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ACROSS
1 Working stiff
5 Brief timetable
9 Racing venue
near Windsor
Castle
14 “Beetle Bailey”
dog
15 Greet from a
distance
16 Waste not
17 Inch or foot
18 Actor Bana of
“Closed Circuit”
19 Singer Haggard
20 *Shake off one’s
daydreams
23 Towel holder
24 Strokes on greens
25 Rap fan
27 Little child, in
Cannes
30 Decanter
relatives
33 Richly adorn
34 “Born Free”
lioness
37 Carne __:
Mexican dish
38 Old AT&T rival
39 *Cause of
chubby cheeks,
perhaps
41 Perp’s prey, in
copspeak
42 French floor
44 Like the lama,
but not the llama,
in a Nash poem
45 Foot warmer
46 Switches for
mood lighting
48 Boardroom
illustrations
50 Farmland
measure
51 Tawdry
53 Trojan __
55 Leave hurriedly
... and, literally,
what the first
words of the
answers to
starred clues can
do
60 Joint commonly
sprained
62 __ facto
63 “__ a heart!”
64 Stout mug
65 Property claim
66 Biblical garden
67 __ four: small
cake
68 “A __ of Two
Cities”
69 Bird’s home
DOWN
1 High hair style
2 Active European
volcano
3 Of the ears
4 Tablet
5 Sugary brewed
drink
6 K, to a jeweler
7 Lesser of two __
8 Metric prefix
9 Kid in a military
family
10 Observe
11 *Ingratiate
oneself (with)
12 Norwegian capital
13 Ready to be
kicked off
21 Gallop
22 Ltrs. in an unfilled
TV time slot
26 Western treaty
org.
27 Urged (on)
28 Gangster Frank
in “Road to
Perdition”
29 *Bargain hunter’s
venue
30 Street eatery
31 Order from on
high
32 Pink-slips
35 Debt-heavy corp.
deals
36 Word in a
thesaurus: Abbr.
39 Temporary
Oktoberfest
structure
40 “The
Untouchables”
gangster
43 Yukon
automaker
45 Drink pourer’s
words
47 Actor Stephen
49 Wellness gp.
51 Vintage photo
hue
52 Painter’s stand
53 Hornet, e.g.
54 Poker bet that’s
not optional
56 Highland garb
57 Florida’s Miami-
__ County
58 Times to call, in
ads
59 Apartment
payment
61 52, in old Rome
By Janice Luttrell
©2016 Tribune Content Agency, LLC
11/01/16
11/01/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, November 1, 2016
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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6 — Tuesday, November 1, 2016
Arts
The Michigan Daily — michigandaily.com
Fashion designer Iris van Her-
pen is known for pushing the
envelope. A guest member of the
Fédération Française de la Cou-
ture, she is notorious for creat-
ing experimental materials and
seamlessly weaving them into her
collection, and is even responsible
for introducing 3D printing to the
forefront of fashion. This past
Thursday, viewers had the privi-
lege of hearing the Dutch inno-
vator speak alongside architect
Philip Beesley and museum cura-
tor Sarah Schleuning as a part of
the University’s Penny Stamps
Distinguished
Speaker
Series.
Without further ado, here are my
favorite van Herpen-approved
nuggets of wisdom.
Become inspired by other
fields.
The
designer
repeatedly
declared her affinity for archi-
tectural work, noting that she has
actually collaborated with Bees-
ley on several of her collections.
“When I saw [Beesley’s] work,
I saw the possibility of working
with an architect. I started see-
ing that architecture can be very
much related to fashion. It really
opened me up to seeing material
differently, to seeing a different
future for fashion,” van Herpen
said.
Don’t get caught up in the
deadlines.
If a woman who works around
the fashion calendar can do that,
so can we. She acknowledged
the industry’s obstacles openly,
explaining, “On one hand, I am
working within fashion, so I usu-
ally have three months to com-
plete a collection, which does
take certain possibilities out. But
on the other, I try to forget about
time when I research material and
structure. I don’t see [research] as
a part of a collection directly, I see
it as an ongoing process within my
work.”
Success requires patience.
All of van Herpen’s collabora-
tions have been remarkably grad-
ual processes.
“In the beginning, the con-
versations are much more about
getting to know each other,” she
said. “After so many years, all
that is known, and it’s possible to
go deeper and deeper into a con-
versation, into the way we both
work.”
We are not robots, and that’s
OK.
In fact, the designer owns her
human touch. When describ-
ing a particular jacket, she noted
“There is difference in detail
— every piece is made by hand.
They are all a little bit different in
length, in size, in structure, and
I think, together with the move-
ment of the body, we can create a
magical element.”
Although we are all human,
each of us operates differently.
Some of us are bound to stray
from the status quo, as van Her-
pen demonstrates beautifully.
“The way I design is not by
sketching something,” she said.
“The mannequins in my atelier
are my sketchbook. I drape the
material directly onto the man-
nequins, and that’s how the pieces
develop. That way of designing,
the draping of the material, has
become very important in the
structures we develop now, and I
really feel it has moved us forward
a lot.”
Limitations will always exist.
It’s up to us to make the best of
them. “A lot of the material that I
create comes slightly also from a
frustration toward all the materi-
als I cannot work with,” van Her-
pen said. “That inspires me to look
at an existing material that can be
worked with in a different way.
It’s often very much sort of magni-
fying the movement of the body.”
However,
these
setbacks
should not keep us from dream-
ing big.
When asked what material
she does want to work with but
cannot, van Herpen responded
immediately: “Fire is one of them.
There are so many, basically any-
thing I can’t work with that trig-
gers my mind to think of different
options and possibilities towards
the body.”
Van Herpen’s philosophies are
mindful approaches that can be
applied to a variety of disciplines,
and something she hopes is ear-
nest fuel for University students’
own creative pursuits.
IRIS VAN HERPEN
Van Herpen finds her inspiration in modern architecture.
TESS GARCIA
For the Daily
Life lessons we learned from the designer at her Penny Stamps event
As told by Iris van Herpen
STYLE COVERAGE
October is the best month of
the year. That is a fact. Leaves
change,
temperatures
drop
and things start to get kind of
spooky. Similarly, Halloween is
my favorite holiday — it’s better
than Christmas or Hanukkah,
even better than Christmak-
kuah (sorry, Seth). In prepara-
tion for the holiest (and most
haunted) of days, I rewatched
some of my old holiday favor-
ites.
I started my binge with “Car-
rie” (the 1976 Sissy Spacek ver-
sion, of course). The film is a
perfect specimen of absurdity
— blood-soaked, burn-down-
the-high-school-gym
absur-
dity.
The miracle of “Carrie,” or
rather what should have been
the film’s downfall, is that noth-
ing happens until the very end.
Really nothing. Carrie flips an
ashtray and makes some light
bulbs burst with her mind con-
trol powers. (What are Carrie’s
actual powers? No one seems to
know; she’s sort of a malicious
Matilda.) It’s not until the buck-
et of pigs’ blood come tumbling
down that shit starts to get real.
And it gets so real so fast.
It almost feels like “Carrie”
is going to break free of hor-
ror movies’ rigid rules of sex
and death. And it does and it
doesn’t. Because Carrie is both
the final girl — the token vir-
gin who gets to live to the final
credits — and the primary “vil-
lain.” She’s the protagonist and
the source of horror.
That’s not to say she isn’t
weirdly sexualized. The film
opens with her in the shower
(in classic horror movie fash-
ion). The camera pans over her
body at a length of zoom that
does not allow her to be any-
thing more than a body. Then,
she
starts
bleeding.
Carrie
doesn’t know it, but the source
of her blood is menstrual. And
even that is filmed in a sexual
fashion.
So, the movie gets points
for showing natural feminine
body processes, but loses them
for having to sexualize it. And
the kids who do die (the not-
so-final girls, if you will) are
separated from Carrie by their
sexuality. They give John Tra-
volta (yeah, John Travolta is in
this) blowjobs in the front seat
of his car. They die.
There was an attempt at a
remake in 2013 starring Chloe
Grace Moretz, who sadly was
not a very good Carrie. Even
though she is a really nice per-
son, which I know because
music writer, Dom Polsinelli
made me wait in line with him
for half an hour to meet her
when she came to Ann Arbor to
campaign for Hillary. Thanks,
Dom.
The remake failed not only
because remakes almost always
fail, but because it is impossible
to try to make anyone other
than Sissy Spacek into Carrie.
She’s just too perfect. With
her bug-eyed stare and subtle
Texas twang, she’s the perfect
religious-girl-who-loses-it. And
when she does lose it, she does
so with one of the best depic-
tions of paralyzing rage I’ve
ever seen.
So a second — or third or thir-
tieth — time around, “Carrie”
holds up. It’s an underrated gem
of my favorite decade of horror.
It’s absurd enough to not be ter-
rifying and bloody enough to be
entertaining. Knives fly, gyms
burn down and Carrie remains
one of the baddest bitches/
witches/girls who were bullied
in high school of all time.
UNITED ARTISTS
The blood’s always redder on the other side of the fence.
There’s no ‘Carrie’ quite like the
original bloody Halloween classic
Sissy Spacek’s iconic role still holds up and is impossible to replicate
FROM THE VAULT
MADELEINE GAUDIN
Daily Arts Writer
After meeting and collabo-
rating during their time at the
University of Michigan’s School
of Music, The-
atre and Dance,
Jack
Stratton,
Theo Katzman,
Woody
Gross
and
Joe
Dart
formed
Vulf-
peck as more or
less a love letter
to the funk leg-
ends of western civilization’s
past. One of the band’s focuses
has always been ensuring that
their studio cuts are recorded
like live tracks, using actual
instruments when possible and
avoiding
recording
multiple
takes.
This may seem like semantics,
but the results of their approach
are readily audible through
their discography. Although it is
a half-step away from this ide-
ology, Vulfpeck’s latest album,
The Beautiful Game, remains
true to the band’s original funk
inspirations while incorporat-
ing a sleeker sound.
Although the album opens
with the instrumental “Sweet
Science,” the jubilant “Animal
Spirits” seems a more suitable
introduction. The former is a
slinky, mournful clarinet solo,
while the latter utilizes piano, a
synthesizer, and a classic hand-
clap sample, doing more justice
to the band’s overall sound.
“Animal Spirits” is also one
of the most lyrically involved
songs on the album, with vocal-
ist
Stratton
predicting
the
future relationship of two indi-
viduals who have yet to meet.
“This is a true love story song
/ A triumph and a
glory song / With
only
one
small
caveat / This one
hasn’t
happened
yet,” Stratton sings.
“They’ve
got
16
mutual friends.”
Approximately
half of the album
is comprised of instrumen-
tal tracks, which can at times
struggle
to
hold
attention.
“Dean Town” and “El Chepe”
are both interesting explora-
tions, but seem out of place.
They would make more sense in
the space between songs during
a live set than on a true album,
and it’s not difficult to imagine
them as entirely improvisation-
al pieces.
Not all of the instrumental
portions of the album fall into
this same category, however.
Grounded by a driving bass
line, the bombastic pairing of
saxophone and percussion (and
later, piano) on “Daddy, He Got
a Tesla” captures attention with
ease and demonstrates how
easily Vulfpeck can dominate a
room, even while instruments
share the spotlight.
While this is a band that
rightfully prides themselves on
their genuine nature, there are
also moments on The Beautiful
Game that border on kitschi-
ness. Perhaps it is an intended
effect, but “1 for 1, DiMaggio”
feels far too much like a sing-
along from a children’s televi-
sion show. The instrumental
craftsmanship is undeniable,
but the lyrical content ranges
from uncomfortable at best to
patronizing at worst. Similarly,
the opening moments of “Con-
scious Club” feel notably con-
trived — partially because they
are. Both songs utilize scripted
spoken dialogue, but it is little
more than a novelty.
While these two tracks seem
to fall especially flat, the album
closes out confidently. “Aunt
Leslie” is the most emotional
centerpiece of the album, on
which Stratton and regular
Vulfpeck guest Antwaun Stan-
ley flex their vocal abilities.
This is immediately followed
by the jammy “Cory Wong,”
which evolves into what sounds
like a live recording — the crowd
begins cheering at about the
two-minute mark and is closed
out by applause and Stratton
bidding the audience farewell.
As a funk outfit in the modern
day, Vulfpeck have a valuable
addition to their resume with
The Beautiful Game, but it can
at times feel haphazardly pieced
together, with little cohesion
beyond the wide domain of
“funk.”
Regardless, Vulfpeck’s tech-
nical capabilities and sheer
devotion to their craft over-
shadow any awkward moments
that may result from this lack of
cohesion.
SEAN LANG
Daily Arts Writer
Vulfpeck’s formidable funk misses
a beat but still delivers on ‘Game’
ALBUM REVIEW
B
The Beautiful Game
Vulfpeck
Vulf Records
The Ann Arbor band makes a valuable addition to their resume
The miracle of
“Carrie” is that
nothing happens
until the very end.