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ACROSS
1 Place that can
precede the starts
of 20-, 30-, 36-,
46- and 52-Across
5 Spanish red wine
10 Office fill-in
14 Yours, in Tours
15 Sign up, in
Sussex
16 Jai __
17 The Volunteer St.
18 Putting the
squeeze on
20 *Company that
maintains
network
messages
22 Bygone Toyotas
25 Lets up
29 ’60s United
Nations secretary
general
30 *Apple music
player
33 Beauty at a ball
34 Ivan the Terrible,
e.g.
35 Crime family
leader
36 *Springsteen’s
ensemble
40 “Mazel __!”
42 Take a chance
43 Soft leather
46 *“My stars!”
49 Counterbalance
50 Instruments for
Yo-Yo Ma
51 Traveled like
Huck Finn
52 *Willa Cather
novel set in
Nebraska
57 Arms-around-
knees swimming
pool jump
60 Gillette brand
64 Curved molding
65 Written reminders
66 Worker finishing
an éclair
67 Invasive plant
68 Terse summons
from the boss
69 Bird that can
precede the starts
of 20-, 30-, 36-,
46- and 52-
Across

DOWN
1 __ Tuesday:
Mardi Gras
2 Chowed down
3 Potter pal
Weasley

4 Necessary
nutrients
5 Meal
6 Cross inscription
7 Baseball analyst
Hershiser
8 Kid around
9 “Not to 
mention ... ”
10 Kilt pattern
11 Inventor Whitney
12 Superhero suffix
13 Animal that can
precede the starts
of 20-, 30-, 36-,
46- and 52-
Across
19 Employed
21 Painter Édouard
22 Long sandwich
23 Versatile vehicle,
for short
24 Soil acidity
measure
26 Most mournful
27 Eclectic musician
Brian
28 Prince, to a king
30 Grenoble’s river
31 Liver spread
32 Heavenly body
34 Drop of sadness
37 Old cereal box
no.
38 To the same
extent

39 Informal “No more
talk”
40 Twitch
41 Poetic tribute
44 Low grade
45 Itinerary approx.
47 Copied
genetically
48 Fat-reducing
procedure, briefly
49 Words ending a
threat
53 Quaint lodgings
54 Bassoon kin

55 Basketball Hall of
Famer Archibald
56 Grade sch. level
57 Animal that can
precede the starts
of 20-, 30-, 36-,
46- and 52-
Across
58 Single-malt datum
59 Family tree word
61 Longhorn State
sch.
62 DVR button
63 Genesis craft

By Kurt Krauss
©2017 Tribune Content Agency, LLC
12/05/17

12/05/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, December 5, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

SALVATORE DIGIOIA/DAILY ARTS WRITER

Greta Van Fleet worthy 
of ‘Talk on the Street’

Ask any kid on campus who was 

raised on classic rock who their 
favorite upcoming artist is. I can 
almost guarantee they’ll tell you 
Greta Van Fleet.

A friend of mine recently took 

a networking trip to Los Angeles 
with a music-oriented student 
organization. According to him, 
our excitement is shared with 
record label executives and talent 
agents alike.

It may seem strange for a 

Frankenmuth-raised 
group 
of 

twenty-somethings 
to 
be 
the 

music industry’s most talked-
about newcomer. Yet, Greta Van 
Fleet has been earning endless 
attention for lead-singer Josh 
Kiszka’s unmistakable similarity 
to Led Zeppelin frontman Robert 
Plant. His twin brothers, Jake 
and Sam, contribute to the shtick 
by donning shoulder-length hair 
as they play electrifying guitar 
and bass by his side and, along 
with drummer Danny Wagner, 
they recently released a highly-
acclaimed double-EP, From The 
Fires, through Lava and Republic 
Records. Despite half of the 
project’s songs being covers, its 
accompanying tour is sold out in 
all 14 cities, including three late-
December stops in Michigan (two 
in Detroit, one in Grand Rapids) 
upon which the band will conclude 
its current United States run. 
Something about this band has 
people chatting.

On Thursday, Nov 30th, I arrived 

in Chicago for the first of this tour’s 
14 shows and rushed promptly to 
the 500-person capacity Lincoln 
Hall to assure my credentials were 
in order. Outside, dozens of gray-
haired men awaited strangers 
who 
they’d 
negotiated 
with 

online to bypass the venue’s strict 
no-scalping policy, so naturally, the 
atmosphere was plagued by their 
fatherly conversations. For two 
hours, only half distracted by craft 
beers from the venue’s tiny bar, I 
suffered through proud quips like, 
“I haven’t been this certain about 
a band since I saw The Black Keys 
play back in 2005!” Clearly, the 
crowd wasn’t new to this.

Around 
eight 
o’clock, 
the 

crowd’s eagerness was (slightly) 
relieved by opening act Skywalker 
Man, a quirky group of piano, 

acoustic guitar and brass whose 
hipster, 
whispering 
frontman 

(using an antique telephone as a 
microphone, mind you) bore an 
uncanny resemblance to Ezra 
Koenig 
of 
Vampire 
Weekend 

(particularly on “We Both Have 
Nothing To Fear”). Skywalker 
proved, quite predictably, to be 
more indie than rock ‘n’ roll, an 
ironic pick for the sole opening 
act of a band boasting retroactive 
flare. I mainly used their time-slot 
to secure a front-row spot on the 
floor. Judging from those around 
me, such indifference was far from 
rare.

An hour later, the stage was 

finally cleared for its headliner, 
the venue at its maximum (though 
miniature) capacity, with one 
spotlight dramatically illuminating 
a logo on the head of the bass 
drum: “Greta Van Fleet,” written 
in the famous font of Netflix’s 
“Stranger Things” series. As band 
members took the stage, cloaked 
in carefully-selected floral blouses 
over 
skin-tight 
leather 
pants 

that 
aesthetically 
complement 

their 1970s sound, dozens of 
photographers 
finessed 
their 

ways towards the brothers. Their 
urgency offered a fleeting symbol 
of the band’s still-promising buzz, 
yet it was outdone by the few over-
ecstatic female fans who promptly 
followed suit to plea for a glance 
from the Kishkas.

Greta Van Fleet opened with 

“Talk On The Street,” an explosive 
jam that immediately shocked the 
room awake and allowed Jake and 
Sam to flex their superstar skills 
on strings. Starry-eyed Josh stood 
calm and collected at center-stage, 
half-slouching but barely moving 
as he reached deep into his throat 
to release roaring high notes. 
His lax choreography persisted 
throughout “Black Smoke Rising” 
and “Edge Of Darkness,” the 
former (a breakout smash) earning 
such an emphatic response from 
the audience that it became 
difficult to hear him. Josh then 
offered space for his brother, Jake, 
to explode on electric guitar.

Jake’s entire body sways with 

his guitar strums, the instrument 
seeming something like a natural 
extension of his body, so it was 
hardly 
unbelievable 
when 
he 

picked it up and played it behind 
his head. The stunt offered both 
further confirmation of the artist’s 
young-Hendrix status and a razor-

sharp warning of his plans to 
be the band’s central focal point 
during performances. His brother, 
Josh, current frontman, is already 
defending the position, honing his 
emcee skills by employing weak 
humor between songs. However, 
it’s worth betting on Jake to 
become the Julian Casablancas of 
this gang — that boy and his guitar 
are one in the same.

“This song is about peace, love 

and unity,” Josh announced with a 
chuckling grin as the band led into 
their softer tune, “Flower Power.” 
When not singing, his voice is 
dry and almost unrecognizable, 
but as the song takes flight he 
adopts a lazy, bluesy drawl: “She 
is a lady, comes from all around.” 
Mere moments later, with Danny 
Wagner climaxing on the drums, 
Josh instantaneously switches to 
his shocking nasal screech that’s 
by now made the band famous: 
“Heeeeeeey! It turns to night, fire 
light.” It’s a roar in eerie parallel 
with artists who peaked well-
before his own lifetime. “Star 
shines in her eye / Make me feel like 
I’m aliiiiive!” It’s what everybody 
in the sold out crowd come out to 
hear for themselves.

Greta Van Fleet’s setlist also 

included a series of unreleased 
originals that have become staples 
of their recent performances, such 
as the extra crunchy “Mountain 
Of The Sun,” the mellowed-out 
ballad “You’re The One” and the 
eruptively rockin’ “Lover, Leaver 
(Taker, Believer).” Upon their 
completion of the latter, the band 
departed from the stage to prepare 
for an encore, their brief absence 
earning a mass beg for more, the 
audience’s chanting “Greta! Greta!”

The band saved fan favorites 

“Highway Tune” and “Safari Song” 
for last, so when they returned 
onstage, it was truly to reach for 
the night’s maximal energy level. 
Josh hit vocal peaks on the latter 
song’s introductory screams and, 
with their parents in the crowd, his 
twin brothers continued to shine 
by his side. At the drums, Wagner 
played them out in appropriately 
epic fashion.

The show concluded, and all 500 

attendees surely set out to tell their 
friends about the band they’d just 
seen — a band that sounds “exactly 
like Led Zeppelin” and is “totally 
about to blow up.” So goes the story 
of Greta Van Fleet. At least for now.

SALVATORE DIGIOIA

Daily Arts Writer

CONCERT REVIEW

Justine Mahoney’s 
make-believe creatures

1970s “Joburg,” South Africa 

radiated a restlessness that a young 
Justine Mahoney couldn’t quite 
grasp.

“Gangs of kids roamed freely 

in the streets, going up and down 
the road on skates and bikes,” said 
Mahoney to the crowd at Michigan 
Theater Thursday night. “But at 
the same time, there was a feeling 
of unease. Something wasn’t quite 
right. You could feel it.”

She didn’t know what was going 

on in her country. The agitation that 
she felt was from an environment 
that resulted from of the apartheid 
system, the forced segregation 

of Black and white people by the 
South African government.

A similar agitation haunted 

Mahoney when she tried to sleep 
at night. In her bed, she feared 
those monsters that might creep 
in through her windows and 
gremlins that threatened to crawl 
under her sheets and bite off her 
toes as she slept.

“To this day I still have a huge 

fear of something grabbing me 
from underneath my bed, but at the 
same time I also believe that it’s the 
space where your dreams collect,” 
Mahoney said. “It’s a place that I 
feel that I need to go to. It’s really 
scary, but I’m ok with that. I need 
to go there to make the work that 
I do.”

As a child, her nightmares 

contained make-believe horrors. 
As an adult, she is inspired by that 
same big imagination and childlike 
worldview to create her artwork. 
She infuses her imaginings with 
her two inspirations grounded in 
human reality: popular Western 
culture and African culture. Her 
interest in these two elements 
of culture is why the concept of 
afrofuturism is so interesting to her, 
a movement that could categorize 
the nature of her own work. Her 
artistic repertoire is comprised of 
collage and sculpture that take an 
innocent approach to exploring 
nightmarish human experiences. 
Her most recent sculpture series, 
“Tainted,” is a collection of nine 
“creatures” 
— 
make-believe 

characters who have bodies but 

ALEX SUPPAN
Daily Arts Writer

ARTIST PROFILE

are not quite human — but who 
represent very human “emotional 
and physical states … by an array of 
growths, swellings, attachments, 
and almost parasitic mutations,” as 
described on Mahoney’s website. 
Mahoney was in Ann Arbor on an 
invitation to speak on her work and 
her “Tainted” series as part of the 
Penny Stamps Speaker series.

Mahoney described cartoons 

as having become a part of her 
consciousness and “Star Wars” as 
having become a part of modern 
society’s mythology. For her, “Star 
Wars” infiltrated her imagination 
so that on her trips to Cape Town 
or the coast, “I would superimpose 
my imaginings of androids and 
robots and creatures onto the 
landscape.”

Mahoney looks to her other 

artistic source, African sculpture, 
“for the way it simplifies the human 
form to its most basic geometric 
elements, but to me it also feels like 
these pieces contain the human 
spirit, not only the human form.” 
She is especially inspired by the 
women of the Ndebele tribe, “who 
immerse themselves in design 
and painting,” Mahoney said. “I’m 
drawn two the boldness of their 
colors and geometric designs and 

where their belief systems are.”

In her own art, Justine Mahoney 

finds that, through collage, she can 
translate the image of South Africa 
— she sees through her own eyes, 
“an extremely schizophrenic place. 
It’s intense, it’s wild, it’s extremely 
exciting.” From Pinterest and old 
images she gathers motifs to create 
her collages through digital means, 
which she then categorizes into 
heads and bodies before making an 
assemblage. Mahoney described 
collaging as a very intuitive process 
she gets lost in, a process on which 
she doesn’t like to put any limits.

In a way, her work speaks to her 

and guides her through her artistic 
process. When creating a collage, 
“They’re basically telling what 
they want,” Mahoney said. “So I’ll 
take, say … a head, and the head will 
say to me ‘okay, I need this.’ And 
I’ll then find a body that kind of 
works with it.” She then uses those 
collages to guide her sculptural 
process. In the same nature as her 
collages, as she works, “the piece 
of clay is also telling me what it 
needs.”

And 
when 
Mahoney 
asks 

questions of her work, it answers. 
In speaking on “Heroine” from 
her “Tainted” series, she describes 

her inquisition with the sculpture. 
Mahoney asked of her, “‘Are you 
me?’ and she says ‘We are all each 
other,’ and I believe her.”

Mahoney’s 
first 
sculpture 

which she created for her series 
“Innocence” does not have eyes, 
and in this way, this sculpture 
based on her inability, as a child, 
to understand the situation in 
her country as she grew up. This 
sculpture is also based on a girl that 
collected money for disabilities 
that Mahoney often encountered 
on trips to the grocery store with 
her mother. At age three, she had 
a bone degenerating disease in 
her left leg that resulted in her 
hospitalization and her wearing a 
cast for a year. And so, Mahoney 
said she “completely identified 
with her. She became my best 
friend … and I based all my work 
on her.”

It is innocence, faith and trust 

in humanity — those childlike 
qualities — that are essential to 
Mahoney’s work. She believes that 
children are those most suited to 
handle the situation of dealing with 
what is alien in life, and it is their 
approach to life that inspires her 
exploration of humanity through 
collage and sculpture.

‘Search Party’ returns

If season one of “Search Party” 

was about evading responsibility, 
season two is about facing it head 
on. The elaborate 
string of clues that 
led the gang to 
Montreal ends up 
being a complete 
waste 
of 
time. 

Chantal is found 
to be unharmed, 
recuperating 
in 
her 
friend’s 

summer home after she and her 
love fell out. That’s the entire gag 
— surprise! Everything is fine! 
Except, really, it’s not. Moments 
before Portia (Meredith Hagner, 
“Younger”) cries out “I’ve found 
Chantal!” Drew (John Reynolds, 
“Stranger Things”) and Dory (Alia 
Shawkat, “Arrested Development”) 
are bludgeoning someone in the 
kitchen of the house. In a great 
twist, the real intrigue of “Search 
Party” starts at the end.

We find our heroes at the 

beginning of season two reeling 

with the sudden course of action 
that has taken place. Dory has 
cured her obsession to find Chantal 
— has been able to maintain 
some personal distance from it. 
Sure, she is ardent in her quest to 
find Chantal’s whereabouts, but 

Dory feels no real 
attachment to the 
girl. Her passion 
project 
has 
led 

her to become an 
accessory 
in 
the 

murder of Keith 
(Ron 
Livingston, 

“Dice”). 
Shawkat 

brings everything in 

post-murder Dory to life, from little 
tics of the eyebrows and lips to an 
uneasy wavering in her voice.

One of the greatest strengths of 

“Search Party” is its ability to keep 
you guessing, yet still satisfying that 
urge for thrill, pause or resolution 
at any given moment. For example, 
viewers were obviously looking for 
an brutal end to the Chantal arc, 
which they get in the form of Keith’s 
murder. Viewers also get to observe 
the shifts in character and the 
coping mechanisms of Dory, Portia, 
Drew and Elliott (John Early, “The 

Disaster Artist”) by forcing them 
to respond to a huge event they’ve 
perpetrated themselves.

“Search Party” is a visual 

spectacle, telling story with scene 
and color as it does with narrative. 
Dory, Drew and Elliott sneak off to 
a recording studio in the basement 
that somewhat resembles “Twin 
Peaks” Black Lodge in its red, 
black and white color scheme and 
isolation. It’s the perfect setting for a 
reckoning with a surreal encounter. 
Elliott wears a jumper with an 
impression that reads “ANYHOW,” 
which adds a layer of visual irony 
since none of the characters can 
afford to act so nonchalant.

The protagonists of “Search 

Party” join the league of other 
characters that are made by 
their mistakes. They are like the 
women of Lena Dunham’s “Girls”: 
self-centered, 
egotistical 
and 

manipulative. Only in this series, 
the stakes are higher and the 
characters are brought together by 
an intense secret. 

JACK BRANDON

Daily Arts Writer

TV REVIEW

“Search Party”

Season 2 Premiere 

Sundays at 9:00 

p.m.

TBS 

Read more online at 
michigandaily.com

6 — Tuesday, December 5, 2017
Arts
The Michigan Daily — michigandaily.com

