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ARBOR PROPERTIES 

Award‑Winning Rentals in 

Kerrytown 
Central Campus, Old 

West Side, Burns Park. Now Renting 

for 2018. 

734‑649‑8637 | www.arborprops.com 

FALL 2018 HOUSES

# Beds Location Rent

 11 1014 Vaughn $7700

 9 1015 Packard $6525

 6 1016 S. Forest $5400

 6 1355 Wilmot Ct $5075

 5 935 S. Division $4000

 4 509 Sauer Ct $3000

 4 827 Brookwood $3000

 4 852 Brookwood $3000

 4 1210 Cambridge $3400

Tenants pay all utilities.

Showings scheduled M‑F 10‑3 

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CAPPO/DEINCO

734‑996‑1991

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ACROSS
1 Minty Derby drink
6 Shopping
extravaganza
11 ABC show for
early risers,
briefly
14 “Ditto,” more
formally
15 “Can’t win ’em
all”
16 Conniving “2001”
computer
17 Copperfield’s
field
18 Last one in, so
they say
20 Complain
22 __ extra cost
23 Banged shut
27 Cover the
spread?
28 More unsure
29 Bad thing to end
on
32 Feels lousy
33 Casual “You
game?”
34 Serious
carelessness, in
tort law
41 Westminster
landmark
42 Indifferent
responses
43 Place at the very
bottom
47 Letter-shaped
shoe fastener
49 Tablet download
50 Becomes
depleted
51 “Tickle Me” toy
52 Tries one’s hand
(at)
55 Trait of one given
to obscenities
57 Held the deed to
62 Dawn goddess
63 Naturally lit
lobbies
64 Connect with
65 Apt. divisions
66 Oyster bead
67 Reaction to the
starts of the five
longest puzzle
answers

DOWN
1 Traffic snarl
2 Mex. neighbor
3 Fall behind
4 Old U.K. record
label

5 Hand raiser’s cry
6 Fathered
7 Devious scheme
8 Campus cadets’
org.
9 Bk. before Job
10 Summer on the
Seine
11 “In the __”: Elvis
hit
12 Refrigerator art
holder
13 Climate Reality
Project chairman
19 Indian flatbread
21 Bible transl., e.g.
23 Party loot
24 Den
25 Guthrie of folk
26 __ Piggy
27 Rock climber’s
handhold
29 “Full House”
actor
30 Like a child
without siblings
31 Start of a cycle?
33 Woven traps
35 Polio vaccine
pioneer
36 Kevin Durant’s
org.
37 CPR specialists
38 Geek
39 Sear

40 Award for
athletes
43 Sailor’s jacket
44 Flowering
45 Half a rhyming
“easy to do”
phrase
46 Menthol cigarette
brand
47 Harbor helper
48 Highfalutin
50 1986 Indy 500
winner Bobby

52 Table d’__: fixed
menu
53 Mystical glow
54 Cookbook verb
56 “The Amazing
Race” prop
58 LPGA golfer
Michelle
59 Japanese tech
company
60 And more:
Abbr.
61 [Facepalm]

By Johanna Fenimore
(c)2017 Tribune Content Agency, LLC
11/22/17

11/22/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, November 22, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

6A — Wednesday, November 22, 2017
Arts
The Michigan Daily — michigandaily.com

NBC

We will jump off the roof, land on the cardboard boxes and kick flip 
Streaming & ‘The Office’

The week before “High School 

Musical” aired on Disney Channel 
was probably one of the most 
exciting weeks of the summer 
before 7th grade. It’s all any one 
of my middle school friends could 
talk about. My sister and I camped 
out in front of our old-fashioned 
box TV for an hour before with 
snacks so we wouldn’t miss it. 
In fact, the idea of missing it was 
absolutely traumatic.

Now, for the most part, I don’t 

have to wait a week to watch one 
of my favorite programs. I can get 
it instantly by logging into one 
account, 
taking 
approximately 

11 seconds. Netflix. Xfinity on 
Demand. Hulu. You name it. I want 
it, I have it. No wait, no hassle. 
And this ease has shaped the way 
consumers watch and enjoy TV.

“The Office” aired on NBC in 

2004 and has now become one of 
the most watched programs on 
Netflix. I can watch it whenever 
I want. That mindless action of 
turning it on whenever I open my 
Netflix account is the reason I have 
seen every episode more than five 
times. While there are many great, 
new exciting tv shows out there to 
watch, none of them hold onto my 
heart quite like “The Office” does.

“The Office” follows the lives 

of ordinary office workers in 
Scranton, 
Pennsylvania. 
The 

manager of the office, Michael 
Scott (Steven Carell, “Last Flag 
Flying”), is the biggest dope 

you’ve ever met, saying and doing 
unimaginable things, yet making 
me laugh appropriately. Michael’s 
loyal yet conniving number two, 
Dwight Schrute (Rainn Wilson, 
“Thom Pain”), is a strange pariah 
with a bizarre lifestyle, like living 
as a beet farmer on the side. 
Additionally, the Jim Halpert 
(John Krasinski, “Detroit”) and 
Pam Beesley (Jenna Fischer, “The 
Guest Book”) evolution never fails 
to make me tear up. (Soft, I know).

Steve Carell can successfully 

record cringe worthy moments, 
like having to tell a bunch of high 
schoolers he can’t pay for their 
college when he promised to 
or when he gets up at Jim and 
Pam’s wedding to make a toast 
about 
consensual 
sex. 
These 

moments leave me with pain and 
second-hand embarrassment. I’m 
impressed Carell could get through 
half of those scenes. Michael’s 
character is also noticeably and 
undebatably pathetic. He has no 
family of his own, and his own 
mother shits on him. Yet, his love 
for his employees is heartwarming 
but also kind of sad and creepy.

The dynamic of Jim and 

Dwight’s 
friendship/rivalry 

constantly feeds the witty humor 
of the show. Jim plays ingenious 
tricks on Dwight, like putting his 
stapler in jello or conditioning him 
to ask for a mint when he rings 
a bell. I’ve seen this scene in so 
many of my psychology classes, so 
hey, the show is educational, too. 
Sometimes his schemes are more 
elaborate. For example, he sends 
Dwight faxes from “Dwight’s 
future self” and Dwight believes it. 

Or one time he destroyed Dwight’s 
hotel room and pretended to be 
dead. Jim’s child like personality 
juxtaposed to Dwight’s stern 
seriousness makes the pair an 
irreplaceable duo.

The light, playful humor riddled 

in “The Office” makes it enjoyable 
for any audience, well, as long as 
you like to laugh. My sister and 
I have “The Office” marathons 
whenever 
I 
come 
home 
for 

breaks. It’s filled with awkward 
yet hilarious situations that have 
become the tail-end of jokes 
between my sister and myself. The 
show itself isn’t the reason why I’m 
so attached, but the sentimental 
value it has of reminding me of my 
sister amplifies my love for it.

Jim and Dwight’s frenemy 

relationship isn’t the only famous 
interaction in the show — Jim 
and Pam. Pam is engaged to a 
monster of a boyfriend, yet has her 
best friend, so obviously in love 
with her, watching it all happen. 
Jim pines over Pam, giving her a 
sentimental teapot for Christmas, 
a scene so staple in the show that 
I have seen it been as a gift in real 
life out of mimicry. Jim finally tells 
Pam his feelings, but she rejects 
him which probably made not just 
me, but everyone else watching 
want to give her a roundhouse kick 
to the jaw. It was probably one of 
the most frustrating scenes in the 
show, but thankfully, it all worked 
out for the better.

Jim and Pam fall in love, get 

OLIVIA ASIMAKIS

Daily Arts Writer

TV NOTEBOOK

How the immediacy of Netflix let’s us tap into TV obsession

COMMUNITY CULTURE NOTEBOOK
The persistence & focus 
on negativity in the arts

How the tortured artist aesthetic can be detrimental for young artists

This past week, I viewed a 

presentation of “artist’s books” 
by former Stamps School of 
Art & Design students here 
at the University. An “artist’s 
book” is a piece of art meant to 
resemble and / or be consumed 
as a book. In this case, they were 
supposed to be representative of 
the creative process. One of the 
books was an elaborate drawing 
of a tall mountain and a lake, 
presumably 
representing 
the 

insurmountable challenge and 
inevitable fall of the creative 
process. 
Another 
depicted 

string being attached to a brain, 
which is (what I assume to be) 
a depiction of creative thoughts 
being pulled out of the artist’s 
head.

While some of these books 

were more cheerful than others, 
they all explored the fear and 
anxieties that are part of the 
creative process –– none of 
these artists chose to take 
a positive view. As a casual 
observer of these works, I was 
stunned by the negative feelings 
that the creative process brings 
to these artists and the complex, 
ambiguous ways in which the 
artists tried to convey these 
feelings.

The same could be said 

of many of the compositions 
that 
were 
premiered 
this 

past weekend at the Midwest 
Composers Symposium, an all-
day event on Saturday featuring 
music from composers studying 
at the University of Iowa, the 
University 
of 
Indiana, 
the 

University of Cincinnati and the 
University of Michigan. Most 
of the pieces at this event as 
well were sad and depressing, 
with unnecessary dissonances 
giving everything a melancholy 
feel. In particular, almost all 
the chamber music that was 

premiered during the event 
was atonal almost to a fault — 
the composers were obviously 
working 
extremely 
hard 
to 

sound complicated and modern. 
Unlike many modern Serialist 
composers, these pieces were 
devoid of anything even remotely 
implying consonance. They were 
so complicated that they were 
incomprehensible.

While complex art can be 

interesting and engaging, this 
propensity toward complexity 
among 
students 
can 
stunt 

artistic growth. As Pablo Picasso 
once said, “Learn the rules like 
a pro so you can break them like 

an artist.” Without a complete 
understanding of of the forms 
and stylistic normalities that are 
being broken to make art seem 
complex, these young artists 
lack a basic understanding of 
their art forms.

At 
the 
Midwestern 

Composer’s Forum, for example, 
a quick glance at someone’s 
score showed that they lacked a 
proper understanding of meter 
and beaming — their inability to 
properly beam their eighth notes 
broke through their complex 
polyrhythmic 
facade 
and 

ruined what was an otherwise 
extremely sophisticated-looking 
score. 
Enharmonic 
spellings 

also 
gave 
way 
to 
pseudo-

sophistication with E-sharps and 
B-sharps replacing F-naturals 
and C-naturals all over the page. 
This obsession with complexity 
was also apparent among the 
event attendees: Pieces were 
repeatedly praised for their 
“interesting soundscapes” and 
uses of “extended techniques” 
instead of being praised for their 
emotional landscapes or artistic 
value.

Now this does not mean that 

all art by young composers is 
complex, or that complex art 
is bad. But the tendency for 
complex art among academic 
institutions and young artists 
can 
be 
bad, 
particularly 

considering 
the 
multifaceted 

nature of modern art. Classical 
music, in particular, has moved 
in the past thirty years away 
from an avant-garde dominated 
marketplace. Thanks to the 
work 
of 
minimalists, 
post-

minimalists, 
spectralists 
and 

neo-romantics, composers no 
longer need to compose within 
the 
serialist 
or 
post-tonal 

harmonic languages.

While some institutions have 

been able to breach this stylistic 
gap, many seem to resist this 
change. Ironic as it may seem, the 
last frontier for the minimalists 
to confront is where they began: 
Educational 
institutions 
and 

young artists. These institutions 
and the young artists that occupy 
them remain the last steadfast 
defenders 
of 
this 
complex 

aesthetic movement and all 
it stood for. To the detriment 
of their artistic growth, these 
artists remain committed to 
this 
pseudo-sophistication 

and all it stands for. Though 
it is hard to understand and 
hard to consume, complex art 
is compelling, but it is time for 
a new artistic movement to 
replace the old and for a new 
artistic standard to replace the 
complexity that currently reigns.

SAMMY SUSSMAN

For the Daily

Classical music 
has moved in the 
past 30 years away 

from an avant-
garde dominated 

marketplace

Read more at 
MichiganDaily.com

ARTIST PROFILE
A talk with Chris Bernardi 
 

on Pixar’s upcoming ‘Coco’

Bernardi discussed his new project & work as an animator

On Wednesday night, Nov. 

15, Pixar set supervisor, Chris 
Bernardi (“Inside Out”) spoke 
to a nearly full house of students 
interested in animation and 
film. 
In 
his 
presentation, 

Bernardi explained his role as set 
supervisor on his latest project, 
Pixar’s “Coco” (in theaters Nov. 
22) and debuted footage from 
animation tests and preliminary 
drawings.

“Coco” follows the young 

Miguel on the Mexican holiday 
of Día de los Muertos (The 
Day of the Dead). Miguel is a 
passionate musician and looks 
to his idol, Ernesto de la Cruz 
for inspiration, but his family 
has banned music from their 
lives since a tragic event from 
their past. “Coco” is about 
family and heritage and chasing 
your dreams. Yet, “Coco” is not 
your typical Pixar fairytale, it 
combines a rich cultural history 
and with deftness and creativity, 
constructs two worlds of epic 
proportions.

As set supervisor, Bernardi’s 

team was in charge of creating 
the universe of “Coco.” Every 
cobblestone, 
every 
building, 

every 
tree 
was 
sketched, 

modeled 
and 
animated 
by 

Bernardi’s team. The film started 
as a nugget of idea by director 
Lee Unkrich (“Toy Story 3”) in 

2011 as a fascination with the 
Mexican holiday of Día de los 
Muertos, and after multiple 
trips 
to 
Mexico, 
extensive 

research, full-time consultants 
and years of work “Coco” was 
born. 
Bernardi 
emphasized 

the importance of research in 
the film, from the food to the 
movement of the skeletons to the 
detailed ofrendas (altars built for 
dead relatives).

Bernardi said he did not know 

much about the holiday before 
the film, “We have no similar 
holiday here in America.”

Since 
immersing 
himself 

in the culture and the holiday 
he emphasized the beauty of 
“the idea of remembering your 
ancestors.” 

“At the end of the film there is 

an ofrenda and my grandparents 
are up there,” he said. Along 
with 
his 
grandparents 
are 

photographs 
of 
other 
lost 

relatives.

“We tried to do it with a light 

touch,” Bernardi added, “it is 
not a sad thing, it’s the idea that 
people come back to us. We 
remember the things that they 
loved. The idea of spending some 
time to think about them is the 
wonderful sentiment.”

Bernardi highlighted some of 

the challenges his team faced like 
the scale of the double universe in 
the film and the loose movement 
of 
the 
skeleton’s 
vertebrae. 

Additionally, most of the film 
takes place at night, which meant 

the animators needed to provide 
artificial light for every scene at 
night. Also, the team is getting 
used to new rendering program 
with 
pathfinding 
technology 

that the company acquired for 
“Finding Dory.”

When asked about his journey 

to a career in animation he 
explained, “when I started there 
wasn’t even a field, I took a long 
path to Pixar, it takes a while.”

He got interested in electronic 

music 
in 
college 
and 
from 

there he discovered animation. 
Bernardi said the leap from 
music to animation was not as 
big a jump as one might think. He 
explained that music is texture 
for the ears while animation is 
texture for the eyes. He started 
his animation adventure in 2000 
as shading technical director for 
“Finding Nemo.” Since “Nemo,” 
Bernardi has worked on such 
Academy Award-winning films 
as “WALL-E,” “Toy Story 3” and 
“Inside Out.”

Bernardi had some advice 

for all the young animators out 
there: “Work hard.”

“I did a lot of awful animation,” 

he added without shame. “They 
started off bad and I got better 
and better, keep hammering at 
it.”

It took Bernardi ten years and 

a ton of hard work to end up in 
animation

“I wish there was a magic 

bullet but sometimes it’s just 
hard work,” he said. 

BECKY PORTMAN

Daily Arts Writer

