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# Beds Location Rent
11 1014 Vaughn $7700
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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