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February 22, 2016 - Image 5

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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.
734‑649‑8637. www.arborprops.com

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

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