The Michigan Daily — michigandaily.com
Arts
Monday, March 6, 2017 — 5A
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Scalawag
6 Barber’s razor
targets, at times
11 Folder identifier
14 Ann __, Michigan
15 “Haste makes
waste,” e.g.
16 Color
17 Place for a
haircut and a
whiskey?
19 Tiny six-footer
20 James Bond is
one
21 Be itinerant
22 “Ho ho ho”
holiday guy
24 “You’re it!” game
25 James Watt, by
birth
27 Storage solution
for Disney?
33 Pago Pago’s
place
34 Singer Edith
known as “The
Little Sparrow”
35 Wicked
37 Final notice?
38 Taps instrument
39 Dust __: tiny
house critter
40 Panhandles
41 “Gotcha”
42 Problem during
sleep
43 Farmer’s wake-
up duty list?
46 Hawaiian strings
47 High-tech rte.
finder
48 Yummy
51 Exclusive
53 Hockey great
Bobby
56 __ Wednesday
57 How to ask
journalist Roberts
if she’d like an
Oreo?
61 2016 Olympics
city
62 Blacksmith’s
block
63 “Lady and the __”
64 Again and again,
to bards
65 Boglike
66 Eye sores
DOWN
1 Back talk
2 Losing casino roll
3 How experts do
their jobs
4 __ juice: milk
5 Equitably divided
6 Skylab org.
7 Eve’s mate
8 Buddy
9 I problem?
10 Electric eye, e.g.
11 Word after
greater or less
12 Uncle’s mate
13 Test version
18 Canceled at
6-Down
23 Efforts
24 Brings forward
for inspection
25 Mountain climber
26 Sidewalk eatery
27 Pole tossed in
Highlands
competitions
28 José’s 8-Down
29 Numbered
musical works
30 Landlocked
African country
31 Sheeplike
32 Fertilizer
ingredient
33 Cry hard
36 Grassland
38 What muzzled
dogs can’t do
42 Sides of an issue
44 Airport luggage
checker
45 Eye rudely
48 Hawaiian food
staple
49 “__ I care!”
50 Photograph
51 “Laugh-In”
segment
52 Greasy
53 So-so
54 “The __ of the
Ancient Mariner”
55 Gym units
58 “Just __ moment”
59 Egg cells
60 Leftover morsel
By Kathy Jaschke
©2017 Tribune Content Agency, LLC
03/06/17
03/06/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Monday, March 6, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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The series for dreamers:
A conversation with Pete
Holmes and Judd Apatow
“If it sucks, you’re doing it
right. I think that’s a fun thing to
share with people.”
This is how Pete Holmes —
creator of HBO’s latest comedy
series
“Crashing”
—
replied
when I asked him to describe the
central message of his new show.
Accompanying Holmes during
our
conversation
was
Judd
Apatow (“Knocked Up”), one
of “Crashing” ’s producers and
the director of two of the series’
episodes. The Holmes-created
and Apatow-produced comedy
has been widely praised for its
charismatic cast and clever wit.
Released on Feb. 19, the series
currently holds a 92 percent
“Certified Fresh” rating on the
popular aggregate site Rotten
Tomatoes.
Playing a fictionalized version
of himself as a middling comedian
recently
separated
from
his
wife, Holmes’s inspiration for
“Crashing”
is
derived
from
his own experiences. Holmes
divorced his wife in 2007 while
struggling to progress his comedy
career into his late-20s. It was at
this time that Holmes became
close
with
fellow
comedian
T.J. Miller (“Deadpool”), who
features in two of the show’s
episodes.
“The fun thing about T.J. was
— when my real wife left me, he
invited me to come hangout for
a week in Pittsburgh,” Holmes
recalled. “We laughed, and had
a lot of room service… [now]
when one of us is hurt we’re like
dolphins [and can sense it].”
Holmes’s
divorce
had
a
profound effect on his psyche
and
drastically
altered
his
perspective on life — he turned
away from his faith to being
able to appreciate the mystery
in everything. This shift freed
him to address new and different
topics in his comedic routine,
Holmes stated.
To fully explore these ideas
about
“boners
and
stuff,”
Holmes and Apatow elected to
do a television series, as opposed
to a feature-length film. This
represented a shift in from the
norm for Apatow who — despite
possessing a shared background
with Holmes in stand-up comedy
and the Los Angeles comedy club
scene — typically does most of his
production work on movies.
For
Holmes,
he
decided
it was a show as soon as the
premise started to present itself
as something episodic. While
not
his
traditional
domain,
Apatow said he enjoyed the
change in directing constraints
due to the freedom offered by
television that permits deeper
character explorations. Despite
the difference in medium, he
maintained the same approach of
striving to be funny by working
with the actors before filming to
acquire their perspectives on the
scene and their character.
Applying this same approach to
“Crashing,” Apatow and Holmes
worked to develop a distinct style
for Holmes’ character. When
asked to compare his character
on “Crashing” to his actual self,
Holmes distinguished between
the two personalities.
“[My character is] like me
if I was a little bit sweeter and
more naïve. It was a little bit of
a vacation [to play that role],”
Holmes said. “It just helped me
have a point of reference for any
scene.”
Although Holmes’s outlook
changed, he still occasionally
bombed during his stand-up
routines.
“I remember doing a show
with Kumail Nanjiani (“Silicon
Valley”) that was so bad that I
smoked a cigarette after the show
because I wanted part of me to
die,” he said, recalling one of his
worst outings.
As
a
longtime
stand-up
comedian
himself,
Apatow
was able to relate to Holmes’
experience,
echoing
similar
thoughts about the effects of
rough comedic performances on
comedians.
“A lot of the fun of the show
is watching someone do stand-
up when they’re not good at it,”
Apatow said. “[But] if [Holmes’s
character] keeps trying, he’ll get
funny enough to make money.”
Due to this frank depiction of
the stand-up comedy experience,
“Crashing” was deeply influenced
by comedian Louis C.K.’s series,
“Louie,”
Apatow
confirmed.
Apatow went on to explain
that, when viewing “Louie,” he
realized that there are only a few
episodes in the show that truly
portray the world of stand-up
comedy. Having a connection to
“Louie” — a series that has been
nominated for 22 Primetime
Emmys — can only be considered
a positive for “Crashing.”
However,
“Crashing”
was
not constructed solely around
finding the humor in daily
struggles. Rather, it is meant to
resonate with dreamers.
“There’s
always
a
trend
toward
people
having
big
dreams,” Apatow stated. “In that
way I feel people can relate to
this.”
Holmes
echoed
similar
sentiments about his intentions
for “Crashing.”
“Hopefully the show will
give a reference point to anyone
following a dream,” he said.
CONNOR GRADY
Daily Arts Writer
Jack White’s Third Man
Press brings life to vinyl
Two Arts writers recount their experience at White’s new press
On the eve of its opening, Third
Man Press was a buzzing blur
of yellow and black, chatter and
song, excitement and awe. The
artists, musicians, writers and
legends of Detroit stepped out of
the damp cold and into the warm
world of Jack White — one that
has the utmost respect for music,
machinery and the city it calls
home.
Small but mighty, the record
store portion of the venue was
dimly lit and filled with live music.
There was TMR memorabilia
alongside classic Detroit, rock and
other records. That more subdued
area then funneled down a short
hallway, past a picture of a young,
sweaty Iggy Pop and into the main
event — the vinyl press. Shocking
was the change in tone, color and
volume. As would only be fitting,
rock was blasted through speakers
and bounced off the shiny factory
surfaces. Guests mulled about with
food and drinks, talking about not
only the décor, but the importance
of the evening for the record
industry, Detroit and artists.
The press was vibrant; a bright
yellow floor and tall, red beams
drew guests’ eyes to the center
of the room where workers were
pressing custom vinyl. Friday
night’s special: the debut albums
of The Stooges and The MC5,
pressed on bright yellow vinyl and
sold in hand-screened sleeves.
Sporting Third Man jumpsuits, the
workers took care to mold, flatten
and perfect each musical disc; this
was no automated production.
White purposefully curated this
relatively small-scale press not
only to boost the vinyl industry, but
to connect and employ Detroiters
by way of the music that shaped
their city.
White made note of these
sentiments in a toast he gave
towards the end of the evening.
Surrounded
by
his
family,
coworkers and attendees, White
acknowledged those who work
behind the scenes of music as
well as the importance of art in a
broader sense.
“I also want to thank everybody
here who works in a pressing
plant,” White said, “who works on
mixing and mastering, and every
musician and artist in this room.
Third Man Records is about no
genre, it’s about poetry, it’s about
painting, it’s about sculptures, it’s
about music, it’s about history, it’s
about Detroit, it’s about Nashville,
it’s about America first and
foremost.”
Unsurprisingly, this sentiment
was met with voracious applause;
there was almost a visible glow of
hope and inspiration. The night
served not only as a testament to
the power that music and Detroit
had in the past, but to their
inevitable place in the future of art
and American life.
Raising
his
glass,
White
concluded: “We’re all one family,
we’re all together, and remember
this
moment
because
we’re
making things beautiful last for
the next generation.”
— Carly Snider, Senior Arts
Editor
I was forced to repeatedly pinch
myself on the night of Feb. 24,
2017 due to the dreamscape that
became the Third Man Records
store in Detroit. In celebration of
the grand opening of the highly
anticipated record plant at the
store, Jack White threw a stunning
private event that was almost too
good to be true.
Last year, I visited the store as
a customer and left with a fond
impression of the interior design
of the store. Everything is fully
merchandized from skateboards
to coffee mugs. It’s layout is also
littered with seemingly archaic
machines custom designed in
TMR’s
theme:
a
mechanized
puppet “house band,” a device for
recording yourself and a booth
to listen to the available vinyl
before making your purchase. In
its marriage of aging ideas with
modernity, the store craftily brings
unique appeal to the classically
mundane aesthetic of a record
store. Yet, the store wasn’t quite
finished, as the doors to the
pressing plant remained tightly
shut.
I entered through the previously
closed doorway to an explosively
colorful plant. Workers manually
pressed vinyl in the middle of the
room using machines that were
custom designed for the plant,
roped off from walkways and
tables where guests could circle
the operation. A screen-printing
station
showed
the
manual
application of artwork to the vinyl
sleeves. The entire presentation
was vibrant with the working-
class spirit of Detroit.
Vinyl
is
the
quintessential
form of listening to music — fully
superior in quality, tangibility
and, of course, nostalgia. The
entirety of the event not only
celebrated the merits of manual
pressing, but also commemorated
the importance of vinyl as the
physical representation of music.
Towards the end of the evening,
White himself gave a toast to the
arts, to “every musician and artist
in the room.” Embodying the TMR
mentality, White’s speech praised
all forms of art, from music to
poetry to painting. Sticking to his
word, Detroit artist Danny Brown
gave a surprise performance later
in the evening. In White’s beautiful
testament, he also tied the arts into
the history of Detroit itself.
Beyond bringing jobs into the
city, the TMR record plant has
blended music’s past and present
by cloaking emotion in surrealism;
beneath the bright colors and
intricate designs lies the heart
of the human connection with
the tunes that cause our visceral
reactions — soundwaves worthy of
being pressed into existence by the
very hands that enjoy them.
— Dominic Polsinelli, Daily Arts
Writer
CARLY SNIDER
Senior Arts Editor
‘I’m Not a Feminist’ poses
the necessary questions
Jessa Crispin is an author
and the founder of two liberal
magazines. Despite the ironic
title of her 2016 novel “Why I
Am Not a Feminist,” a spirited
attack on modern commercial
feminism,
Crispin
herself
identifies as a feminist. Her
nonfiction book explains her
issues with the now popular
“soft and Disney-ified feminism”
that
has
counterproductive
effects on the type of feminism
she wishes to see destroy the
patriarchy
and
change
the
world. Crispin starts with the
general question: Are you a
feminist? From there, she draws
on her critiques of modern
feminism. With her audience
in the palm of her hand she
outlines her confident opinions
on the institutions of the current
wave of feminism that has every
female celebrity, young woman
and modern feminist hooked.
Her critiques run on the
basis that modern feminism has
become essentially pointless —
while it stands on the platform
that it will become “universal,”
it forgets that for something
to become universal it must
be accepted by all. It must
essentially be non-threatening
and ineffective for everyone to
agree with its values. In order
for feminism to recruit the
masses, it needs to be close to the
status quo — exactly what it does
not want to do. Crispin argues
that feminism should not have a
desire to change the patriarchy
we live in, but destroy it entirely
— and reshape the world.
Crispin’s first major problem
with mainstream feminism is
the way in which it has gained
popularity through the United
States in recent years. “Feminism
is trending,” she says in the first
chapter of the book. Throughout
the following eight chapters, she
explains exactly how feminism
has achieved that status. It
bothers her that feminism has
become
“fashionable”
when
creating a more equal society
has
actually
become
more
unfashionable
than
ever.
Celebrities
like
Beyoncé proudly
don the “feminist”
label and Crispin
claims
she
has
every young girl
calling herself one, as well.
According to Crispin, so-called
“feminists” are creating the
problems within feminism itself.
When
looking
back
to
the first wave of feminism,
Crispin argues that women had
universal wants and desires,
the right to vote being the one
on the forefront. With this
universal desire women were
able to accept their differences,
band together and gain this
right.
Women
were
united
under a single cause. Today,
Crispin argues, women have too
many differences for modern
feminism to work. Differences
in race, personal history, class,
location and education, among
others, make feminism today
not an institution that can bind
women together but one that can
tear them apart.
“Kill the dominant idea about
what
feminism
is,”
Crispin
wrote.
Her novel works because she
has strong opinions, a strong
central voice, an idea of exactly
what she wants and evidence
to back it up. Crispin faces this
beast knowing very well that
society will have contrasting
opinions — but she also knows
that there are people who will
pick up her words and agree
with them.
In terms of anti-feminist
literature,
this
is
one
of
the
most
succinct,
universal
and
sensible critiques
on
modern
feminism.
It
justifies
disagreeing with
modern feminism
—
even
if
this
villainizes
Crispin to every woman who
does identify as a modern day
feminist. The book is worth
the read for modern feminists
and
women
who
disagree
with feminism alike. Simply
educating oneself on another
woman’s opinions and ideas
when it comes to feminism is
something
Crispin
believes
this society lacks. Whether or
not you agree with her ideas,
Crispin’s polemic puts you in the
position to question your beliefs
and the effectiveness of the
second wave of feminism. She
makes the reader uncomfortable
and forces them to have a
conversation with themselves
about what they believe. It is
impossible to close the book and
ignore the central question of
the text: Are the current goals
and ideas of feminism likely to
create the world we search for?
“Why I am not a
Feminist”
Jessa Crispin
Melville House
February 2017
ELI RALLO
Daily Arts Writer
TV PREVIEW
The complicated, counterproductive nature of modern feminism
MUSIC RELEASE
DOMINIC POLSINELLI
Daily Arts Writer
&
BOOK REVIEW