Classifieds

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

ACROSS
1 Oldest U.S. capital
8 Spade creator
15 Melodic
movements
16 Ancient region
now part of
France
17 Is serious
18 Impulse
conductors
19 Much toothpaste
20 U.S. neighbor
21 “Picnic” dramatist
22 Letter between
November and
Papa
25 Singer’s warm-up
syllables
26 Indy-winning
family name
27 Swears by
29 66, e.g.: Abbr.
30 Metaphor for jobs
31 Lav, in London
32 Singer Kitt
36 “... __ quit!”
37 Kind of bath
39 “Just like that!”
40 Sign-off words
42 Director Lupino
43 Corny state?
44 MSN, for one
45 “I’m good”
47 Jazzy Jones
50 Miracle Mets
manager Hodges
51 Frozen fruit-
flavored drinks
52 Slanted piece
53 Sounds at spas
54 2017 Rock and
Roll Hall of Fame
inductee
55 Enchant
57 Blog comment
format usually
interpreted as the
word spelled by
eight aptly circled
puzzle letters
61 Norse explorer
62 Daughter of
Agamemnon
63 End of a baseball
game, usually
64 Like siblings

DOWN
1 __ Adams
2 “Who __ you
kidding?”
3 Actress Vardalos
4 Polynesian
archipelago
natives

5 State as fact
6 Impede, as a plot
7 Guinness suffix
8 __ Her Way
9 “A Clockwork
Orange” narrator
10 2015 Big Ten
champs: Abbr.
11 Siren’s victim
12 Waist-length
jackets
13 Faint trace
14 Trademarked
weapon
20 One-piece
beachwear
22 Former #1 golfer
Lorena who
hosts an annual
Guadalajara
LPGA event
23 Heads up
24 Adorable one
25 Screen __
26 Four Corners
state
28 Openly enjoy, as
soup
29 Convened again
33 Rib eye
alternative
34 Ethan of
“Boyhood”
35 Gather up

37 John who
composed the
“NBA on NBC”
theme song
38 Much-followed
star
41 Gorge crosser
43 Former Chrysler
head
46 Early Jewish
scholar
47 116-year-old
prize

48 Philip Glass’
“Einstein on the
Beach,” e.g.
49 Kelly’s ex-partner
50 Belgian treaty city
53 Jesus of baseball
54 She, in
Cherbourg
56 Bar opening?
57 __ Lingus
58 DIRECTV parent
59 Ante- kin
60 Bummed out

By Don Gagliardo and C.C. Burnikel
©2017 Tribune Content Agency, LLC
02/23/17

02/23/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Thursday, February 23, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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Passion Pit’s curveball

It’s been almost two years 

since 
the 
ever-changing, 

largely mysterious Passion Pit 
released their widely acclaimed 
third album Kindred. Besides 
a 
recent 
solo 

Christmas album 
from 
frontman 

Michael 
Angelakos, 
the 

band 
has 
been 

mostly 
silent. 

Over the past few days, the 
band slowly, unexpectedly put 
six tracks out through YouTube 
— utilizing the channel for 
Angelakos’s new company The 
Wishart Group. According to 
their new Twitter “moment,” 
the band seems primed for their 
newest release, Tremendous 
Sea of Love.

From these tracks, Passion 

Pit’s brand of indie-pop is as 
stunning as ever. The six songs 
traverse unique soundscapes, 
some 
instrumental 
and 

some brightly painted with 
Angelakos’s beautiful falsetto.

The 
band 
tones 
down 

their sound with “You Have 
the Right” — reminiscent of 
“Dancing on the Grave” and 
“Constant 
Conversations” 

from previous albums — but 
they pick the tempo back up 
to their usual brand on “I’m 
Perfect,” with the resounding 
chorus, “Tell me I’m so damn 

perfect.” 
On 
instrumental 

“Inner Dialogue,” the band 
plays with a vibrant array of 
sounds, the melody focusing 
on shrill synth and punctuated 
with 
otherworldly 
bass 

undertones, pushing the band 
toward the highly produced 
end of their talents. With this 

new music, we 
find Passion Pit 
spanning familiar 
atmospheres 
from 
their 

previous 
releases, 
while 

still 
pushing 
their 
sound 

slightly further.

The most profound quality 

of Passion Pit’s music is the 
cohesion of their albums. Each 
offers a distinct vibe and subtle 
motif that drive the record 
from front to back, a streak that 
started with Angelakos’s first 
EP Chunk of Change. There’s 
the explosive pop of Manners 
and 
the 
hazy 
undertones 

of Gossamer, each of which 
display strong differentiation 
between records. That being 
said, this collection — if it can 
even be called a collection — 
lacks the usual assuredness 
once 
granted 
by 
their 

enigmatic nature. All we have 
left is the mantra on “Hey K”: 
“Love is the answer and the 
one design / such a simple 
design, holy architecture.” It’s 
also newly added to the band’s 
Twitter bio.

Angelakos’s 
increased 

social media presence shows 
his 
disdain 
for 
pervasive 

capitalism 
in 
the 
music 

industry (especially in regard 
to large festivals) and hints at a 
rebranding on his part and the 
band’s. They want to change 
the way music is available to 
fans.

Two days ago, Angelakos 

tweeted 
from 
the 
band’s 

account: 
“artist 
randomly 

calls out promoter regarding 
an injustice. promoter spews 
bs as a ‘statement’ framing 
artist as liar. artist rolls eyes.” 
He followed that up with a 
stream of tweets about lack of 
artist autonomy in the music 
industry. In his sarcasm and 
indignation, 
it 
seems 
the 

band 
purposefully 
avoided 

capitalistic 
involvement 
in 

the crafty delivery of the new 
tunes coupled into a Twitter 
moment.

This cryptic activity begs 

one question — what does the 
band have planned? With a 
sampling of new music and 
social media activism, but few 
concrete details on their future, 
we’re 
left 
in 
anticipation. 

What is the meaning behind 
Tremendous Sea of Love? If 
Angelakos’s online statements 
are any indication, he has some 
big plans up his sleeve: “Artists 
are powerful, they’re taught 
the opposite. this is going to 
be an interesting few years. 
support artists and watch what 
happens.”

DOMINIC POLSINELLI

Daily Arts Writer

COURTESY OF PASSION PIT

NETFLIX

‘Chef’ enters third season

I fucking love watching 

other people’s food. Other 
people making it, other people 
eating 
it, 
Gordon 
Ramsay 

throwing it across the kitchen 
— whatever I’m watching, I’m 
here for it. There’s something 
elemental, 
visceral, 
almost 

primal 
about 
a 

high-definition 
camera capturing 
a 
knife 
mid-

chiffonade, 
or 

the 
crackling 

sear of a steak 
laid down (away from you) 
into a hot skillet, or even the 
professionally trained hand 
trivially beating a few eggs in 
a glass bowl.

At this point, though, the 

current wave of “food porn” 
programming is the easiest 
possible 
target 
for 
satire. 

(It’s a wonder it took so long 
for “Documentary Now!” to 
produce its famous “Juan Likes 
Rice and Chicken” episode.) 
Indeed, some of the videos 
you can find on YouTube 
of celebrity chefs veer into 
outright 
self-parody. 
But 

whatever the current cultural 
backlash to foodie culture is 
— and, believe me, I’m here 
for that, too — “Chef’s Table” 
remains a staunchly engaging 
program, often interested less 
in actual content than a purely 
aesthetic overwhelming of the 
senses.

And how overwhelming it is! 

Artful lighting, slow-motion 

shots, raucously overbearing 
classical 
scores, 
heartfelt 

testimonials 
from 
“food 

scholars” — it’s all still there, 
and it’s all still eye-rollingly 
pretentious, depending on who 
you ask. But as pure sensory 
experience, “Chef’s Table” is 
unmatched, inimitable. Even 
in its third season (“Chef’s 
Table: France” is technically 
considered a spin-off), creator 

David 
Gelb’s 

(“Jiro 
Dreams 

of Sushi”) series 
stirs something 
in the soul, some 
deeply 
buried 

desire to create. 

It’s enough to suck you deep 
into your 13-inch Macbook 
Pro’s full screen, only to be 
taken out moments later by 
earnestly delivered lines like: 
“Soy sauce is eternal. It is life 
itself.”

Of course, none of these 

profiled chefs are particularly 
accessible 
for 
the 
average 

Netflix 
consumer. 
Jeong 

Kwan, profiled in the third 
season premiere, is a Buddhist 
nun at a hermitage in South 
Korea whose life’s purpose, 
it seems, is to cook “temple 
food;” 
the 
second 
episode 

focuses on Vladimir Mukhin, 
a Russian chef whose Moscow 
restaurant White Rabbit is at 
the vanguard of the country’s 
culinary 
renaissance; 
the 

famous and highly influential 
Nancy Silverton is featured, 
too, 
with 
particular 
focus 

given to her borderline manic 
obsession with bread.

But the show’s new season 

should be commended, if not 
for a diversity of pricing, then 
for a wider scope of global 
cuisines. Kwan’s manipulation 
of 
ingredients 
is 
utterly 

fascinating 
and 
beautifully 

rendered, and all the more 
impressive considering her diet 
eschews all meat and dairy. 
Mukhin’s episode doubles as 
an illuminating bit of cultural 
anthropology, as his growth 
as a chef is intertwined with 
a modern history of Soviet 
Russia and some of its lesser 
known effects.

Yet 
these 
narratives 

ultimately play second fiddle 
to what is, at a base level, 
“Chef’s 
Table” 
’s 
peerless 

visual mastery. Blessed with 
Netflix’s 
generously 
high 

production values, Gelb has 
perfected the art form—and, 
truly, food television deserves 
its own categorization now. 
What 
seemed 
fresh 
and 

energizing in “Jiro Dreams of 
Sushi” has come to the logical 
end of its aesthetic evolution: 
The way we capture food on 
screen has been irrevocably 
altered, and for the better. 
It’s a niche and somewhat 
culturally elitist sphere, to 
be sure, but taken solely at its 
artful merits, “Chef’s Table” 
has become the paragon of 
America’s 
obsession 
with 

food. One can quibble, as I 
often do, that other programs 
provide 
a 
more 
enriching 

experience 
(see: 
Anthony 

Bourdain’s “Parts Unknown”), 
but for what it is and what it 
has become, “Chef’s Table” is 
without an equal. 

NABEEL CHOLLAMPAT

Senior Arts Editor

“Chef’s Table”

Netflix

Episodes 1-3

Misc. single release

Passion Pit

Self-released

Gucci finds new territory

What praise can I award 

Alessandro Michele, Creative 
Director of Gucci, that has not 
already already been given?

The 
label’s 
FW 
2017 

collection, 
The 
Alchemist 

Garden, features a medley of 
characteristically 
flamboyant 

pieces for both women and 
men (Michele would probably 
scoff if he read this; gender-
based clothing is so Tom Ford-
era). But this time around, 
something new arose among 
the feathers and florals: Gucci 
found its political voice in the 
argument that our world is 
reverting to its occasionally 
romantic, 
though 
generally 

problematic, roots.

From 
the 
minute 
this 

season’s 
invitations 
leaked, 

it was evident that Gucci 
had 
something 
especially 

intense up its sleeve. Guests 
were 
summoned 
via 
fully-

functioning 
vinyl 
records 

whose covers read, “What are 

we going to do with all this 
future?” 
in 
the 
trademark 

trembly lettering of artist Coco 
Capitán. Should they find the 
nerve to place it on a turntable, 
those lucky few would hear 
musician 
Florence 
Welch 

reciting the works of William 
Blake, followed by an excerpt 
of Jane Austen’s Persuasion 
read by rapper A$AP Rocky. 
The invites’ juxtaposition of 
the old-fashioned with the 
contemporary 
functioned 

as a preliminary warning to 
showgoers, 
reminding 
them 

that no matter how far we 
advance, history is bound to 
repeat itself.

I cannot forget myself: A 

fashion show, particularly a 
Gucci fashion show, is about 
the clothes. This time around, 
models 
paraded 
through 
a 

glass tube donning the typical 
pattern clashes along with a 
spray of logo-heavy accessories 
(Gucci sweatband, anyone?). 
Futuristic mesh masks, ’80s 
pop star sunnies and nostalgic 
knit earflap hats reinforced the 
collision of the past and future. 

All appeared well and good and 
apolitical until model number 
69 strode down the runway, 
sporting a cut-up vintage tee 
featuring 
some 
incoherent 

combination of words written 
Capitán’s 
shaky 
script. 
A 

similar 
shirt 
reappeared 

several looks later, this time 
clearly donning the phrase: 
“Common sense is not that 
common.” The remainder of the 
collection went about business 
as usual, but one could not view 
it without wondering about that 
second tee.

Of the 120 luxurious looks 

Michele sent down the runway, 
what 
will 
be 
remembered 

most are the invitation and 
one tattered, defaced scrap of 
cotton, an artifact inscribed 
with modern wisdom. This 
season, 
Gucci 
pleased 
its 

regulars, while unabashedly 
diving into new, yet necessary, 
territory.

“Can’t 
repeat 
the 
past?” 

Alessandro chuckles from the 
indoor greenhouse of his Milan 
penthouse, “Why of course you 
can!”

TESS GARCIA
Senior Arts Editor

COURTESY OF GUCCI

MUSIC REVIEW
TV REVIEW

FASHION WEEK REVIEW

6 — Thursday, February 23, 2017
Arts
The Michigan Daily — michigandaily.com

