑ multilevel unit w/ carpet
CALL DEINCO 734‑996‑1991

6 BEDROOM FALL 2016‑17
Central Campus House
335 Packard ‑ $3800 + Utilities
Parking, Laundry, Lots of Common area
www.deincoproperties.com 
734‑996‑1991

NEAR CAMPUS APARTMENTS 
Avail Fall 16‑17
Eff/1 Bed ‑ $750 ‑ $1400
2 Bed ‑ $1050 ‑ $1425
3 Bed ‑ $1955
Most include Heat and Water
Parking where avail is $50/m
Many are Cat Friendly
CAPPO 734‑996‑1991
www.cappomanagement.com

IDEAL SMALL OFFICES/STUDIOS
2nd Flr UM Campus‑ Short or Long 
Term Leases. Call 860‑355‑9665
campusrentalproperties@yahoo.com

THESIS EDITING, LANGUAGE,
organization, format. All Disciplines.
734/996‑0566 or writeon@iserv.net 

DOMINICK’S HIRING FOR spring 

& summer. Call 734‑834‑5021.

WORK ON MACKINAC Island 
This Summer – Make lifelong friends. 
The Island House Hotel and Ryba’s 
Fudge Shops are looking for help in all
areas beginning in early May: Front Desk, 
Bell Staff, Wait Staff, Sales Clerks, 
Kitchen, Baristas. Housing, bonus, and
 discounted meals. (906) 847‑7196. 

www.theislandhouse.com

1, 2 & 3 Bedroom Apts on Arch
Avail Fall 2016‑17
$1050 ‑ $2500 + electric contribution 
CALL DEINCO 734‑996‑1991

HELP WANTED

SUMMER EMPLOYMENT

SERVICES
FOR RENT

EVENT PREVIEW
CBCO rings in the 
new year in Detroit

By DAYTON HARE

Daily Arts Writer

The mental image that general-

ly accompanies the word “orches-
tra” is that of a large mass of 
European instruments gathered 
together 
in 
front 

of a wild-
haired 
conductor 
enthusi-
astically 
waving 
a 
baton 

— 
which 

is 
fair, 

consider-
ing 
that 

in 
almost 

any 
con-

text this image would be largely 
accurate. But on occasion the 
word is applied to an ensemble 
which defies expectations, shak-
ing off linguistic preconceptions 
to present the public with some-
thing unanticipated. This is the 
case with the China Broadcasting 
Chinese Orchestra, which will be 
performing in Detroit Monday 
evening under the direction of 
Pang Kapang.

“It’s a combination of all 

different types of Chinese tra-
ditional instruments — that’s 
including percussion, strings 
and wind instruments — but 
it’s set up very similar to a 
Western symphonic orchestra,” 
Wei Yu, principal cellist with 
the Detroit Symphony Orches-
tra, said in an interview with 
The Michigan Daily. “It’s like 
a large orchestra version of 

… Chinese traditional instru-
ments.”

The CBCO was founded in 

1953, formed by the combination 
of two previous Chinese orches-
tras. Over the subsequent decades 
it has come to stand as a symbol 
of Chinese culture, led to promi-
nence by conductor and composer 
Peng Xiuwen.

“The piece I’m playing with the 

orchestra is … a modern adaption 
of a very traditional, old folk melo-
dy,” Yu said, who will be featured 
as a soloist on the CBCO concert 
for the piece Huaer Caprice said. 
“It’s based on a very well-known 
film back in the ’60s. The movie 
is called ‘The Visitors from the 
Icy Mountain’; the theme song … 
has become a popular song called 
‘Why are the Flowers So Red?’”

The melody, while a folk tune, 

is actually not Chinese in origin 
— rather, its roots are Tajik, a des-
ignation which refers to a wide 
range of Persian speaking peoples 
of Iranian origin. Since “Visitors 
from the Icy Mountain,” however, 
the melody has become widely 
known in China.

“I grew up in mainland China — 

I know that tune really well,” the 
cellist said. “(The piece) is such a 
showcase of the cello and another 

(Chinese) string instrument … it 
becomes a virtuoso piece for two 
solo instruments accompanied by 
this large orchestra.”

Many of the pieces the CBCO 

will be presenting are similar — 
modern arrangements of tradi-
tional Chinese folk music — but 
several are original compositions 
as well.

“A lot of folk melody is from 

the voice, or from one single 
instrument — right now they are 
adapting a lot of varieties into this 
kind-of Western kind-of orches-
tration, or symphonic, version of 
the tradition,” Yu said.

CBCO is visiting Detroit to cel-

ebrate the Chinese New Year. On 
February 8th the new Year of the 
Monkey was inaugurated, an event 
which occurs once every 12 years 
in the cyclical Chinese calendar .

“The Chinese New Year is cel-

ebrated worldwide these days,” 
Yu said. “Before I joined the DSO 
I was also a member of the New 
York Philharmonic. For a few 
years we started to have a Chinese 
New Year celebration in concerts.”

The concert, Yu said, touches 

universal themes of music and 
ideas of cultural dialogue.

“I’m just really happy to be 

a cultural ambassador between 
American and China, together 
celebrating the Chinese New 
Year … music is a bridge that 
links two cultures together,” Yu 
said. “I’m very proud to be part 
of the cultural ambassador (sic) 
using the common language 
of music … I hope that way to 
introduce Chinese culture and 
music to a wider audience, and 
vice versa.”

ALBUM REVIEW

Chicago Kid’s “In 
My Mind” is just 
original enough

By MATT GALLATIN

Daily Arts Writer

Make no mistake. As closely 

tied as BJ the Chicago Kid may be 
with hip hop today, he is through 
and through an 
R&B artist. His 
early mixtapes 
contained 
a 

plethora of overt 
references 
to 

traditional R&B 
gods 
— 
Sam 

Cooke, 
James 

Brown, 
Mar-

vin Gaye — and 
his sound has 
always reflected that reverence for 
classics.

At times this has worked to 

his detriment. His first mixtape, 
Taste of Chicago, while an enjoy-
able piece of soul showcasing his 
smooth, crooning voice, sounded 
ill-fatedly bound to be the back-
ground music for overzealous, vir-
ginal high school boys dropping 
$1.99 clearance rose flower ped-
als over their extra-long twin bed 
in an attempt to convince their 
apprehensive, younger, girlfriends 
that this is finally the “right time.” 
There’s even the obligatory “Sex-
ual Healing” cover. Those prede-
cessors so prevalent on his earlier 
works seemed to box him in as he 
held them so tightly.

Whether by personal growth 

or external pressure, BJ has 
branched out towards the con-
temporary. BJ’s feature on rapper 
Schoolboy Q’s track “Studio” was 
undoubtedly his major break into 

the public lexicon. Still, he was by 
no means unknown prior, lend-
ing his voice to standout releases 
like Kendrick Lamar’s Section.80, 
Chance the Rapper’s Acid Rap 
and Ab-Soul’s Control System. 
His most recent full release, The 
M.A.F.E. Project, offered samples 
from Kanye West’s futuristic 
album Yeezus and a rendition of 
Justin Timberlake’s “Strawberry 
Bubblegum.” It’s an acknowledge-
ment that, for better or worse, pop-
inspired bass and synths are the 
majority of R&B tracks in 2016, not 
jazz bands and orchestral sounds. 

In My Mind, BJ’s major-label 

debut, finds the artist merging 
his past and present, trying not 
to compromise either. He shows 
impressive growth both vocally 
and sonically, likely a result of the 
talented crowd he’s associated 
himself with, and there’s an obvi-
ous tinge of tradition here. But 
there’s an equally poignant mod-
ern element that helps keep this 
album from feeling like any other 
nostalgic work of soul.

Opening the album on “Intro,” 

BJ jokes “I love God, but I also 
love mob movies.” It’s a fitting 
introduction to In My Mind, which 
pulls influence from both. “Man 
Down,” which leans closer to 
mob movies, both on account of 
the berretta-like beat and lyrics 
like “you can’t fuck with me and 
my n****s,” is probably the clos-
est BJ will come to the radio. It’s a 
forward-moving track that brings 
an energy that was sometimes 
absent from his earlier releases. 
On the other hand, there’s no lack 
of slow piano-ballad sermons on 
this debut. “Shine,” Falling On 
My Face,” and “Jeremiah/World 
Needs More Love,” all lean on 
his love for God. On the latter, he 
makes this unquestionably clear: 

“Just in case you were wonder-
ing what Jeremiah I’m speaking 
of, not the singer but the prophet 
from the bible.”

The best moments of this 

album come when BJ can bring 
both of these elements together. 
“Church,” featuring Chance the 
Rapper and Buddy, sees him con-
templating that line between 
church and sin. “She say she 
wanna drink, do drugs and have 
sex tonight / But I got church in 
the morning,” he sings. He delivers 
the lines playfully, like he knows 
what he wants but also what he 
needs. Impressively, he holds his 
own with Chance, who has a habit 
of taking center stage on a number 
of his guest appearances.

The Kendrick collaboration, 

“The New Cupid,” is another high-
light that marries new and old, 
and again involves BJ looking at 
his moral compass — “Cupid’s too 
busy in the club” he notes. The 
interplay between Kendrick and 
BJ is powerful, with both seeming 
to guide each other, like friendly 
musicians in a jazz band.

BJ has been often compared 

to D’Angelo, on account of simi-
larities in his voice and tributes 
(both subtle references and entire 
album covers) that BJ has made 
to the artist. Indeed, BJ seems 
like the natural succession from 
D’Angelo’s ’90s neo-soul towards 
a more rap-heavy modern scene. 
BJ doesn’t have the power, though, 
that D’Angelo’s voice does, and the 
more old-fashioned, vocal second 
half of In My Mind could turn off 
listeners that were initially held by 
the tempo of the opening tracks.

Still, In My Mind is a solid 

attempt at bridging BJ’s different 
worlds. It neither succumbs total-
ly to pop-pressure, nor holds too 
completely to tradition. 

BJ’s major debut

B+

In My 
Mind

BJ the 
Chicago Kid

Motown

The China 
Broadcasting 
Chinese 
Orchestra

Monday, Feb. 

22, 8 p.m.

Orchestra Hall, Detroit

$15 GA, $50 Box Seats

‘Saul’ haunts

By DANIEL HENSEL

For the Daily

It has become nearly impossible 

to separate the Holocaust from 
its cinematic legacy. We’ve seen 
Oscar-winning 
feature 
films 

and 
documen-

taries 
of 
all 

tones, all sub-
ject matters and 
from numerous 
countries on the 
topic. And while 
this subject is 
far from a tired 
one, its sheer prevalence in a way 
calls for some new interpretation 
of the horrors of the early 1940s. 
“Son of Saul,” directed by Hungar-
ian first-timer László Nemes, is yet 
another film to add to the subject 
matter’s collection of works, but it 
satisfyingly goes beyond the con-
ventional messages and techniques 
of the works that came before.

The film follows the titular Saul 

Ausländer, 
played 
impeccably 

by first-time actor Géza Röhrig, 
through a day and a half at Aus-
chwitz. There, Saul is a prisoner and 
member of the Sonderkommando, 
a labor force comprised of Jewish 
prisoners who were coerced into 
assisting the Nazis in disposing 
the bodies of gas chamber victims 
at the threat of their own death. 
Saul comes across the body of a 
boy whom he claims as a son, and 
attempts to find a rabbi to give the 
boy a proper burial, while also join-
ing a cadre of fellow workers who 
are attempting to escape. These 
two stories interweave as Nazi offi-
cers decide to trim Ausländer’s spe-
cific group of workers. That last plot 
point, (like a boa constrictor tight-
ening on its prey,) turns the film 
into more of a taut thriller.

“Son 
of 
Saul” 
differs 
so 

strongly from other Holocaust 
movies because its subjects are 
not larger than life. Whereas 
“Schindler’s List” features a man 
who saved about 1,000 Jews, 
and “The Diary of Anne Frank” 
follows a girl whose story has 
become legend, “Son of Saul” is 
a fictitious story about a group 
of people who have been largely 
forgotten. When Saul enters the 
screen, we know nothing of him, 
his past and his fate. The story 
renders Saul as a stand-in for 
all the victims whose stories we 

have forgotten.

And yet, “Son of Saul” retains 

a narrow scope in its examina-
tion of the human experience in 
horrifying circumstances. Saul, 
who wears a deadened expres-
sion throughout much of the film, 
is seen at his most lucid when on 
the quest for the rabbi. Otherwise, 
Saul resembles little more than an 
abused worker who, because of the 
conditions, has been dehumanized 
beyond 
emotional 
recognition. 

Saul’s decisions in the company of 
fellow workers are peculiar, but 
they serve to emphasize that ratio-
nality is a luxury in such harrow-
ing experiences.

But while Saul is the most fea-

tured character, the true stars 
of the film are its below-the-line 
craftsmen. Mátyás Erdély’s shaky, 
kinetic cinematography instills a 
true sense of chaos, while the quick 
pace of the script itself underscores 
the quickly approaching doom of 
the characters. Matthieu Tapo-
nier’s editing features several 
long, uninterrupted takes, many 
of which depict relatively mun-
dane events, like Saul standing in 
a hallway as several new prisoners 
pass him on their way to the gas 
chamber. This deliberative pacing 
both adds to the mounting dread 
of knowing what awaits these pris-
oners, as well as the bit of relief of 
knowing Saul gets to live for a few 
seconds more than we would have 
seen if the clip had been edited. 
Further, the camera follows Saul 
around, like a third-person video 
game following its main charac-
ter, while the typical horrors of 
the Holocaust are confined to the 
corners or, more often, off-screen. 
The biggest accomplishment is the 
film’s superb soundscape, designed 
by Tamás Zányi, which trans-
forms off-camera conversations 
into menacing words looming over 
Saul’s, and our, head. The sounds 
of screaming, crying, burning and 
hard labor combine to create an 
opus of pure sonic horror.

“Son of Saul” was Nemes’s 

attempt to cure the ills of the Holo-
caust film. He avoids spectacle, 
heroes and happy endings, the typ-
ical fixtures that make the subject 
matter artificially digestible. And 
most of all, rather than attempting 
to be a sprawling epic, “Son of Saul” 
is impossibly small, opting to focus 
on its main character rather than 
the horrors that surround him.

FILM REVIEW

The orchestra 
defies western 
expectations.

A

Son of Saul

Mozinet

Michigan Theater

