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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
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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