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Classifieds Call: #734-418-4115 Email: dailydisplay@gmail.com 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