WHISPER
SUBMIT A
WHISPER
By Paul Coulter
©2020 Tribune Content Agency, LLC
02/25/20
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
02/25/20
ANSWER TO PREVIOUS PUZZLE:
Release Date: Tuesday, February 25, 2020
ACROSS
1 Rene of
“Ransom” (1996)
6 Not as expensive
10 A bit loopy
14 Part of “the
works” on a
burger
15 Old man, in
German
16 Needle case
17 1950 Gloria
Swanson film
20 Peanut butter
choice
21 Like wax fruit
22 Note from one
who’s shy?
24 Laser pointer
chaser
25 1979 Jim Henson
film
33 Get out of bed
34 Jazz instruments
35 Peruvian singer
Sumac
36 Squirrel’s hoard
37 Credited in an
endnote
38 Place to tie up a
boat
39 24-hr. cash
source
40 Equestrian
41 “That’s __!”:
“Piece of cake!”
42 1988 Demi
Moore film
45 News initials
46 __ bunt:
productive MLB
out
47 Looks at closely
52 “John Wick” star
Keanu
57 2002 Woody
Allen film ... or
what each of
the last words
of 17-, 25- and
42-Across can be
59 “Garfield” dog
60 Baseball family
name
61 Dalai Lama’s
land
62 Have a craving
for
63 Appraise
64 Clairvoyants
DOWN
1 PBS painter Bob
2 E pluribus __
3 Chinese: Pref.
4 Fair-to-middling
5 Previous
6 Chem class
7 Fair-haired Wells
race
8 Flabbergast
9 Chose
10 Actor Danny
who appears
in M&M’s
commercials
11 Run __: drink on
credit
12 Roll and bind, as
a sail
13 Laundry soap
brand
18 Commandment
pronoun
19 Red-wrapped
cheeses
23 Positive aspect
25 “The __ is
out there”:
“The X-Files”
catchphrase
26 Blackjack request
27 Handy Scrabble
tile
28 Eucharistic plate
29 Applies, as
pressure
30 Competing (for)
31 “Know what __?”
32 Wyatt of the Old
West
33 Future MD’s
class
37 1860s North-
South conflict
38 Letter before
omega
40 Settle, as a debt
41 Climbs
43 Rental from a
renter
44 Tortoise racer
47 Website with
step-by-step
instructions
48 “Star Wars”
sentence inverter
49 Tiger Woods’ ex
50 1970 Kinks hit
51 Chimney residue
53 Actress Falco
54 Vague feeling
55 The “E” in DOE:
Abbr.
56 Some NCOs
58 Deserving
CLASSIFIEDS
734-418-4115 option 2
dailydisplay@gmail.com
FOR RENT - avail fall 2020
2BR close to central. Info at
www.tcapts.com
FOR RENT
“Ron Paul
2020”
“This one
is for a tall
Northern
European
Barista”
“Prime SH
knows,
Alex. They
see all and
hear all.”
puzzle by sudokusnydictation.com
8
7
3
6
1
5
6
8
7
5
4
5
1
5
8
3
2
3
2
5
7
7
2
6
8
9
1
7
2
© sudokusolver.com. For personal use only.
Generate and solve Sudoku, Super Sudoku and Godoku puzzles at sudokusyndication.com!
Sudoku Syndication
http://sudokusyndication.com/sudoku/generator/print/
1 of 1
3/17/09 1:03 PM
SUDOKU
6 — Tuesday, February 25, 2020
Arts
The Michigan Daily — michigandaily.com
I fell asleep while watching
“The Call of the Wild.”
For the first half of the movie it
feels like nothing is happening. The
first forty minutes are completely
episodic, with almost no thread of
continuity or consistency keeping
each scene together, with the
exception being that each story
has the dog Buck as the central
character.
The whole movie follows Buck
from his role as the spoiled house
dog to his decision to accept his
role in nature and the wild. And
while the audience empathizes
with
because
of
the
awful
circumstances of his life — like the
abuse he often faced at the hands
of humans — frankly, the fact that
the dog is completely CGI’ed threw
me off. It’s not like I was expecting
the creators of the movie to train
a real dog to do everything that
the Buck of the original Jack
London novel did, but it still felt
wrong. To me, watching a movie
centered around animals becomes
unnatural when they have almost
human expressions on their faces.
The animals become caricatures
of the roles they are supposed
to have in the film when they
become too similar to humans.
The overwhelming use of CGI also
begs the incredibly concerning
question of whether or not we’ll
even need people in the film
business anymore, which is a little
too ‘robots taking over the world’
for me.
Harrison Ford (“Star Wars: The
Force Awakens”), while receiving
top billing for the film in his role as
John Thornton, only really appears
midway through. When John and
Buck meet, the story really picks
up. Their blossoming relationship
is easily the most tender part of the
film. They genuinely care about
each other and protect each other
against all adversaries.
Throughout the film, there is a
wild black dog figure that serves
as a symbol for Buck’s instinct
and desire to answer the wild’s
call. Soon he begins to think that
he should succumb to it. The
love John and Buck feel for each
other makes the ending of the
film bittersweet, as John is pulled
toward the human world and Buck
toward the wild.
However,
their
relationship
is
the
only
interesting
and
worthwhile part of the film. There
are a few interesting action scenes,
like when Buck leads his pack
away from an avalanche, but those
are few and far between. And
since they all feel disconnected
from one another, you lose interest
quickly. Combined with a cringey
voiceover from Ford throughout
the whole movie and a weird
hybrid of too much CGI and not
enough reality, the film falls flat.
I never read the book, so I don’t
know whether or not true fans
of the book will love or hate this
movie. But, in my opinion, this
wasn’t a movie that needed to
be made. It’s a classic, a literary
masterpiece in the eyes of many,
but the depth of the story is
probably best transferred through
prose, not a nearly dialogue-less
film.
You’re better off if you
ignore ‘Call of the Wild’
20TH CENTURY PICTURES
SABRIYA IMAMI
Daily Arts Writer
There are many things to
love about tap dancing. There is
the shuffle, an even beat made
from the balanced forward-
backward brush of the ball of
the shoe across the floor. More
rhythmically, the flap involves
a syncopated brush forward
that ends in a separate tap with
the ball of the foot. For more
complexity, the riff requires the
toe and heel to dig through the
ground in separate movements
that create a deeper and longer
sound. The riffle combines the
riff and the shuffle, which can
also be combined with a flap
for a fuller opening sequence.
Each of these steps makes
up a distinct sound that must
be perfected with a clarity
similar to hitting keys on a
piano.
When
put
together,
the individual notes create a
sequence of taps and stomps
and scuffs and drags that
create rhythmic music with
the feet. When done at the
highest level, these sounds are
crisp and energizing to watch.
When performed by Dorrance
Dance at the Power Center last
weekend, they are downright
mind-boggling.
The 10-member company,
headed by MacArthur “Genius”
recipient Michelle Dorrance,
spent the weekend in Ann
Arbor as part of the University
Musical
Society’s
2019-20
season. On Saturday night,
the audience took up almost
every available seat in the
theater, clapping and gasping
and wooing for the entire
70 minutes of the dancers’
rhythmic
art.
The
group
performed two shorter pieces
— “Jungle Blues” and “Three to
One” — before the titular show
of the evening, “Myelination.”
Though different in style, all
three pieces highlighted the
crisp genius of each tapper
onstage.
“Jungle Blues” acted as an
homage to older jazz. Dancers
dragged their taps along the
tap dance specific floor and
allowed
the
conveniently
placed microphones to absorb
the
graceful
sound.
One
member completed a blurringly
fast section of improvisation,
while another moved around
the stage through exaggerated
weight changes complemented
by the loud noises made by his
shoes every time he fell. The
piece warmed the audience to
the sounds of distinct beats and
happy music.
“Three to One,” darker in
presentation, built off of this
introduction.
One
dancer,
wearing tap shoes, stood in
between two barefoot men
at the center of downstage.
Together,
they
completed
sequences
of
the
same
movements — three sets of
feet, two of them silent and one
of them loud. The dichotomy
was fascinating, and a bridge
section of jumps with eerie
contemporary dance added to
the piece’s dark beauty.
“Myelination”
was
more
than twice as long as the first
two, with a myriad of mood-
shifting vignettes to showcase
individual
dancers’
talents.
The
choreography
blended
impressive shades of hip-hop
alongside the tapping. The
range between the two styles
created a breadth that visibly
excited the dancers; all ten
beamed with joy. Unlike the
prior
pieces,
“Myelination”
also incorporated a live band
onstage. The music melded
seamlessly with the energetic
percussion of the tapping. At
times, a dancer would join the
band playing instruments —
one was handed an electric
guitar, another surreptitiously
took over the drums — blurring
the
lines
between
music
and movement. In essence,
Dorrance Dance asked: Why
separate the two at all?
One
of
the
greatest
advantages
of
tap
dancing
over other dance styles is its
potential for noise. Often the
only noise considered in tap
is loud metal percussion, an
unapologetic clanging that is
most impressive when it is clear,
precise and rapid. Dorrance
Dance included plenty of this
skillful, crowd-pleasing noise.
But they also explored the less
obvious musicality in tap — the
soft swish of a body crawling
across the floor, thump of
knees on the ground, the way
a melodious voice can make
every staccato ding feel ten
times more intense.
At the end of “Myelination,”
we joined the entire crowd as
they stood up and cheered. It
was a dance performance that
felt like a rock concert. And at
the end of the night, it made
both of us want to dig up our
old tap shoes and surrender to
the joy of noisy energy once
again.
Dorrance Dance tapped,
stomped at Power Center
EMILY CONSIDINE &
ZOE PHILLIPS
For The Daily &
Senior Arts Editor
The Call of the
Wild
Ann Arbor 20
20th Century Pictures
FILM REVIEW
FILM REVIEW
COMMUNITY CULTURE REVIEW
At the end of
“Myelination,”
we joined the
entire crowd as
they stood up and
cheered.