6A — Friday, October 25, 2019
Arts
The Michigan Daily — michigandaily.com

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By David Alfred Bywaters
©2019 Tribune Content Agency, LLC
10/25/19

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

10/25/19

ANSWER TO PREVIOUS PUZZLE:

Release Date: Friday, October 25, 2019

ACROSS
1 Bewildered
6 Public row
11 Friend
14 Missouri tribe
15 Lake that 
ultimately feeds 
8-Down
16 “__ we good?”
17 Bingeing on 
chicken pieces?
19 Meadow
20 Vote against
21 Employee’s 
request
22 Tale of Achilles 
and Agamemnon
24 Tasting room 
container
25 Soon, to a bard
26 Roman 
naturalist’s 
baseball-playing 
namesake?
33 Climbing and 
passing places
34 Preserves, in a 
way
35 “Hooray!”
36 Inch, e.g.
37 Source of 
the fairy-tale 
sequence that 
creates four long 
puzzle puns
39 Interlaced
40 Executive gp.
41 Chart entries
42 Tailed orbiter
43 Prize coveted by 
competitive trees?
47 Negotiate a green
48 Echelon
49 Airport conveyors, 
or what are 
sometimes placed 
on them
51 Wispy clouds
53 Spanish she-bear
56 __ Today
57 Sports Officialdom 
Illustrated cover 
image?
60 Apple product
61 Superficial
62 Boredom
63 Take to court
64 Is crowded (with)
65 Falls from the sky

DOWN
1 Low
2 Nearly 9% of 
Earth’s surface 
area
3 Half-baked
4 Chicken producer

5 Pays a share of
6 Arab leader
7 Subjects of bovine 
mastication
8 Lake ultimately 
fed by 15-Across
9 Denial from 
Denis
10 Auto mechanic’s 
concerns
11 Pop or tot, e.g.
12 Bailiwick
13 Heavy metal
18 Right on the map
23 Web prefix with 
cat
24 Tech review 
website
25 “__ Nobody’s 
Business”: blues 
standard
26 Assess the depth 
of
27 “Blue Sky” Oscar 
winner
28 Where everything 
should be
29 Online money
30 Ventilation source
31 Roof edges
32 “I can’t go all 
my life waiting 
to catch you 
between 
husbands” 
speaker

37 Donation
38 Big comm. 
company, once
39 __ load
41 Trendy 
nightclub
42 Pine, e.g.
44 Son of 
Akhenaten
45 Box score 
statistic
46 Gambling 
game involving 
matching cards

49 Borrows 
without 
returning
50 Jacob’s brother
51 Dove home
52 List part
53 Hyatt 
competitor
54 Like a web
55 Sale warning
58 Tint
59 Duessa’s foe in 
Spenser’s “The 
Faerie Queene”

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HELP WANTED

HELP WANTED

Raise the ruff!
It’s Friday!!!

Kero Kero Bonito is on a hot streak. The British indie-
pop trio has spent the last year radiating big suburban 
energy with the nostalgic Time ‘N’ Place, and has since 
widened their sights with Civilisation I, dropping right 
before their North American tour. If Bonito Generation 
was a celebration of inner childhood cheer and Time ‘N’ 
Place was a reflection of early-adulthood melancholy, 
Civilisation I is a grimdark mourning of society’s 
imminent implosion. I can think of no better tunes to 
get down to in Detroit than KKB’s new über-doomer 
anthems.
It’s the night of Oct. 16, and I stroll into the Magic Stick 
with my concert companion. For some reason venue 
security is not taking shit from nobody tonight. The box 
office is past the security check, so I get big X’s magic 
marker’d onto both my under-21 hands and get badgered 
for my camera bag before finally getting a press ticket and 
entering the venue.
The 
concert 
opens 
with 
a 
performance from 
Negative 
Gemini. 
She’s 
only 
got 
30,000 
monthly 
listeners on Spotify 
but the crowd is 
dancing like she’s 
got 30 million. This 
is a testament to 
the loveliness of her 
groovy electropop. 
It’s 
genuinely 
dreamy 
and 
I 
contemplate getting 
some of her merch 
(it 
looks 
pretty 
cool).
Between 
performances, 
I 
nervously inch my 
way through the 
tightly packed crowd, hoping to get a picture when the 
band comes on. But I’m shy and I’m nervous and this is my 
first time trying photo coverage so I stop before getting 
to the front row. I don’t want to take space from the 
superfans who probably lined up long before the doors 
opened to secure their spots. A group watches me fumble 
with my camera, trying to find a good angle between the 
shoulders of two people much taller than myself, before 
motioning for me to fill in between them. They are all full 
of smiles and encouragement for my concert coverage as 
the band takes the stage.
In addition to their core members — Sarah Bonito on 
vocals, Gus Lobban on keys and Jamie Bulled on bass — 
guitarist James Rowland and drummer Jennie Walton 
join the band’s live performances. Except for Sarah, the 
band enters the stage to a steady roar. 30 seconds later, 
Sarah saunters in to the tune of hundreds of screaming 
fans. It suddenly occurs to me that I forgot earplugs. I 
think I need them more for the screaming than the music.
The show opens with the foreboding bopper 
“Battlelines” and the world is indeed ending, so we have 
every reason to get down. At any given moment there is 

also good reason to scream, cry, laugh or all three at once. 
Sarah holds a stuffed flamingo as she raps “Flamingo,” 
waving it tauntingly over the crowd. Another stuffed 
animal graces the stage, this time a crocodile during 
“Pocket Crocodile.” Gus, rocking a Bob Evans baseball 
cap, is full of goofy quips and banter. “This one’s dedicated 
to the Detroit People Mover,” he says before one song. 
Sarah enlists the crowd to sing happy birthday to Jennie. 
A fan’s phone ends up on stage, and the band responds by 
taking a crowd selfie with it. There’s one thing I witness 
that makes my life complete: Gus and Sarah perform the 
iconic voicemail interlude from “Break,” complete with a 
pink prop telephone.
At this point, I think nothing could make my heart 
more full. Then Sarah calls for a joint performance by 
the “KKB and Detroit choir” to do a heartfelt singalong 
to “Sometimes.” As she stands over the crowd with her 
baton, a cluster of devout fans (myself included) cram 
beneath her waving arms, belting every last lyric. Jamie 
even dances a jolly jig onstage. I don’t notice it at first — 
I can’t see it behind the outstretched arms of a group 
of fans recording the scene — but I witness Jamie’s 
goofiness through 
the cameras of their 
raised phones. My 
heart overflows.
Much 
of 
the 
band’s 
charm 
comes 
from 
the 
glossy twinkles and 
chimes 
peppered 
throughout 
their 
production that are 
difficult to replicate 
live, but this does 
not stop KKB. The 
band is as faithful 
as could be to their 
quirky 
sample-
filled sound. They 
even recreate the 
cacophonous noise 
breakdown of “Only 
Acting.” It speaks to 
their creativity and 
the strength of their relationships with their instruments.
The band gives their goodbyes after “Picture This,” 
but Detroit would not walk away without hearing their 
favorite song. When the chants begin — “TRAMPOLINE! 
TRAMPOLINE! TRAMPOLINE!” — they will not stop 
until the band returns. Sure enough, they waltz back 
onstage and blast into a cover of U2’s “Vertigo.” In a cute 
homage to Detroit, James plays the opening to Eminem’s 
“Lose Yourself” on guitar. Finally, “Trampoline” begins, 
and the floor of the venue flexes to an alarming degree 
as the crowd bounces, but I cannot stop jumping and 
jumping and jumping.
All my energy has been jumped out of me. I walk out of 
the venue into rainy weather and a $45 parking ticket, but 
no amount of rain (or financial misfortune) can drown 
the joy and elation that is post-KKB-concert bliss. Kero 
Kero Bonito just made a goddamn bounce house out of 
Detroit, and I am humbled by their wholesomeness. My 
co-concertgoer and I scroll through pictures in the car. 
Most of them are ones she took of me shedding tears 
during the “Sometimes” singalong. Come back soon, 
KKB, I think to myself. Come back soon.

Kero Kero Bonito brings
love and light to Detroit

DYLAN YONO
Daily Arts Writer

CONCERT REVIEW
BOOK REVIEW

One thing that I retained from my introductory 
psychology class was that memory, which I believed 
was somewhat permanent, is unreliable. Take 
cognitive psychologist Elizabeth Loftus’s famous 
car experiment for example. In it, participants 
watched a car crash. The participants had to estimate 
the car’s speed. Loftus was able to manipulate the 
participants responses by framing her questions. 
By using adjectives that described a severe crash, 
Loftus found that participants were more likely to 
report the car traveling faster than it actually was. 
Just as I started to deconstruct everything I learned 
from “Law and Order,” we discussed false memories, 
and, in the ways that Loftus was able to retroactively 
influence the perception of certain events, James 
Coan demonstrated that people can claim to recall 
entire events from their childhood that were false. 
What happens if we can make memories disappear 
altogether? 
Described as a “haunting Orwellian novel,” Yoko 
Ogawa’s “The Memory Police” imagines a dystopian 
island where memories of certain objects disappear. 
First, ribbons, bells, emeralds and stamps go. Then, 
perfume, photographs and even birds. After a day of 
commemoration, most of the island’s inhabitants are 
unaffected by these changes. They don’t even notice 

that these seemingly insignificant objects are gone. 
For example, when the narrator, a struggling novelist, 
experiences perfume after it disappeared, she cannot 
reconcile it to anything more than a “few drops of 
water.” 
“Some girls held the bottles up to their noses one last 
time — but the ability to smell the perfume had already 
faded, along with all memory of what it had meant. 
The river reeked for two or three days afterward, and 
some fish died. But no one seemed to notice. You see, 
the very idea of ‘perfume’ had been disappeared from 
their heads.”
That precious memory, and everything that it 
entailed, is gone forever. The authoritative Memory 
Police ensures that no one ever recalls these objects 
again — even if they have to make people disappear, 
too. 
After the young woman discovers that her editor, 
R, can still remember these objects even after they 
had disappeared, she goes to great lengths to hide him 
from the Memory Police. As more and more people 
that the narrator is close to begin to vanish, the thrill 
intensifies as the readers are left wondering if R will 
meet the same fate. 
For a novel described as “Orwellian,” the “The 
Memory Police” was surprisingly slow. Each word 
was carefully plucked to convey the most meaning. It 
was like the “Memory Police” was embodying its own 
themes, worrying that it, too, may fade over time. Even 
paragraphs were powerful in a particular way, laden 
with nostalgia and sentimentality. Right before the 
narrator hides R, R tries to describe his memories of 
the objects that had already disappeared:
“Even if they fade, something remains. Like tiny 
seeds that might germinate again if the rain falls. And 
even if a memory disappears completely, the heart 
retains something. A slight tremor or pain, some bit of 
joy, a tear.”
Without question, the prose is lovely. I found myself 
pausing between chapters in order to absorb the 
provocative themes. And still, I never felt a compulsion 
to finish. Unlike George Orwell’s “1984,” I did not feel 
as threatened by the Memory Police as I did by Big 
Brother. From the beginning to the end, “The Memory 
Police” was quiet. It relied on a slow-burn climatic 
setup that did not pack a punch as masterfully as 
other dystopias manage to. I wanted my mind to be 
psychologically warped. I wanted to apply its heavy 
surveillance to real-world situations, condemning the 
NSA in my head. It’s easy to appreciate “The Memory 
Police” for its prose, less so for its plot.

‘Memory’ falls just short

SARAH SALMAN
Daily Arts Writer

PENGUIN RANDOM HOUSE

Basement Arts broke from tradition this year 
and opened their new season not with a play 
or musical, but with their brand new “Latinx: 
Caberéy.” Directed by School of Music, Theatre 
& Dance senior Lauren Kenner with assistance 
from SMTD sophomores Ruby Pérez and Sammie 
Estrella, this performance gave Latinx identifying 
students the chance to share the pride in their 
culture with peers.
In a night full of singing, dancing, poetry and 
virgin margaritas, everyone was alive with energy 
and enthusiasm. Before even entering the small 
studio, theatre-goers were offered a feast of Latinx 
cuisine. Inside the studio, the set, designed by 
Stamps sophomore Ryan Espitia, was vibrant and 
homey, welcoming in the audience with bright 
blankets and warm lights. The loving atmosphere 
made the audience feel welcomed into the space 
and involved in the show.
“Caberéy” included a variety of acts: Songs 
ranged from traditional Spanish lullabies to 
“Hamilton” ballads. Traditional Latin dances 
were both performed and taught to the crowd, 
and poignant poems were written by the students. 
Some of the highlights include SMTD senior 
Maya Ballester 
and 
SMTD 
junior Cristina 
Holder’s 
rendition 
of 
“Remember 
Me” from the 
movie 
“Coco,” 
a beautiful duet 
incorporating 
both 
Spanish 
and 
English 
lyrics, 
and 
SMTD 
sophomore 
Sammie 
Estrella’s poem 
“Little 
Brown 
Hands,” a piece 
about 
growing 
up Latinx.

Basement Arts provided a space for the 
voices of underrepresented artists to soar. They 
featured artists from different Latinx countries 
and different backgrounds. In a stunning finale, 
each artist spoke their name and the culture that 
they identify with, proving that Latinx culture 
conforms to no ideals and knows no boundaries.
Not only was this show necessary and important, 
but it was fun. Whether gasping at a gut-wrenching 
poem or clapping to a spirited Spanish song, 
everyone was engaged and enjoying every minute. 
Each performance illuminated a different aspect 
of Latinx culture; some songs were in Spanish, 
some songs were written by Latinx composers and 
poems spoke to different facets of what it means to 
identify as a Latinx artist.
What made the night so powerful was the 
coming together of all of these unique artists and 
experiences to celebrate a common culture. For 
the artists involved, it was an opportunity to bond 
over a commonality that society doesn’t always 
allow them embrace. For the audience, it was a 
chance to deepen our understanding of a likely 
unfamiliar culture. Everyone needs the chance to 
be introduced to these conversations to perpetrate 
growth and understanding in our society.
Opening the season with such a powerful 
statement on inclusivity within the theatre opens 
Basement Arts up for further conversations about 
important 
topics. 
This 
show gave those 
in the Latinx 
community 
a 
place 
to 
use 
their voices and 
those 
not 
in 
the community 
a 
place 
to 
listen. 
Seeing 
Basement Arts 
on 
the 
track 
to 
inclusivity 
gives us hope 
for more events 
like this in the 
future 
and 
a 
more inclusive 
theatre 
community.

‘Caberéy’ was illuminating

DANA PIERANGELI
Daily Arts Writer

COMMUNITY CULTURE REVIEW

The Memory 
Police

Yoko Ogawa (translated by 
Stephen Snyder)

Pantheon

Jan. 1, 2019

Much of the band’s charm 
comes from the glossy 
twinkles and chimes 
peppered throughout their 
production that are difficult 
to replicate live, but this does 
not stop KKB

For the artists involved, 
it was an opportunity to 
bond over a commonality 
that society doesn’t always 
allow them to embrace

