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March 16, 2018 - Image 6

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Classifieds

Call: #734-418-4115
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ACROSS
1 Fifth pillar of
Islam
5 Puts on a patch,
say
9 Intestinal tract
division
14 Moises of the
2002-’04 Cubs
15 Card in a baby
straight
16 Playground retort
17 *Prepares to
pass the football
19 Butyl acetate,
e.g.
20 Graphic novel
artist
21 *Baseball
position
23 Is connected
25 Water__: dental
brand
26 Curator’s deg.
27 Word with idea or
luck
28 Gaucho’s
weapon
31 Schmoozing sort
33 Hardy heroine
35 Sweeping
37 Shocks, in a way
38 *Strokes in tennis
41 Uppity sort
44 Hospital fluids
45 Hair adornments
49 Aerobic regime,
familiarly
51 Many a Black
Friday worker
53 Casual negative
54 First __
55 Two-timer
57 100 percent
59 *Basketball
strategy
63 Big haulers
64 Comedic pianist
Victor
65 Fair play? ... or
the key to
understanding
the answers to
starred clues
67 “Sneak Previews”
co-host
68 Niagara Falls
source
69 Empty
70 Pranks
71 It may be
payable monthly
72 Bodily passage

DOWN
1 Natural
environment
2 Amino acid used
in protein
biosynthesis
3 Derby VIPs
4 Diner devices,
familiarly
5 Orch. section
6 Piccadilly Circus
statue
7 Turned on the
waterworks
8 Network admin
9 One of many
seen at the
NCAA’s Frozen
Four
10 Mascara target
11 Puts to rest
12 Cover charge
relative
13 Pestle partners
18 Smidgen
22 Barnyard rooter
24 Stellar
phenomenon
29 Fellows
30 Corporate
machinery, e.g.
32 Caustic remark
34 Like racehorses

36 Went like
racehorses
39 Modern concert
conveniences
40 Mae West
persona
41 Crossed a picket
line
42 Capital east of
Lake Victoria
43 Requested at a
drive-thru
46 Primer application

47 Wagner’s
“Die __”
48 Lawyer to avoid
50 Clumsy one
52 Big cat
56 Old hat
58 Religious leader
60 Prefix with
industry
61 Unwavering
62 Salt Lake daily,
familiarly
66 Realize

By Roland Huget
©2018 Tribune Content Agency, LLC
03/16/18

03/16/18

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Friday, March 16, 2018

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

Who would have thought that

the rather inconspicuous murder
of a pizza delivery guy could spark
a lengthy investigation into the
British intelligence bureau and
government? As isolated as those
two occurrences may seem, it is
their camouflaged connection that
immediately becomes the premise
of the joint BBC and Netflix crime
procedural “Collateral.”

The
first
episode
of
the

four-part series starts out on a
seemingly unspectacular note,
as delivery driver Abdullah (Sam
Otto, “The State”) is chosen —
notably last minute — to drop off
a pizza at a London apartment. It
isn’t until he is murdered in cold
blood on his run that this appears
to be a more carefully calculated
death scheme than a random
driver swap. From that moment
on, the show picks up the pace
and delivers a couple of knockout
performances

particularly

that of Carey Mulligan (“The
Great Gatsby”) as Kip, the chief
investigator of the case.

Mulligan, in a role unlike many

of her usual prim and proper
characters,
is
focused,
hard-

hitting and inexplicably composed
as Kip. After all, she reveals
that this small-town homicide
has hate-crime written all over

it. Syrian refugees living in a
garage, Abdullah and his sisters
are not only poor and desperate
for financial assistance but also
are facing some more global
implications:
immigration
and

human-trafficking victimization.
Even
though
the
story
of

“Collateral”
isn’t
necessarily

focused solely on her, Mulligan
manages to give the series some
much
needed
stability
when

subplots become overly complex
and cluttered. She is both easy
to follow as a character and
compelling to watch as an actress.

With so many different parties

being involved in the planning,
execution
and
aftermath
of

Abdullah’s murder, “Collateral”
quickly becomes swamped with
storylines.
The
cursory
cuts

between the British government,

police force and military angles
were not only visually dizzying
in their abruptness, but also made
it difficult to stay on top of the
sequence of events. While it is a
intriguing twist to, for once, take a
crime drama out of the traditional
police station and interrogation
room and introduce it to the world
stage, there was just way too much
going on.

As muddled as “Collateral”

gets, its eclectic music selection
remains a refreshing constant and
adds some charisma to the most
lackluster of scenes. Songs from
the likes of Van Morrison to Queen
to British reggae-rapper Stefflon
Don brought rhythm to the dense
rhetoric and, at times, stole my
attention completely.

In an attempt to make a political

commentary on Brexit, Britain’s
state of immigration laws and the
inconsistency of law enforcement,
“Collateral” loses its sense of self
as a procedural and wades into
unchartered territory. On paper,
a crime series that tones down
the mystery and emphasizes the
deceitfulness of social institutions
has the potential to really make a
statement, but not if its plot is as
loose and convoluted as this one.

6 — Friday, March 16, 2018
Arts
The Michigan Daily — michigandaily.com

CONCERT REVIEW

There’s an age-old air of humor

that surrounds the melodrama
of high school — crushes, flings,
friends
who
aren’t
friends

anymore,
underage
drinking,

prom, etc. High school, frankly,
is a clusterfuck for more people
than not, and, unfortunately for
me, I fell into the category of
clusterfucked-kid-turns-to-emo.
Out of all the bands I listened to
in high school, including more
pop punk than is possibly healthy
for any individual, few bands
have stuck with me into my 20s
the way Sorority Noise has, and
I’ll always be grateful for the
lyrics and chords that screwed
(and continue to screw) my head
on straight whenever I feel like
drowning.

This
past
Saturday,
with

support from Remo Drive and
Foxx Bodies, Sorority Noise
played their last Michigan show
to a sold-out crowd before going
on hiatus. Their final run of
dates will be opening up for The
Wonder Years on their UK run
in April, and while this news
comes as a sharp sting to the fans
they’ve moved through the past
few years, it was a bittersweet
opportunity to reflect — during
and after the show — on just how
important this band was to so
many people and to normalizing
conversation
around
mental

health and suicide.

There’s
truly
no
way
to

describe in words the reaction a

Sorority Noise crowd has when
frontman Cam Boucher belts
over the explosive chorus of
hit single “Using”: “I stopped
wishing I was dead / Learned
to love myself before anyone
else / Become more than just a
burden!” It was a group effort
at
catharsis,
invisible
wires

threading the crowd into an
amalgamation
of
continual

self-improvement. I’ve shared
smiles with more strangers at a
Sorority Noise show than I have
anywhere else in my entire life,
experiencing joint happiness in
knowing that a pop-emo band
was doing more to make us feel
alive than anything else.

Regardless of the emotionality

of the band’s music, there’s also
no denying that the individual
musicians that make up Sorority
Noise are incredible. Guitarist
Adam
Ackerman’s
scattered

solos pierce through the tight
punk harmonies and light up the
crowd; Boucher’s vocals range
from tender croons to shrill
screams (often all within the
course of one song); drummer
Charlie
Singer
and
bassist

Ryan McKenna deftly undercut
the
melodies
with
sporadic

arrangements. At a Sorority
Noise show, it’s impossible to
not feel every little detail poured
into their music. During their
performance of Joy, Departed’s
“Your Soft Blood,” the band
showcased this talent, ripping
through the grunge cut with
intense animosity that silences
the room by its final line: “Don’t
chalk me up to anything less than

sin.”

This is the magic of Sorority

Noise — a band with the ability
to write insanely good hooks and
lyricism that doesn’t shy away
from topics that are difficult to
hash out. Each of their three
records and multiple EPs tackles
the difficult facets of existing in
today’s world — the pervasive
problem of mental health, suicide
and substance abuse, to name a
few. Sorority Noise let us know
that it’s OK to struggle and mess
up, but they also taught us the
importance of self-love and self-
forgiveness. Boucher even went
so far to take time in between
songs to give a few words of
kindness
and
encouragement

to his fans, saying of the band’s
departure, “In the meantime,
please take care of yourselves.”

A band like Sorority Noise

doesn’t
come
around
too

often, and during their encore
performance
of
“Art
School

Wannabe,”
I
was
reminded

of their unique appeal. The
song encapsulates the band’s
best
qualities;
their
upbeat

tempos,
honest
lyrics
and

tight instrumentation all come
together to make a perfect song
about understanding yourself at
your worst. It’s a joy like no other
to sing, “I might not be as dark as I
think,” in a sweaty mosh pit with
like-minded
individuals.
And

for their music, their activism
and obviously their therapeutic
performances, we owe Sorority
Noise our utmost appreciation
and can only hope to see them
back soon.

Sorority Noise delivers a
phenomenal final show

DOMINIC POLSINELLI

Senior Arts Editor

“Collateral”

Netflix

DOMINIC POLSINELLI / DAILY

CLASSICAL MUSIC COLUMN

Last
weekend
something

very special happened at the
Ypsilanti Freighthouse. Built
in 1878, the old building down
by the tracks was never meant
to host the sort of event it was
home to throughout Saturday
and Sunday, but times change
and fortunately for us someone
had the foresight to change the
structure’s uses with it.

I’m talking, of course, about

Threads
All
Arts
Festival,

which, if you haven’t already
heard, is perhaps one of the
most exciting cultural events
to happen in the greater Ann
Arbor area in recent memory.
The brainchild of a motley crew
of 20-somethings mostly out of
the University, the festival first
appeared in 2016 as a collection
of performances and various
other
arts
presentations
in

Ann Arbor’s Yellow Barn. Now,
Threads is back, bigger and
better than ever.

When I talked to one of

the festival’s founders, Nicole
Patrick, before the first iteration
of the event in 2016, I initially
had no idea what a wonderful
thing was about to happen. But
through what appears to be
sheer force of will, a fair bit of
funding through various sources
like the School of Music, Theatre
& Dance’s EXCEL program and
a great deal of talent on the
part of the artists involved in
the festival, the Threads team
has been able to pull together
an event that places the focus
on one of the most important

elements of creative culture
today: local art.

All artists start local. That’s

just how it works. And the
ones who end up going beyond
that, those who reach larger
and larger audiences, usually
have some sort of backing from

their community, whether it’s a
dedicated fan base, some form
of funding or a combination of
both. This sort of relationship
is helpful to more than just
the artists — it takes on a
symbiotic nature fairly quickly,
strengthening
both
the

individual artists and the larger
public.

“We really believe that the

community will feel stronger
connections to the place that
they live if they are also aware
of the artists who live here,”
Patrick told me in 2016, and I
certainly agree. But the value
of
Threads
extends
beyond

more than just fortifying the

bonds between artists and their
community. To me, the festival’s
most exciting aspect is perhaps
the integration of art from
all manner of backgrounds.
This column is supposed to be
about classical music — and
it is, obliquely — but Threads
incorporates
things
from

everywhere. The walls of the
Freighthouse were host to a
variety of visual art, including
multimedia presentations, and
in various parts of the building
people could stop by performers
reciting
poetry
or
playing

music. Throughout the festival’s
two days, there were rockers,
jazz players, dancers, rappers,
funk players and (here’s the
justification for this column)
classical musicians.

And here’s the thing: The

same audience was there for it
all. And sure, the sorts of people
who buy a ticket to something
billing itself as an “all arts
festival” are probably going to
be fairly open minded when it
comes to their artistic tastes, but
nevertheless I feel it’s important
to talk about how if classical
music wants to reach a broader
audience this isn’t a bad way to
do it. The same group of people
who danced to a compelling
performance by Louis Picasso
and the Gallery on one night
listened intently to Grey Grant
and the Front Porch ensemble
perform original compositions
out of the classical style the very
next day.

While I enjoyed everything

DIY, arts festival edition

I heard at Threads (though I
sadly didn’t hear as much as
I would have liked, due to my
prohibitively
busy
schedule),

the latter performance deserves
singling
out.
An
emotional

journey inspired by the ecology
of Mich. in bygone years, Grey
Grant managed to craft a work
that is moving, evocative and,
by the end, exhausting (in the
best sense). Their feeling for
drama and flow led the listener
along without ever seeming
to, and the members of Front
Porch executed the at-times
demanding music with precision
and nuance. (Full disclosure:
Grey is a dear friend of mine, as
are the members of Front Porch,

two of whom I live with and all
of whom have played my own
music — which is to say that I
am in no way unbiased in this

matter).

But the point isn’t that I felt

these things. It’s that, judging
from the reaction of the audience

(a standing ovation), everyone
else felt them too. And that’s
how you expand the genre. You
give people something concrete
and meaningful to grab onto.
You give them a reason to
want to listen. You don’t ask
them to drag themselves out
to the concert hall for another
rendition of Beethoven, or to a
glamourous night at the opera.
Let them see the composer and
let them wear blue-jeans. Let
them eat food from the venue’s
vendors while they enjoy the
performance. And if you do
nothing else, please — please
— help break down the walls
separating classical from the
rest of the music world.

‘Collateral’ is convoluted
and accomplishes nothing

MORGAN RUBINO

Daily Arts Writer

DAYTON

HARE

Now, Threads is

back, bigger and

better than ever

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