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 ! 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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