ACROSS
1 Back (out)
4 Go by
10 Peak in Thessaly
14 Can. neighbor
15 City on the Liffey
16 Performs like
Kanye
17 Eastern seaboard,
facetiously
19 Frantically
20 Out in the open
21 Open in the
garden
22 Narrow opening
25 Unlikely to run
28 Insinuate
31 Kitchen gadgets
brand
32 Sneak attack
33 Dryly amusing
34 “More info later”:
Abbr.
37 Increase security
twofold ... and
what 17-, 25-, 46-
and 58-Across
literally do
41 Radical ’60s gp.
42 Besides
43 Scramble, as a
secret message
44 Tile container in
Scrabble
45 Write, as music
46 Secret overseas
cash stash site
52 Japanese noodle
53 Leg bone
54 Midwestern city
associated with
steaks
57 Additionally
58 What Aladdin
craved and
Jasmine wanted
to escape, in the
Disney film
63 Abbr. on a city
limits sign
64 What’s for dinner
65 Speed (up)
66 Piece of glass
67 Radical in aspirin
and vinegar
68 Spot on a
peacock’s tail
DOWN
1 Taylor Swift’s “__
Song”
2 Trident-shaped
letter
3 “You’re it!” game
4 1999 Ron
Howard satire
5 Journalist Clare
Boothe __
6 Multiple choice
choices
7 “Republic”
philosopher
8 Family gal
9 MD treating
canals
10 Postgrad tests
11 South Pacific
island nation
12 “Blazing
Saddles,” for
one
13 “Shoot!”
18 Après-ski
amenities
21 Dude
22 Herring prized for
its roe
23 Long rides?
24 Preparing to
flower
26 Handed-down
tales
27 Gas in a tank
29 Syst. with hand
signals
30 What a treater
picks up
33 “Says __?”
34 Touch-related
35 In __ daylight
36 Supplement
38 Garment worn in
HBO’s “Rome”
39 108-card game
40 Not hidden
44 Merit badge org.
46 Expensive
47 “My Ántonia”
novelist Cather
48 “Hedda Gabler”
playwright
49 It won’t hold water
50 Nick of “Hotel
Rwanda”
51 Chain with a
Smart Sense
store brand
55 __-deucey
56 Scoundrel
58 Stew
vegetable
59 Mandela’s org.
60 15-Across locale:
Abbr.
61 2000s “SNL”
notable Tina
62 Wrapping time
By Robin Stears
©2017 Tribune Content Agency, LLC
10/18/17
10/18/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Wednesday, October 18, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
5A — Wednesday October 18, 2017
Arts
The Michigan Daily — michigandaily.com
FLORIAN KOPPE
Edgefest’s second day to
feature soulful jazz shows
Day two of Edgefest will
host a wide variety of jazz
performances. Read on for
a preview of some what the
event will be showcasing this
Wednesday.
—
Jonathan
Taylor Quintet:
Mover
6:00 p.m.
An
alum
of
the
University,
Detroit-based
drummer
and
percussionist
Jon
Taylor
is
bringing
Mover
to
Kerrytown. The
composer’s band
—
consisting
of
himself,
Marcus
Elliot
(saxophone),
Michael
Malis
(piano),
Jarbu
Shahid (bass) and Molly Jones
(violin / saxophone) — is both
eclectic and improvisational.
Mover
articulates
their
rhythms
while
shifting
effortlessly
through
their
sound. Coming on at 6 p.m.,
the group is set to lead
Edgefest’s Thursday lineup.
William
Hooker
Duo
featuring Michael Malis
7:00 p.m.
Drummer William Hooker
and pianist Mike Malis (Malis
will also play with Mover) will
follow the quintet. Hooker
has been developing his music
since
the
mid-seventies.
Dramatic and intimate, he
uses tension to tell a distinctly
human tale through his work.
Malis, who’s currently getting
his Master’s in composition
at Wayne State
University,
will
accompany him.
His jazz is calmer
than
Hooker’s,
slowly escalating
to glide through
a story. They’re
different enough
that, when put
together, they’re
sure to craft a
stunning sound.
Joseph Daley
Tuba Trio
8:00 p.m.
Brought
by
Joseph
Daley’s
Tuba
Trio,
“The Tuba Trio
Chronicles” is a
dedication to Daley’s friend
and mentor Sam Rivers. It will
be performed by Daley (tuba),
Warren
Smith
(percussion)
and Scott Robinson (reeds).
Rivers was known for his
Avant-jazz style of music, and
the “Chronicles” is a reflection
of that. Daley is adventurous
in
his
sound,
one
stroke
dangerous and three strokes
heart-thumping. Set for 8 p.m.,
the Trio is guaranteed to make
for a memorable performance.
Allison Miller’s Boom Tic
Boom
9:00 p.m.
Featured on NPR’s Tiny
Desk series in 2012, Boom
Tic Boom consists of front-
gal Allison Miller (drums),
Jenny
Scheinman
(violin),
Carmen Staaf (piano), Kirk
Knuffke (cornet), Jeff Lederer
(clarinet) and Todd Sickafoose
(bass). On her own, Miller
has toured with folk-rocker
Brandi Carlile and sat in with
the 8G Band, “Late Night With
Seth Meyers”’s house band.
She’s built Boom Tic Boom’s
sound to be boastful, groovy
and really, really fun. They’re
an experienced bunch, and
it shows in their graceful
rhythms and easy flow. Playing
at 9 p.m., Boom Tic Boom will
round out Edgefest’s Thursday
night.
ARYA NAIDU
Daily Arts Writer
Edgefest, Day
Two
Kerrytown Concert
House
Thursday, October
19th
General: $45 for
the day, $15 per
concert
Student: $5 per
concert
FILE PHOTO/DAILY
Amir ElSaffar to bring
maqam to Power Center
This
Wednesday,
Iraqi-
American
trumpeter,
vocalist
and composer Amir ElSaffar will
take the Power Center stage to
perform selections from his newest
project, Rivers of Sound. With an
international,
17
musician ensemble
—
the
largest
group he has ever
led — ElSaffar is
expanding
upon
a concept that he
explored
in
his
preceding
album:
Combining
Iraqi
and Arabic maqam
music with jazz.
“This
project
is
much
more
specific in terms of
combining
these
two
elements,”
ElSaffar said in an
interview with The
Michigan Daily.
Maqam, an Arabic modal system
used in traditional Iraqi music, has
had influences and variations all
over the world, from the Middle
East to Morocco, from Turkey to
North Africa, from Central Asia
to Europe. In Iraq, however, it
is something very specific and
special, for it is part of a local
Baghdadi tradition that dates back
to the medieval era — the glory days
of Baghdad.
Similar to jazz, maqam is largely
improvisational, yet both styles use
notes and musical ideas that do not
even exist to the other. ElSaffar’s
vision of fusion continues to come
into fruition through hands-on
discoveries and experiences.
“For
instance,”
ElSaffar
explained, “in jazz you have
harmonies and chordal structures
called vertical structures that don’t
exist in Arabic music, and there
are
some
other
pitches in Iraqi and
Middle
Eastern
music
that
don’t
exist in the Western
scales. With some
research and some
digging in, we start
to discover pitches
and rhythms that
are common, and
we start to find the
universals in music
that appear in most,
if not all, musical
traditions;
these
universals have to
do with the physics
of
sound,
and
overtone
theories,
and how acoustics and sounds
behave. These are things that are
present in every musical tradition
that I’ve encountered.”
Becoming fluent in both jazz
and Iraqi music has been a life’s
work for ElSaffar. Born in Chicago
to an American mother and an
Iraqi father, his curiosity and
understanding of the importance
of exploring his own culture
urged him to return to Iraq — his
trip, coincidentally, immediately
followed September 11th, 2001.
His time in Iraq antedated
the U.S. invasion in Iraq and
commencement
of
the
war,
but only just. His experiences
overseas,
especially
during
such a politically charged time,
solidified the profundity of music’s
transcendental abilities that holds
just as much importance today.
“Only after going through that
rigorous process of fully engaging
with the music language, could I
then come to the other side and
see where the real shared essences
were,” ElSaffar said of his time
abroad. “And at that point, it really
became clear to me where the
universality of music lies, which
is in the intention, and the feeling,
and the emotion being expressed.
It’s in the ideas; the philosophical
approach to the world. It’s the
universal truths that permeate
every religious or philosophical
tradition that we encounter. We see
that the same truths emerge, but
they are cloaked in different garb.
But their essences are the same.”
“I’ve had great experiences
with UMS — I love the staff there,
as well as the auditorium and the
audiences. It’s a special place. Not
just me, but all of my musician
friends know that UMS is one of
the great presenters of music in the
country, so it’s always a pleasure to
come back,” ElSaffar said.
ElSaffar is also performing
on Friday for UMS’s production,
Written in Water with the Ragamala
Dance Company, of which he is also
the musical director and composer.
ALLIE TAYLOR
Daily Arts Writer
Amir
ElSaffar’s
“River of
Sound”
Power Center
Wednesday,
October 18th
General: $24 - $42
Student: $12 - $20
Day two of
Edgefest will host
a wide variety of
jazz performances
Read more online at
michigandaily.com
FESTIVAL REVIEW
Chicago Int’l Film Fest: Day 1
COURTESY PHOTO
Few
films
attack
humanitarian crises with the
fervor and ferocity of “BPM
(Beats Per Minute),” which
follows a group of AIDS
activists in Paris in the early
1990s. The film, directed by
Robin
Campillo
(“Eastern
Boys”), borrows equally from
the social consciousness of
contemporary
European
filmmakers and from the
large-scope examinations of
communities
by
American
filmmakers
like
Robert
Altman and Paul Thomas
Anderson.
At its center are various
members of the Paris branch
of ACT UP, an organization
started in New York to bring
attention
to
HIV/AIDS
victims with demonstrations
led by positive and negative
members
alike.
Their
lives
intersect
in
weekly
meetings, in the subway, at
demonstrations, and, in the
film’s most tender moments,
in bedrooms. The film is
bookended by two acts of
protest (with a third that
anchors the first half) — the
first, in the film’s first shots,
leads into a sort of post-
mortem to discern whether
the
protest,
which
takes
several turns, was a success,
in an all-too-rare cinematic
exploration of the efficacy of
certain protest methods; the
powerful ending largely serves
as catharsis, both for the
participants and the audience,
and its very power reveals
how much we care about
these characters, drawn not
with lazy exhibition but with
vibrantly colored actions.
Though at 144 minutes
the film’s patience combined
with its heavy subject matter
may turn some off, but this
is, ultimately, a movie about
flamboyant
20-somethings
in the Love Capital of the
World. It’s almost engineered
to be endlessly fascinating.
With a foot-tapping score
by Arnaud Rebotini of the
band Black Strobe, drawn
from the Eurobeat heard in
discothèques at the time,
Campillo’s fascination with
both the never-ending debate
over how best to achieve social
goals and the effervescent
rave culture at the time make
“BPM” a worthy watch.
“The Workshop,” the latest
film from French director
Laurent Cantet (“The Class”),
also confronts contemporary
political discussions, but lacks
the nuance and assuredness of
“BPM.” The film, co-written
by Cantet and Campillo (the
two have collaborated on a
number of films together),
focuses
on
a
writing
workshop in a small town in
southern France. There, a
diverse group of about eight
young adults collaborate on
writing a thriller, guided by
their moderately successful
novelist instructor (Marina
Foïs, “Irréprochable”).
The film starts by following
one of the students, Antoine
(first-timer
Matthieu
Lucci), who spends his days
swimming and working out.
We’re
initially
drawn
to
Antoine — the film follows him
after all — but soon we begin
to be repelled. It starts with
suggesting an Arab or black
villain in their thriller novel,
and then a casual invocation
of the 2015 terrorist attacks at
the Bataclan in Paris, which
he weaponizes against an
Arab classmate. We then see
he regularly views videos
by figures in the French
equivalent of the “alt-right.”
From there, the film shifts in
its viewpoint to the instructor,
who not so subtly confronts
Antoine for his views. At
the workshop, the students
dance around the subject,
but
Antoine
seems
ready
to play: he’s willing to talk
about the genre’s fascination
with killing, despite what he
perceives to be authors’ lack
of
emotional
involvement.
Cantet’s film wades into the
murky waters of an important
political conversation with
a mildly interesting vantage
point, splashes some water
around and gets out before
actually saying anything of
importance.
DANNY HENSEL
Daily Film Editor
Read more online at
michigandaily.com
FESTIVAL PREVIEW
CONCERT PREVIEW