FOR RENT
3 & 4 Bedroom Apartments
$2100‑$2800 plus utilities.
Tenants pay electric to DTE
Showings scheduled M‑F 10‑3
w/ 24 hour notice required.
1015 Packard
734‑996‑1991
5 & 6 Bedroom Apartments
1014 Vaughn
$3250 ‑ $3900 plus utilities
Showings scheduled M‑F 10‑3
w/ 24 hour notice required
734‑996‑1991
ARBOR PROPERTIES
Award‑Winning Rentals in
Kerrytown
Central Campus, Old West
Side, Burns Park. Now Renting for
2018.
734‑649‑8637 | www.arborprops.com
CENTRAL CAMPUS
7 BD furnished house, LR, DR, 2
baths,kitchen fully equipped, w/d,
int.cable, parking 4 ‑ 5. MAY to
MAY. Contact: 706‑284‑3807 or
meadika@gmail.com.
FALL 2018 HOUSES
# Beds Location Rent
6 1016 S. Forest $4770
4 827 Brookwood $3000
4 852 Brookwood $3000
4 1210 Cambridge $3180
Tenants pay all utilities.
Showings scheduled M‑F 10‑3
w/ 24 hr notice required
734‑996‑1991
HELP WANTED
DOMINICK’S NOW HIRING
all positions FT/PT. Call
734‑834‑5021.
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 #1
7 #2
14 Crone
15 Sarajevo citizen
16 Gets to
17 Settled down
18 Merry, in Metz
19 Prog. formally
reinstated at
Harvard in 2011
21 Hotel experience
22 Sturdy trees
24 #3
26 #4
29 Future D.A.’s
hurdles
31 Future salmon
32 Troubles
33 Belg. locale
35 Travel guide
listing
37 #5
38 It’s a bit more
than it sounds,
and hints at this
puzzle’s theme
41 #6
43 MS-__
44 Party bowlful
45 Goddess usually
depicted holding
an ankh
46 “M*A*S*H” rank:
Abbr.
48 Some
archaeological
sites
52 #7
53 #8
55 Pique-nique
setting
56 Karate training
site
59 Lose steam
61 __ Speedwagon
62 Becomes more
complex
65 High-tech med.
procedure
67 Police actions
68 Speak well in
public
69 #9
70 #10
DOWN
1 Most of the
periodic table
2 __ Thule: distant
place in
medieval
geography
3 HHS agency
4 Sunny
5 “You are!” retort
6 Argonaut known
for wise counsel
7 Cookout fare,
briefly
8 Awaken
9 “Ya think?”
10 Fit-for-service
designation
11 Urban design
12 “Some __ meat
and canna eat”:
start of the
Selkirk Grace
13 Conclusion
14 #11
20 #12
23 Lifts
25 Have an
inclination
27 Variety
28 Language suffix
30 Czech composer
Josef, son-in-law
of Dvorák
32 Frozen treat
34 Like half of
Poland’s flag
36 Silent assent
38 Horse racing
accessories
39 Ex-quarterback
Tony
40 Clearasil target
41 Cookout morsel
42 Brutus Buckeye
is its mascot:
Abbr.
47 Really pumped
49 __ Aurelius,
second-century
Roman emperor
50 What a sprinter
might run out of
51 #13
53 “__ know you?”
54 Musical nonsense
syllables
57 Intl. energy group
58 Bach’s “__, Joy
of Man’s
Desiring”
60 Hugh Laurie’s
alma mater
62 Unit of hot
mustard, for most
63 NW Penn. airport
64 Aircraft in the
Smithsonian Inst.
collection
66 Chem., for one
By Jeffrey Wechsler
©2018 Tribune Content Agency, LLC
02/09/18
02/09/18
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Friday, February 9, 2018
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
When the curtain rose, a huge
swell of anticipation pushed me
up to the edge of my seat. When
the curtain rose, the whole world
seemed to be poised upon the
stage. When the curtain rose,
I was mesmerized until the
final curtain fell. Unceasingly
captivating, the students of the
University’s
Department
of
Dance delivered a performance
of innovation and beauty, adding
their own mark to the modern
dance world.
Global guest choreographers
Ohad Naharin and Shannon Gillen
were brought in for this special
performance and collaborated
with faculty members Missy Beck
and Sandra Torijano to produce
four outstanding and unique
pieces in “Dancing Globally,”
which
was
performed
last
weekend.
It began with over 20 dancers
dressed in black suits and top
hats standing perfectly still in a
semicircle stretching across the
stage. Consisting of excerpts from
“Kyr” (1990), “Anaphase” (1993)
and “Mabul” (1992), the piece
was intimidating and powerful
— all heads slightly bowed and
shadows cast across their faces.
Slowly sitting only to spring into
action, dancers bellowed chants
in sync, then jerked and twisted
every which way — a wave of
motion oscillating across the
semicircle, ending with the last
dancer plunging to the floor. This
sequence of sitting, screaming,
synced movement and rises and
falls
repeated
several
times,
building a tension that hovered
over the audience.
I felt like I was on the stage,
screaming with the dancers,
jolting with them. When they
began to fling off articles of
clothing — hats, shoes, jackets,
pants — I wanted to as well. I
wanted to join them in removing
all that weighs me down, all
that contributes to my own
conformity. Starting in full suits
and ending in muted tanks and
shorts, they seemed free from
something. I wanted to be free as
well.
The beauty of modern dance is
that it is made to be interpretive.
I see a completely different story
than my neighbor might see.
Interpretations are free to move
and shift just as much as the
dancers across the stage. Ideas
are not confined because dance
is not limited to words. To me,
dance is bigger than words: It is
movement.
The first piece ended with a
gripping duet between a girl and a
guy, telling a story of a contrasting
relationship. Defying gravity and
logic, the two moved together as
one strong entity as their bodies
intertwined,
separated
and
glided across the stage. It left me
feeling conflicted, at once in awe
of their fluidity and emotional
over the confusing state of the
relationship.
The curtain opened to the
second
piece,
“Vox”
(2018),
what seemed to me to be an
innovative social commentary on
the working class. The stage was
extremely bare, wings were open
and costumes were minimalistic
and monotoned. Each dancer had
their own gray long sleeve shirt,
used as a prop to scrub the floor,
sliding it across their body and
playing off other dancers.
I wish I had three extra pairs
of eyes to watch this piece. A
large group of dancers — many
moments consisted of several
story threads in small groups of
one, two or three dancers. And
each thread was fascinating;
each one conveyed some kind of
relationship between the dancers,
some kind of struggle or success.
They moved like a school of
fish, flowing from one side of
the stage to the other, tossing
up individuals to be caught in
the air. Perhaps it mimics how
the working class supports each
other, yet watches and follows the
crowd. They are the social class
that scrubs floors; a class confined
to itself yet also surviving by itself.
A steady thud, thud, thud,
thud — that is how the third
dance, “Fall(s)” (2018) began.
The stage was dark, and the noise
was a mystery. My eyes slowly
adjusted to make out some shapes
spread across the stage. The
whole audience concentrated on
the noise. Lights go on, and the
dancers jumped in sync. The
thud was not singular; the ball of
the foot hit just before the heel,
creating a double thudding sound
that lulled one into hypnosis. Like
the first two pieces, the theme of
conformity was very present as
the dancers started in sync and
quickly fell out of the jump one
by one. An Asian influence was
seen in the costumes wrapped
in bright colorful strips of cloth
and the flowery backdrop with a
shower of running water behind
it.
The
finale,
“Minutus
Luminous” (2018), had the most
ambiguous storyline of the night.
But I found it amusing to make up
a story as it progressed, letting
it shift and change to match the
movement. I saw a futuristic
world of people dressed in ragged
clothes, giving the impression of
some kind of apocalypse or era of
despair. Beautiful solos, duets and
groups shined in this piece. Their
fluid motion carried through
time and space, playing with and
against the music, leaving each
leap, each wide gesture, each
throw suspended in the air.
Across the performances, the
most pronounced style was Gaga.
The way I have experienced Gaga
is very meditative; it focuses on
feeling of the movement through
your body, hearing the movement
in your bones, texturizing your
very skin as soft or thick as you
move. Watching the performance,
I could see the dancers exercising
these
ideas;
sometimes,
the
movement
appearing
to
be
coming from outside their body
and other times the movement
rose from the center of their body,
flowing outward.
Gaga is wild, yet defined with
clarity, sharply contrasted with
the common theme of conformity
in “Dancing Globally.” When the
curtain fell, I was filled with pure
admiration. Yet, I was also left
with the idea of nonconformity,
of setting myself apart as an
individual. Modern dance is
an outlet for one’s voice, for
opinions, for ideas; it is anything
but the same. Really, I cannot
even give modern dance an exact
definition. It is what it wants to be
in that singular moment, making
it a wonder to watch every second.
‘Dancing Globally’ brings
innovation in captivating
Gaga-style performances
FALLON GATES
Daily Community Culture Editor
COMMUNITY CULTURE
NETFLIX
Even as a fan of the series, I have
to admit that the best part of the
so-called “Cloververse,” a series
of loosely connected sci-fi horror
anthology films produced by J.J.
Abrams (“Star Wars: The Force
Awakens”), is the marketing. The
first entry, “Cloverfield,” dropped
a cryptic trailer that showed only
the release date and hinted at
the found-footage monster flick
premise with the unforgettable
shot of the decapitated Statue of
Liberty. Eight years later, a movie
shot under the name “Valencia,”
was revealed by its first trailer
to be a sequel with the title “10
Cloverfield Lane” just a month
before its release. And during
Super Bowl LII, the first preview
for the third chapter in the series
aired, revealing not just the title,
“The Cloverfield Paradox,” but
that it would be dropping on
Netflix
immediately
following
the game. It’s undeniably fun
marketing, but in this case, it
has the unfortunate side effect
of overshadowing the lackluster
movie advertised.
Before it descends into dull
set pieces in its second half, “The
Cloverfield Paradox” begins quite
strong. The opening 45 minutes
are smartly paced, have the feel of
something new enough to excite
yet familiar enough to relate to
and best of all, doesn’t rely on
jump scares to communicate its
atmosphere. It asks intriguing
questions not just about the
direction of its own story but
about the place of that story in the
greater universe.
It’s when it tries to answer those
questions that everything falls
apart. True to its title, the more
“The Cloverfield Paradox” tries
to explain the strange happenings
that plague the crew of Cloverfield
Station, the less sense it makes.
Likewise, the more viewers try
to go down the rabbit hole of
understanding the movie, the
less enjoyable it becomes. It never
reaches the heights that it does in
the “‘Alien’ meets ‘The Shining’”
mash-up of the first act. There’s an
attempt to fix the monster-sized
plot holes by having characters
state more than once that logic
does not dictate the events of the
film, yet it then continues to still
try to explain them away.
The argument will be made
that the unintelligibility of the
plot is a byproduct of cramming
an existing script into a universe
it wasn’t built for, but I’m not sure
how true that is. “The Cloverfield
Paradox” is a mess even without
the subplot that loosely retells
the events of the first film from
a
different
perspective.
It’s
pointless, but it’s also about the
only thing in the movie that leads
to any sort of payoff for fans.
The only unwavering beacon
of light that stands throughout
the entire runtime is Gugu
Mbatha-Raw’s (“Miss Sloane”)
performance. From beginning to
end, she is positively electric and
communicates the humanity that
the rest of the movie is missing.
The
decisions
her
character
makes don’t always make sense,
but she commits to the material
and the resultant turn is well
worth it. Chris O’Dowd (“Molly’s
Game”) is a welcome presence as
well, and the levity he brings to
the proceedings makes even the
most senseless scenes somewhat
enjoyable. The single best line of
the movie belongs to him.
Unfortunately,
balancing
their work is Elizabeth Debicki
(“Guardians of the Galaxy Vol.
2”) who somehow goes the entire
movie without emoting once. It’s
another case of either a director
or
a
performer
misreading
“emotionless”
for
“creepy,”
and it results in moments that
could have been moody falling
completely
flat.
The
internal
struggle her character undergoes
could have been interesting with
better treatment, but like the rest
of the cast and the story, she too
eventually falls prey to a critical
lack of common sense.
‘Cloverfield’ is inconsistent
JEREMIAH VANDERHELM
Daily Arts Writer
Read more online at
michigandaily.com
Courtesy of SMTD
Courtesy of SMTD
FILM REVIEW
6 — Friday, February 9, 2018
Arts
The Michigan Daily — michigandaily.com