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Showings scheduled M-F 10-3 w/ 24 hr notice required CAPPO/DEINCO 734-996-1991 HELP WANTED SERVICES SERVICES Classifieds Call: #734-418-4115 Email: dailydisplay@gmail.com 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