6A — Friday, October 25, 2019 Arts The Michigan Daily — michigandaily.com BIOCHEM 212 TUTOR WANTED Text/Call Judy (312)‑678‑6736 HELP ELDERLY W/ HSHLD­ TASKS Walk to UM, 734.276.6797 $10/hr 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” Classifieds Call: #734-418-4115 Email: dailydisplay@gmail.com 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