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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

TV REVIEW

