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