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ONE HUNDRED AND TWENTY-SIX YEARS OF EDITORIAL FREEDOM

Thursday, October 13, 2016

Ann Arbor, Michigan

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Austin City Limits Three Daily Arts writers go to the 2016 Austin City Limits Music Festival and chronicle their experiences.

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LGBTQ DISCUSSIONS

RESEARCH

New director of Cancer Center talks future plans

HALEY MCLAUGHLIN/Daily

Jim Toy, a longtime Michigan LGBTQ activist, discusses changes in LGBTQ issues over the years with students in West Quad Wednesday.

LSA Dean Martin announces new fellowship to promote diversity

Program will fund fifty new postdoctoral fellows over the next five years TIMOTHY COHN Daily Staff Reporter

LSA Dean Andrew Martin announced the formation of a new postdoctoral fellowship program last Thursday, to be administered through the LSA National Center for Institutional Diversity, aimed

at promoting racial and gender diversity among graduate students. Currently, the goal for the program is to accept 50 postdoctoral fellows over the course of the next five years. NCID Communications Assistant Devin Walker said this fellowship will provide recent Ph.D. recipients from underrepresented

ELECTION

Out-of-state students opt to vote in Michigan Campus weighs pros and cons of absentee voting in 2016 election CAITLIN REEDY Daily Staff Reporter

With the presidential election just weeks away and a growing number of the University of Michigan student body from out of state, many students faced the decision of whether to vote at home by absentee ballot or to register to vote in Ann Arbor before Tuesday’s deadline to register to vote in Michigan. Both processes are similar, requiring potential voters to fill out the registration forms or request an absentee ballot online. When requesting an absentee ballot, voters send in a request by mail to their local election clerk, then receive their ballot in the mail and vote prior to Nov. 8. In a recent poll done by The Michigan Daily, 91 percent of a sample of University students reported they were registered to vote. Of that 91 percent, 38 percent reported they were registered in Ann Arbor, 23 percent responded they were registered elsewhere and 38 percent said that they intend to vote absentee. Engineering sophomore See REGISTRATION, Page 3A

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minority and gender populations with the opportunity to conduct University of Michigan sponsored research and hone their teaching skills. “Recipients of the fellowship will have two years of University funding that will cover their salaries and the costs of their research and travel,” Walker said.

“The postdoctoral fellows are also expected, during this time, to teach at least one course in their area of study.” The fellowship is limited to recent doctoral degree recipients who did not complete their degree at the University. “Anyone who has their doctorate See POSTDOC, Page 3A

Eric Fearon cites collaboration and quality of research as factors for success ALEXA ST. JOHN Daily Staff Reporter

In September 2016, Eric Fearon, professor of internal medicine, pathology and human genetics, was named the new director of the University of Michigan Comprehensive Cancer Center. In an interview with The Michigan Daily, Fearon laid out a number of goals for the center including continuing multidisciplinary collaboration, recruiting top leaders in the field and increasing initiatives for improving patient cancer care. Prior to arriving on campus for his first University

role, Fearon completed his M.D. and Ph.D. in biology and a program in human genetics from Johns Hopkins University. Fearon has since held a number of leadership positions and honors in these areas, including his appointment as associate director for basic science research at the University of Michigan, being honored as a member of the Association of American Physicians and serving as deputy director of the Comprehensive Cancer Center. Fearon said he feels honored to take on this role at the University, noting what he called its unique ability See CANCER, Page 3A

Regent Deitch emphasizes inclusion, ‘U’ receives balancing tuition costs in reelection bid grant for SCIENCE

Democrat aims to promote diversity, defeat “Trumpism” for fourth term RIYAH BASHA

Daily Staff Reporter

Regent Larry Deitch (D– Bloomfield Hills) is finishing his 24th year on the University of Michigan Board of Regents — and hoping for eight more. As Deitch looks to kick off his campaign for a fourth term, though, he emphasizes the quality of his experience over his resume’s length. “People who know me know I’m not a status quo kind of person,” he said. “Experience is invaluable, but it’s not a special knowledge or window. I’m not going to get too nostalgic.” Deitch will be up for re-election as a Democratic candidate for regent on the Nov. 8 general election ballot. An attorney by trade with Bodman PLC, a law firm in Detroit, as a regent he has been heavily involved in campaigns surrounding inclusion — namely, by leading a successful effort in 1993 to include “sexual orientation” on the University’s non-discrimination statement. Deitch has also had a role in the selection of the two most recent University presidents, Mary Sue Coleman and Mark Schlissel. Deitch’s opponent, Republican businessman Ronald Weiser, is a former ambassador to Slovakia, and also boasts a long relationship with the University, sponsoring his namesake Center for Europe

and Eurasia, and the Center for Emerging Democracies. He has run for the position unsuccessfully before. In an interview, Deitch said he deems Weiser’s political views fundamentally “incompatible” with the University. He highlighted Weiser’s affiliation with the state Republican party and current position as vice chair to the finance committee

responsible for raising fund for Republican presidential nominee Donald Trump’s campaign in Michigan. He also referred to recent weeks of incidents around campus climate, in which students protested over flyers targeting Black, LGBTQ and Muslim individuals — which he said stemmed from from the current political climate. “What I’m focused on in this

moment is defeating Donald Trump and Trumpism,” Deitch said. “It clearly influenced attitudes, some of which manifested with the racist posters. I will use my position (as regent) as a bully pulpit to call campus together.” Citing his experience with the sexual orientation inclusion campaign, Deitch said he stands in full support of See REGENT, Page 3A

MARINA ROSS/Daily

Regent Larry Deitch attends a University of Michigan Regents meeting at the Michigan Union on April 21st, 2016.

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INDEX

adolescent health care

$2.83 million in funding to support University project ALEXA ST. JOHN Daily Staff Reporter

University of Michigan researchers recently received a $2.83 million grant from the federal government to expand adolescent health care, particularly with regard to mental health and risky sexual activity that can lead to teen pregnancy. A team at the University’s Adolescent Health Initiative will head the research, in part by expanding its work into 40 states nationwide. The fiveyear grant was provided by the U.S. Department of Health and Human Services’ Office of Adolescent Health. According to the Center for Disease Control, 14 percent of high school students in the United States reported not using any method to prevent pregnancy during sexual intercourse in 2015, and nearly a quarter of a million babies were born to 15 to 19 year old girls in 2014. AHI Director Lauren Ranalli said AHI, now in its fourth year, has implemented strategies to train all staff involved in patientSee GRANT, Page 3A

NEWS......................... 2A OPINION.....................4A CL ASSIFIEDS............... 5A

SUDOKU.....................2A SPORTS................5A BSIDE..................1B

News

2A— Thursday, October 13, 2016

The Michigan Daily — michigandaily.com

ON THE DAILY: IORIO’S OFFERS ELECTION-THEMED GELATO As November fast approaches, both Republican presidential nominee Donald Trump and Democratic presidential nominee Hillary Clinton are so close to Election Day that they can taste victory — and now, Ann Arbor residents can too. Iorio’s Gelateria, located on William Street, recently launched a social media campaign for patrons to vote on their two new, candidatethemed flavors: Trump’s Rocky Road and Cookies & Clinton. Trump’s Rocky Road is Iorio’s twist on the classic rocky road flavor. According to their Facebook poll, this includes many varieties of nuts and toasted marshmallows. “Trump’s Rocky Road is made with a white chocolate gelato featuring a specialty nut blend, including roasted almonds, pecans, and peanuts,” the website says. “Along with a scattering of orangetinted marshmallows, this rocky road is very much Trump’s Rocky Road.”

Meanwhile, Iorio’s Clintonthemed flavor features a smorgasbord of cookie varieties incorporated into their cream vanilla flavored gelato. The specifics of the cookies are secret, and only known to the flavor creators. “Just like any good campaign some of these secret cookies maybe will be disclosed as we get closer to the election, so you can find out what makes this flavor dangerously good!” the website states. Iorio’s employee Mysha Bryan said the Cookies & Clinton flavor is by far more popular, potentially due to the political preferences of business patrons. “I have seen many people come into the store and say that they would never order the flavor of the candidate they dislike,” Bryan said. “And sometimes, the people who won’t order the flavor because of their political beliefs also say that if that candidate’s name weren’t affiliated with it, they would likely order it.”

This local political preference is strong, with a recent Michigan Daily poll showing that 73.4 percent of students support Clinton. However the gelato partisanship polling information remains a secret until the announcement of the winner.

The flavor winner of Iorio’s Gelato Election will be announced on Election Day, but all participants will be entered into a sweepstakes to win their favorite gelato flavor, which will then be shipped to their home.

Coach Harbaugh @CoachJim4UM Ruth’s Chris & Buzz Goebel!Sarah, me & Ann Arbor thank U for being such good sports! Plus the Steaks are A++, Mercy!

D E M O N S T R AT O R S D I S A G R E E

Thomas Beindit @tbeindit Ash and Rutgers incited Harbaugh and Michigan all summer. Hope they’re enjoying getting pantsed in front of all their recruits tonight.

HALEY MCLAUGHLIN/Daily

LSA junior Amalie Bodd and Peta2 representative Aliana Turkel argue with a religious protestor about disrupting their presentation at the Michigan Animal Respect Society demonstration in the Diag Wednesday.

CAMPUS EVENTS & NOTES Indian Ocean Archaeology WHAT: Henry Wright, a University professor of archaeology, will be giving a lecture about the effects of natural phenomena and political forces on archaeology in the Indian Ocean area. WHO: Museum of Anthropological Archaeology WHEN: 12 p.m. to 1 p.m. WHERE: Ruthven Museums Building - Room 2009

Carbon Cycling Seminar WHAT: Mary Heskel, a Rosenthal Postdoctoral Scholar, will be speaking about carbon respiration in leaf cells, how these represent a significant part of the carbon cycle, and how it remains one of the least understood biological topics. WHO: Ecology and Evolutionary Biology WHEN: 1 p.m. to 5 p.m. WHERE: Chemistry & Willard H Dow Laboratory - 1210

Center for Korean Studies Film Screening WHAT: The Center for Korean Studies will be screening the film, “Songs from the North,” about life and culture in North Korea. WHO: Nam Center for Korean Studies WHEN: 7:30 p.m. to 8:45 p.m. WHERE: Michigan Theater, 603 East Liberty Street

UniversityofMichigan @UMich

Real Talk: Gender Dynamics in the Workplace WHAT: A panel will discuss experiences of women in the professional world, and how these experiences continue to differ with those of men. WHO: Center for the Education of Women WHEN: 5 p.m. to 6:30 p.m. WHERE: Duderstadt Center 1180

Literary History of Layla and Majnun Exhibit

Silent Films in Japan Presentation

Everyday Advocacy: Disability and the Law

China Financial Strategy Lecture

WHAT: This exhibit offers a glimpse into the literary history of Layla and Majnun, a romance of Arabian origins that exists in many poetic versions. WHO: University Libraries WHEN: 10 a.m. to 5 p.m. WHERE: Harlan Hatcher Graduate Library - 7th Floor Exhibit Space

WHAT: Assistant Prof. Michael Raine of Canada’s Western University will analyze material differences in Ozu Yasujiro’s late silent films WHO: Center for Japanese Studies WHEN: 12 p.m. to 1:30 p.m. WHERE: School of Social Work Building - Room 1636

WHAT: Attorney Jason Turkish will explore the history of the Americans with Disabilities Act, as well as major legal developments. WHO: Council for Disability Concerns WHEN: 12 p.m. to 1 p.m. WHERE: School of Social Work Building - ECC (Conference Room)

WHAT: Prof. Wu Xiaoqiu, vice president of Renmin University of China, will talk about the instability in the Chinese financial system, and government regulations. WHO: Confucious Institute WHEN: 12 p.m. to 1 p.m. WHERE: Ross School of Business Room B1580

University professor conducts research on grassroots campaigns Daily Staff Reporter

Michael Heaney, assistant professor of organizational studies, has been involved in politics since he was four years old. Up to the current day, after publishing numbers of journal articles, research papers and recently a new book, “Party in the Street”, Heaney said he has become an expert in his two main fields of study: social movements and grassroots campaigns, and lobbying and interest groups. Early career In an interview, Heaney said he has always been interested in the sphere of public service overall, but his interests in two different policy areas — health care and war — have shifted over the years. Raised in the 1970s in Iowa, which votes first in primary elections, Heaney said he was

SPICY.

cognizant of political events at a young age, stemming from his politically engaged family, and campaigning for U.S. Vice President Walter Mondale at age 12. His next major brush with politics came in 2007, when he was accepted to serve as a William A. Steiger Congressional Fellow of the American Political Science Association in 2007 after working as an assistant professor of political science at the University of Florida. As a congressional fellow, he worked for U.S. House Representative John Dingell in Dingell’s capacity as the chair of the Committee on Energy and Commerce in 2007. Heaney said he found it a great opportunity to gain political experience, though he noted that it also led to a shift in his political interests, from

puzzle by sudokusyndication.com

health care to the anti-war movement. In his book, “Party in the Street: The Anti-War Movement and Democratic Party After 9/11,” Heaney discusses the intersection of social movements and party affiliation, and the impact this intersection has on identity formation for groups like anti-war Democrats. “This book looks at the antiwar movement and it shows how in the early years of the anti-war movement, those democratic and anti-war identities really reinforce one another,” Heaney said. “People were anti-war and anti-Bush; people used those two things to really move the party forward.” Current research and campus impact Beyond academic contributions, Heaney has aimed to make his mark on campus through his efforts as a research mentor for the Undergraduate Research Opportunity Program. LSA senior Brianne Recker and LSA junior Chen Liang both worked as UROP students for Heaney, and said the experience was invaluable to their personal and professional development. Liang credited Heaney with encouraging her to pursue her passions in political science and economics, referring to him as “the greatest mentor you can imagine who is always there to help.” Recker began working with Dr. Heaney during her sophomore year, during which she assisted in coding for Heaney’s book, contacting lobbyists and working on a sustainability fellowship. “Dr. Heaney has always been such a helpful, selfless ,and supportive mentor, and I feel very fortunate to have had him as such a significant part of my undergraduate experience,” Recker said.

Read more at MichiganDaily.com

Opinion

The Michigan Daily — michigandaily.com

4A — Thursday, October 13, 2016

ALLISON HELLMAN | OP-ED

Edited and managed by students at the University of Michigan since 1890.

ALLISON HELLMAN

420 Maynard St. Ann Arbor, MI 48109 tothedaily@michigandaily.com

SHOHAM GEVA Editor in Chief

CLAIRE BRYAN and REGAN DETWILER

LAURA SCHINAGLE Managing Editor

Editorial Page Editors

EDITORIAL BOARD MEMBERS Carolyn Ayaub Claire Bryan Regan Detwiler Caitlin Heenan Jeremy Kaplan Ben Keller

Minsoo Kim Payton Luokkala Kit Maher Madeline Nowicki Anna Polumbo-Levy Jason Rowland

Lauren Schandevel Kevin Sweitzer Rebecca Tarnopol Ashley Tjhung Stephanie Trierweiler

Unsigned editorials reflect the official position of the Daily’s Editorial Board. All other signed articles and illustrations represent solely the views of their authors.

JASON ROWLAND | COLUMN

What do we have to lose?

t’s often said that the agree with me, and I recognize worst thing about that he has a right to feel however opinions is that everyone he wants about the candidates, has them, and this election but that didn’t stop me from cycle has seemingly trying to explain set out to prove this. my reasoning to On the campaign him. Luckily, he was trail, Republican willing to hear me out. presidential Since my friend has nominee Donald lived his life as a white Trump’s divisive male, I explained, and dangerous he never had to rhetoric often makes face the rampant it seem as though discrimination that he’s attempting to marginalized groups JASON alienate almost every faced from the ROWLAND have potential voter before birth of our nation to Nov. 6. From describing Black the present day. communities, in front of a mainly To him, Trump’s white crowd, by saying, “You’re endorsement of the infamously living in your poverty, your unconstitutional “stop-and-frisk” schools are no good, you have no policy is a great way to clean jobs,” to assuring Billy Bush that up the inner cities. Fortunately women will let men do anything for him, he’d never suffer from, to do if they’re stars, Trump’s or even witness, racist policing uncanny ability to torpedo his the policy promotes because he own campaign is definitely has been privileged enough to worthy of some admiration. not live in the neighborhoods However, despite Trump’s where stop-and-frisk had been a unfavorable record with the problem (and if he did live there, electorate, and telling the truth, chances are he’d be stopped much for that matter, many of his less frequently than his minority supporters fail to acknowledge neighbors). It’s easy to support exactly why he lags behind with Trump’s policies when you won’t voters who don’t fall so neatly be on the receiving end of their in the “high-school-educated- negative consequences. The same white-man” category. is true for Trump’s rhetoric, as Just this past weekend, I was we’re currently witnessing. discussing the election with Even if Trump loses the a friend who intends to vote election next month, severe for Trump next month. When damage has been done to the issue of race came up, he American race relations over acknowledged that Trump the past few months, in part as a was polling in the single digits result of his campaign. In order among the nation’s Black voters. to see this, we need not look Additionally, this friend admitted beyond even our own campus. that he could see why marginalized It’s evident that Trump’s racist groups don’t support Trump. His campaign has only emboldened reasoning behind Trump’s lack his fellow racists to act out of a racially diverse voter base is on their obsolete views. Two where our disagreement occurred. weeks ago, racist flyers were He thought the main reason posted in Mason Hall — urging Trump doesn’t have the support white students to embrace their of marginalized groups, such “whiteness” and warning white as Black Americans, is because women about the dangers of of decades of Democratic lies dating Black men. Last year, and pandering — not because of students chalked the Diag anything Trump has said or done with the message “Stop Islam,” himself. I, on the other hand, feel and not too far from the chalk that marginalized groups don’t were, unsurprisingly, the words support him because, when he asks “Trump 2016.” predominantly white audiences, In response to the flyers, “What the hell do (Black people) the conservative student have to lose?” when describing publication, The Michigan the supposedly “terrible” state of Review, published an article Black communities, the answer is titled “Next Time, Leave the “everything.” Posters on the Wall.” In the piece, I didn’t expect my friend to they condemned the University

for denouncing the posters. While the administration was focused on creating an inclusive space for all students, regardless of the color of their skin, Erin Dunne, the article’s author, felt that University President Mark Schlissel and the administration stepped out of line. And I can see why she feels this way — she’s likely never been in a place where she has been discriminated against because of her race or ethnicity. As a result, she can’t put herself in the shoes of students of color across campus. In a similar case, the Michigan Political Union recently hosted a debate where it concluded that Black Lives Matter was harmful to race relations in America. On a campus where, as of 2011, 63 percent of the student body belonged to a household that made more than $100,000 per year, and, as of fall 2015, only 4.1 percent of the students are Black, that felt like a bizarre, but completely expected, conclusion to reach. BLM is not the problem; it is merely a reaction to the inequality that Americans of different skin colors face. Racism, not the backlash to racism that Black Lives Matters represents, is harmful to race relations. Yet, on a campus of privileged students — most of whom have never been and will never be exposed to the realities of racism — it’s all too easy to brand BLM as a dangerous movement because many non-allies can’t see why such movements are necessary. I attribute most of this spike in racism on campus and across the country to the Trump campaign. He has given a voice to racists, who feel empowered by the fact that someone who holds their same bigoted views can make it to the highest office in the land. It’s telling that Trump asked what Black communities have to lose in front of a mostly privileged audience, because to them, we have nothing to lose. The privileged won’t be the ones who will experience any of the negative repercussions of Trump’s policies, so most will never realize all that’s at stake during this election. Jason Rowland can be reached at jerow@umich.edu.

TUNE IN TO OUR ELECTIONS PODCAST For our first episode of The Michigan Daily’s Elections podcast, columnist Brett Graham hosts a conversation about safe spaces and free speech with Editorial Board members of the Daily and The Michigan Review. Find it online at michigandaily.com/section/opinion. IN CHAN LEE | CONTACT IN CHAN AT TOKG@UMICH.EDU

Failing to protect diverse views

iversity. It’s a complicated word, yet a pervasive one, especially at colleges and universities around the country. At the University of Michigan, the word pops up in the Committee on Diversity, Equity & Inclusion, in the Diversity Peer Educators hired by the University to work in every building, and in every classroom on campus. In practice, though, the University has failed to truly promote the concept of diversity in all instances, as was made appallingly clear to me at the debate held by the Michigan Political Union on Sept. 26. A statement from E. Royster Harper, vice president of student affairs, says that “(it is the) right of protesters to oppose the expression of views or opinions of others, but not in such a way as to limit or prevent the speaker or performer freedom of expression,” yet this right was clearly violated that Tuesday night when protesters interrupted the debate hosted by MPU. One important and often overlooked aspect of diversity is diversity of thought, which means being inclusive of opinions different from one’s own and learning that respectful disagreement is as good if not better than unmasked fury. During the MPU debate on the Black Lives Matter movement, the concept of viewpoint diversity was completely disregarded by the hundreds of protesters who stormed the venue, preferring to interrupt speakers and use profanities rather than engage in civil discourse. Every MPU speaker at the debate was interrupted several times, and each time the room became so loud the speaker could not be heard over the interruption. Even so, Rick Fitzgerald, the director of public affairs for the University, told numerous media sources that “the dialogue is really important. Listening as well as talking are important for both sides on this campus,” and described the debate as a positive interaction. Additionally, the University looked on silently as Central Student Government, the official link between students

and University administration, published a statement only a day before the debate equating it to overtly racist fliers placed on campus, referring to both as times “we are forced to confront bigotry again at Michigan.” CSG condemned MPU as racists and bigots for exercising their right to free speech in a non-hateful manner while the University not only ignored the statement, but also allowed it to be published on letterhead bearing the block ‘M,’ a symbol ubiquitous in official University announcements. The University’s response on both issues shows a callous disregard for diversity of thought and highlights the disconnect between the true meaning of diversity and the behavior of the committee meant to handle such issues. Unfortunately, the hypocrisy does not end there. At the debate, two of the more vocal protesters were Diversity Peer Educators hired by the University to “assist in the development of a community that is safe and welcoming for residents of all identities.” One of these DPEs directed verbal attacks containing profanity specifically toward me and later interrupted the debate to insist that only Black students should be able to ask and answer questions concerning the Black Lives Matter Movement. The other DPE wrote an op-ed published in the Daily in the days preceding the debate arguing against free speech by urging MPU to cancel the debate on the grounds that only Black people should discuss BLM and that the decision to debate BLM was “blatantly racist.” I question the judgment of the University for its complete lack of training for these individuals regarding the proper role for a representative of diversity. In their own respective ways, both of these individuals disregarded the need for differing opinions and viewpoints and attempted to shut down the voices of people of all identities except for one group. For a Diversity Peer Educator to use words like “bullshit” in a debate setting and to censor speech based on racial criteria is beyond absurd. While the DPEs have the right to free speech as much as the rest of us and one may

argue that they were not acting in their official capacity when these comments were made, neither of them made any attempt at disclosure of their position, even as much as a statement explaining their position on campus and that any statements they made were personal views only, not the views of a Diversity Peer Educator. While I think it is evident that the University has failed to respect the rights of students with opposing viewpoints, the question remains as to what the proper course for the University is moving forward. Firstly, the position of DPE needs to be reformed or eliminated. If the role of a DPE is simply to advocate for the rights of minorities, then the position’s name should be reflective of that and not use the word “diversity.” I have sent resources for training future DPEs to respect viewpoint diversity to those in charge of training Diversity Peer Educators, and I hope my suggestions will be taken seriously. Next, I would encourage the University to become a Heterodox University. A Heterodox University is a university that follows the suggestions endorsed by the Heterodox Academy, a collection of professors from various universities dedicated to ensuring viewpoint diversity in academia. According to their guidelines, a Heterodox University must ensure “that debate or deliberation may not be suppressed because the ideas put forth are thought by some or even by most members of the University community to be offensive, unwise, immoral, or wrong-headed.” It must also “implement a nonobstruction policy for protests.” If the University of Michigan adopts these policies, it will go a long way in correcting its improper behavior toward the Michigan Political Union and toward students with opposing viewpoints seeking to be heard.

Allison Hellman is an Executive Board member of the Michigan Political Union. The views expressed above represent the writer’s opinion and not those of the Michigan Political Union or its Executive Board.

ALI SAFAWI | OP-ED

For other minority students

ALI SAFAWI

ince my first visit in elementary school, I have been fairly certain that the University of Michigan is my favorite place on earth.” That is how I began one of my Common App essays some two years ago. At that point in time, the University of Michigan was flawless. To paraphrase my high school AP Lit teacher: The University was 3,211 acres of fantasy surrounded by reality. Recent events have shattered that perception. While I still hold great pride in having the opportunity to study at such a great institution, I cannot stay silent about the serious grievances against minority students here on campus. There are people, my classmates, who are filled with hate and feel compelled to express it via social media and posters. This is truly as heartbreaking as it is infuriating. And it is not just because of Donald Trump and this chaotic election cycle. The demagogue is a catalyst, yes, but it goes far beyond that. The alt-right is trying to spread their hate like a virus. We as a student body must resist. I grew up a Muslim and ArabAmerican in post-9/11 America, which exposed me to my fair share of hate from what is now called the alt-right. I was naïve to think I could escape it by coming to college. I was too young to even remember 9/11, but my mother has told me how the staff at my private Islamic elementary school hurried all of us students into rooms, closed the blinds and placed security guards at all doors. They were afraid that people would come and hurt us, young children, in retribution for the horrible acts of terrorism carried out by al-Qaeda. From then on, my family has lived in fear. The most intense times were in the airport when

we went on vacation. However, I am lucky. I can pass as white until someone hears or reads my foreign-sounding name. My mother and sister, who both wear headscarves, are not as fortunate. Kansas City, Mo.: As my sister boards a roller coaster, she hears, “I can’t believe they’re letting them on rides now.” Orlando, Fla.: A young boy tries to yank off my mother’s Islamic swimsuit in a wave pool. Platt, Neb.: My mother, sister and I enter a truck stop to buy some sodas and stretch after a few hours on the road. Will someone say something? Will we be physically confronted? All of this happened before I turned 13. Even Dearborn, a vibrant community where I, my siblings and thousands of other Muslim Americans have grown up, is not safe. I am not sure how much national fanfare this even received, but in 2012, Terry Jones, the Quran-burning pastor from Florida, and a group of supporters brought a pig’s head to the Arab American International Festival. As if just the presence of porcine elements would cause us to flee like demons to holy water. Ugh. Earlier this year, it was the anti-Muslim, anti-Hispanic chalk. This fall it is the KKK graffiti at EMU, the transphobic #UMPronounChallenge and the racist posters on our campus, one of which showing a “statistic” that linked men of Islam with rape. To those trying to make this campus and this country unwelcome to us: You will not win. I have to commend the Dearborn community for teaching me how to react to hate, especially the local mosques who bore the brunt of the attacks. The clergy would always invite protesters with hate to take respite from the heat or enjoy a meal. The protesters always refused, but it’s the gesture that counts. We knew that these people did not represent Christians, just like

we tell people that ISIS and other groups do not represent Muslims. Some would advocate that kind of “turn the other cheek” as opposed to the protests and other events that have sprung up on campus in response to these acts of hate. I reject these calls for civility because every personal response to this attack on minority students is valid. Part of my response is writing this op-ed. Others are dealing with this by protesting. Still, others are seeking out safe spaces to express their thoughts and emotions. There is no one right way to handle this. I also commend University President Mark Schlissel for his efforts to address issues surrounding minority students on campus. I believe that he is sincere and is dead-on when he called these posters “acts of terrorism.” However, I agree with Students4Justice and other groups that the administration can and should do more to continue protecting student minorities. I understand that it may seem like a “pick-your-poison” situation, President Schlissel and company: Say nothing and deal with more #schlisselwya or say something and be branded as anti-free speech. But in order for the minority student body to heal, we need to know that the University has our back. Bring peace to this campus by finding those responsible. I am a minority student at the University of Michigan. This has been a snapshot of my experience. The experiences of other minorities will likely be different. I share this with readers in the hopes that it may resonate with someone, anyone, as we all move forward. My sister wants to come here next fall. I sincerely hope she steps foot on a more tolerant campus. Ali Safawi is an LSA sophomore.

Sports

The Michigan Daily — michigandaily.com

Thursday, October 13, 2016 — 5A

VOLLEYBALL

Welsh, ‘M’ top Wildcats NOAH POST-HYATT For the Daily

SAM MOUSIGIAN/Daily

Freshman forward James Sanchez made a statement with the first two goals of his career Saturday against Union. Senior forward Max Shuart assisted on both.

Shuart, Sanchez team up on same line LANEY BYLER

Daily Sports Writer

James Sanchez was one of two Michigan hockey players sitting in the post game press conference Saturday night. In the past hour, he had scored two goals against Union, leading to a 4-0 win to avenge a loss from the day before. Asked during the press conference what was going through his head on those scoring plays, he answered, “Definitely shoot.” His response provoked a wave of laughter from the reporters in the room, but it was honest all the same. Stepping in as one of two players with two goals, the freshman forward is learning quickly for the 13th-ranked Wolverines. When playing Union on Friday, they relinquished an early-game lead and dropped the match up, 4-3. This time around, Michigan needed to establish a lead the Dutchmen couldn’t erase. Sanchez’s two goals did just that, building up the score. Union couldn’t combat it, and

Michigan (1-1) recorded its first win of the season. Playing on the third line with senior forwards Evan Allen and Max Shuart, Sanchez has had the opportunity during practice to learn from some of the few veterans left on the team. And he seems to be pairing with them well — not only because he’s a freshman who scored multiple goals in the second game of the season, but also because both goals came off of Shuart’s assists. “It kind of played out, being on (Shuart’s) line the whole time,” Sanchez said. “We play well together. I think he had two great plays, and he found me, and from there I scored.” During the second period and down down a player during a penalty kill, Shuart stole the

puck from a Union pass and sent it toward Sanchez, who was already headed toward Union’s goal on a breakaway. A quick wrister past Dutchman defender Jake Kupsky garnered Sanchez his first career goal and granted Michigan its 3-0 lead. Shuart and Sanchez did it again, two minutes into the third quarter. Shuart was able to steal the puck from Union and send it down the ice to Sanchez, found the net behind Kupsky once more. Sanchez ended his first official weekend as a Wolverine with two goals and a humble attitude. “I wouldn’t base anything for the whole year off of one game,” Sanchez said. “There’s definitely more work that needs to be done and some improvements as well. I mean, yeah it’s good to keep

“We play well together. I think he had two great plays.”

that confidence rolling to another game, but there is definitely more work to be done.” Shuart, meanwhile, tallied another assist during Friday’s game off of a power play. Junior forward Tony Calderone just got done killing his time in the penalty box when Shuart stole a pass from the Dutchmen and sent it straight to Calderone, who scored a breakaway goal and set the score 2-0. He, like Sanchez, is enjoying a bigger role this season, a year older. Even in a loss, Shuart’s assist foreshadowed what would be made clear in Saturday’s game. Whether it’s noticing an open player who just killed off a penalty or putting faith in a freshman like Sanchez who he’s been practicing with, Shuart can find optimal scoring opportunities. The pair will see action again this weekend against Ferris State, and if Shuart can generate a few more of these opportunities, Sanchez may be able to add a few more goals to his record.

The third set of the Michigan volleyball team’s match Wednesday proved to be the culmination of the Wolverines’ game plan. MICHIGAN 3 While the N’WESTERN 0 first two sets were executed well, the last went perfectly, and Michigan (5-2 Big Ten, 16-3 overall) cruised to a 12-point margin of victory in the third set to secure a sweep of Northwestern. Throughout the match, the 18th-ranked Wolverines made it a focus to serve tough and get the Wildcats out of their system. Big Ten Network analyst Beth Karpiak — a former Michigan captain — made that point on the broadcast, and Michigan coach Mark Rosen echoed the sentiments of his former player after the match. “That was definitely the key to the match,” Rosen said. “(Northwestern) is a much better team in system than they are out of system. So we felt like if we could get them out of system, that would certainly benefit us, and we did a really good job of that. I thought our servers did a great job, put a lot of pressure on them.” Ultimately, this game plan could not have been executed without the help of its seven freshmen. One of those freshmen is setter MacKenzi Welsh, who garnered the Big Ten Freshman of the Week award for last week’s performances against Maryland and Ohio State. Wednesday night in Evanston, Welsh turned in another impressive performance, assisting on 31 points while also converting on half of her attack attempts. However, according to Rosen, Welsh’s biggest contribution won’t show up in the stat sheet. It was actually taking attention away from the Wolverines’ star attacker and blocker, Abby Cole. “Early on, it was very apparent they were going to try to stop Abby Cole,” Rosen said. “(Welsh) just did a really good job of using Abby as a decoy and then really

making them pay for that choice, because she got lots of offense from other places.” Michigan began the match steadily, never giving up the lead in the first set and committing just three attack errors as a team. Junior outside hitter Adeja Lambert was also crucial to the Wolverines’ quick start, with three kills in each of the first two sets and one in the third. The second set of the match was the most competitive of the three. With seven ties, the Wildcats competed up until they called a timeout when they were down 14-11. From that point, Michigan took over, winning 11 of the last 18 points and sinking Northwestern into a 2-0 hole. Rosen did not attribute that run to any strategic adjustments, but rather a more effective execution of their game plan. “I thought we just executed well,” Rosen said. “And again, I thought they were doing a pretty good job in the first part of that set. I thought we served a little bit easy in the first part of the second set, and then we got a little more aggressive.” Michigan carried that aggression through to the third set, in which Rosen credited exceptional blocking. Specifically, the Wolverines silenced Northwestern’s Symone Abbott, who went from a .370 hitting percentage in the first two sets to a .157 average at the end of the night. Michigan has now won five of its last six matches and is primed to make a run in the Big Ten. To do that, though, it will have to get through No. 1 Wisconsin, which visits Cliff Keen Arena on Saturday night. “They’re very balanced,” Rosen said. “They’re very physical. They have probably the top-rated setter in the country running their offense. They’re going to be a handful.” But for Rosen, he shouldn’t have a problem motivating his team, which was already scouting its next opponent on the bus ride home, watching the Badgers take on No. 3 Minnesota in another Big Ten showdown.

WOMEN’S BASKETBALL

Barnes Arico previews team Classifieds NATHANIEL CLARK Daily Sports Writer

Last season, the Michigan women’s basketball team set several offensive team records. The Wolverines set new highwater marks in points per game (78.6), field-goal percentage (.478), 3-point percentage (.398) and assists (608) last season. This firepower led to a 20-15 record and an appearance in the semifinals of the Women’s National Invitation Tournament. But the Wolverines have reason to believe that they will work out the scoreboard even more this year, as they will return their top three scorers. “This is probably the first time since I’ve been here that I can say we are returning the most experience and depth that we have had,” said Michigan coach Kim Barnes Arico. The most familiar name on that list is junior guard Katelynn Flaherty. She averaged 22.6 points in 2015-16 and earned consensus All-Big Ten honors. Flaherty is also the second-fastest Wolverine to reach 1,000 career points. “I think it’s definitely different this year,” Flaherty said. “I’m more excited than I was last year, because we all seem so ready, and we know what we have to do this year.” Sophomore center Hallie Thome, too, will once again grace the Wolverines with her presence. And it will be much appreciated by Michigan, as she scored 14.4 points per game last year, pulled down 5.4 rebounds per game and made the Big Ten All-Freshman team. “As each year goes, you have to grow with that,” Thome said. “A lot of people know my moves back to the basket, so we added

some touch, like scoring off the dribble or just a jump shot so that they can’t know what’s going to happen next. Last year, it was just, I got the ball, dribbled, turned left or right. This year, I’ll shoot some baskets out or attack off the rim.” Still, the most experienced player to return for the Wolverines is undoubtedly senior guard Siera Thompson. She averaged 9.4 points last season with 5.4 assists and is currently on pace to set new Michigan records for minutes played and assists. “I think as you get older, especially as a point guard, you have to start worrying about other people on the floor and where they need to be,” Thompson said. “I think I’ve done that since I’ve been here.” However, Barnes Arico saved her highest praise for senior guard Danielle Williams, who scored four points, rebounded six shots and got four assists in the Wolverines’ 77-76 win over Temple in the 2016 WNIT quarterfinals. “I think every program needs a Danielle Williams,” Barnes Arico said. “If my child could ever be like Danielle Williams, I will have hit a home run.” With so much offensive firepower returning for Michigan, some may overlook the potential of the incoming freshmen. Not Barnes Arico, though. She was quick to praise her newcomers at media day. “Our bench only went six or seven (players) deep last year,” Barnes Arico said. “Now these freshmen are going to come in and give us the ability to go eight or nine deep and to have that rotation if (Flaherty) picks up a foul or if (Thome) picks up a foul. I think our freshman class really provides length and athleticism.” In that class is guard Kysre

Gondrezick. The freshman from Benton Harbor, Mich., averaged 40.5 points for Benton Harbor High School — including 72 points in a playoff game — and totaled 2,827 points in her career, good for second-most in Michigan high school girls’ basketball history. “They’re just expectations and there is people’s opinion of me,” Gondrezick said of the hype surrounding her. “Ultimately, I just have to take it one day at a time and whatever is destined for me and whoever I’m destined to become will in fact happen. So I’m not rushing the process.” Despite the projected power of the offense, Barnes Arico acknowledged the importance of defense and what improvements the Wolverines will have to make in that area this season. One potential new weapon in the defensive area will be senior Abby Cole, who will cross over from the Michigan volleyball team after the conclusion of that season. “Abby Cole, that’s another smile,” Barnes Arico said. “One of my first days on the job, I saw (Cole’s) team play at the Breslin Center, and at that time (former Baylor star) Brittney Griner was the player everyone talked about. I felt like I was maybe watching junior Brittney Griner.” Coming off two straight runs to the semifinals of the WNIT, Michigan’s increased offensive firepower and improved defense will prove crucial if the Wolverines want to take the next step and make their second NCAA Tournament appearance in Barnes Arico’s tenure. “We feel like we’re close,” Barnes Arico said. “We’ve been close the past couple of years. We feel like we’re as good as a lot of teams that have been in the NCAA Tournament.”

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

RELEASE DATE– Thursday, October 13, 2016

Los Angeles Times Daily Crossword Puzzle

HELP WANTED

Edited by Rich Norris and Joyce Nichols Lewis

ACROSS 1 “__ Secretary”: CBS drama 6 Tense period? 10 Studio payment 14 Anaheim’s Honda Center, e.g. 15 West Coast sch. 16 Harbinger 17 Woody Woodpecker’s creator 18 Commuter option 19 Skip over 20 Circus barker turned hurler known for brushbacks? 23 Auditorium 24 Sound sometimes choked back 25 Harvest-ready 28 Wooded valley 31 Olympics volleyball great Kerri __ Jennings 35 Like fans after a tough win, probably 37 Pro words 39 29-Down’s rock gp. 40 Circus emcee turned fry cook? 43 Reason to wear earplugs 44 A, in many orgs. 45 Saws 46 Emmy contender 48 French cathedral city 50 “Not gonna happen” 51 With 27-Down, sign on a damp bench 53 Party leader 55 Circus performer turned gardener? 62 Disturbs 63 Button on some remotes 64 Family name in a 1936 classic 65 Dramatic accusation 66 Send a quick message to 67 Contribute, as to a kitty 68 Stinging insect 69 Merit badge holder 70 Baton, say

DOWN 1 West African country 2 Ireland’s __ Islands 3 Lairs 4 Film noir protagonist 5 Miata maker 6 Prince’s “__ Rain” 7 Berry at health food stores 8 Narrow cut 9 Soft minerals 10 Disc-shaped robotic vacuum 11 Austen classic 12 Nuremberg no 13 Blasted stuff 21 Respected tribe members 22 Tearful words 25 Sitcom with a 1974 wedding episode 26 Greek column style 27 See 51-Across 29 Jeff of 39-Across 30 Chair part 32 Release 33 “To __: perchance to dream”: Hamlet 34 Epsom Downs racer

36 Caught 38 __ Prime 41 Ideology 42 Red-and-white topper 47 Admits (to) 49 Yet 52 Estimates on weather maps 54 Dots on a subway map 55 Excel input 56 Graphic __

57 General Organa in “Star Wars: The Force Awakens” 58 Days and Holiday 59 Permissionseeking phrase 60 “The Very Hungry Caterpillar” writer Carle 61 Military status 62 Hanukkah celebrator

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6A â€” Thursday, October 13, 2016

The Michigan Daily â€” michigandaily.com

The Michigan Daily | michigandaily.com | Thursday, September 13, 2016

DAILY ARTS GOES TO AUSTIN CITY LIMITS AUSTIN — “It means ‘Over here, asshole,’” Omar explained as we admired his flag waving proudly in the setting sun, while we stood in nervous anticipation for the set to come. The flag he chose to hike around was bright yellow with these words scrawled on it in Spanish, drawing the attention and shouts of approval from fellow festival attendees. “It’s my third year here, and I’ve learned you have to get creative with these things,” he continued. And creative, people certainly

got. Over the course of the weekend, flags and totems meant to locate friends varied in size and style and decorated the crowds that filled the 46-acre Zilker Park. Some were simply patriotic gestures or celebrations of collegiate pride (I’m looking at you, Michigan State University). Others were giant inflatable dinosaurs or the face of David Beckham plastered onto the head of a unicorn. Imagination prevailed, while heat persisted. Two weekends, eight stages, 110

bands and a lot of tacos. Our three days at Austin City Limits stood the test of heat and dehydration — our bags were packed with complimentary coconut water and popsicles, while our ears filled with live music we never thought we’d hear and our voices cracked under the strain of screaming each cherished lyric. Three days, eight stages, thirteen bands, with the heavy weight of procrastinated homework hanging gleefully over our heads. — Natalie Zak Design by Kaitlyn Beukema

the b-side

2B — Thursday, October 13, 2016

TOP DAWG ENTERTAINMENT

Famed geologist Kendrick Lamar observes the rare striped rock.

AUSTIN CITY LIMITS From Page 1A DAY 1 The Front Bottoms Punk rock isn’t dead, it’s just hiding in your parents’ garage. Or your friend’s basement. Either way, it has taken the form of four guys with their drums, guitars, keyboard and angst shouting into microphones about how “they got so stoned” and will never get jobs — and all you can do is sing or dance or shove along. Despite their command of Honda stage, this band carries the persona of adaptation; it can just as easily blend into the background of a college party as it can command a stage raised high before a throng of festival goers. Looking for the mosh pit? You’ll find the band right above it. Looking for the scrawny high schoolers with braces or college kids in ripped jeans and a new tattoo? You’ll find them screaming the lyrics to “Twin Sized Mattress” as if it’s the only thing saving them from an insufferably human existence. It’s 2016 and angst is back, be you young, old or teetering on middle age. Give it a head nod, and then listen to “West Virginia,” for there’s nothing to lose now but the days of alt-pop we’ll gladly be rid of, and there’s everything to gain, including a new anthem that makes you want to cry, scream and dance all at the same time. — Natalie Zak Flying Lotus What exactly does Flying Lotus do? If you went to his ACL set looking for answers, you might have come away just as confused — perhaps even more so — as you came. That’s the magic of Steven Ellison, the Los Angeles-based instrumentalist-producer-DJ-rapper-whatever behind Flying Lotus: he put together a performance that can’t be described as anything but absolutely mesmerizing. For the majority of the set he worked behind the board, spinning out hypnotic, experimental sounds to the crowd, which left everyone transfixed and swaying while a range of optical illusions twirled around him. As he became increasingly intoxicated (he began taking swigs of Patrón directly from the bottle), he stepped out and started talking. Pitchfork had called him out the week before about some comments he made at a performance about Hillary Clinton, and he wasted no time addressing it: “Where all the motherfucking Pitchfork writers at? Fuck 2016 and your ultrafeminist memes. Hey, there’s one Asian person here, what’s up?!” Fired up, Lotus started rapping at the tail end of his set before walking off, Patrón in hand. Stunning. — Matt Gallatin Radiohead When I was seven years old, my dad got into Radiohead. I mean really got into them, like carved-OK-Computer-into-hisHalloween-pumpkin into them. Radiohead, as a result, formed the basis of my family’s first debates about music. At the respective ages of seven, ten and twelve, my sisters and I couldn’t stand them and their weird mélange of noises protruding inharmoniously from our speakers. We, being youths, couldn’t stand that it wasn’t Hannah Montana. This ignorance thankfully didn’t last long. Radiohead’s music is a symphony, or at least it’s composed like one. With Jonny Greenwood on lead guitar and brandishing the conductor’s baton, their songs ebb and flow. The first note of “Burn the Witch” threw the audience into a frenzy characterized by pure amazement at the spectacle unfolding before their eyes. This amazement persisted throughout the entire two hour set as they moved from A Moon Shaped Pool to The Bends to Kid A, only stopping for Thom Yorke to make some absurd comment in

his thick British accent, while audience members shouted “happy birthday” in these elusive pauses. Yes, it was Thom Yorke’s birthday, and I celebrated it with him. And now a note on power and performance, because I witnessed an anomaly in concert attendance behavior: at the start of “Daydreaming,” the entire crowd fell silent. First unconsciously, and then purposely, with everyone silencing surrounding attendees who dared to make a sound. It was beautiful and intense, and a testament to the command Radiohead holds over its audience and instruments. To conclude: everybody deserves the chance to dance like Thom Yorke once in their life — spasmodically and passionately, like it’s your 48th birthday and you’re spending it with a thousand friends who care. — Natalie Zak DAY 2 JR JR Michigan was well represented in Austin last weekend, and not just by the three hotties from Michigan Daily Arts and those guys with the MSU flag. JR JR (formerly known as Dale Earnhardt Jr. Jr.), a Detroitbased indie pop project from Daniel Zott and Joshua Epstein, put on a spectacle of a show early Saturday afternoon. The 1:30 timeslot is a difficult one for a festival set. It’s hot; it’s lunchtime. People are trickling in slowly. But JR JR came out guns blazing. Zott and Epstein, both dressed in metallic ponchos, played a setlist of their more upbeat songs. Zott ran around the stage, climbed on the amps, climbed over the guardrail and ran through the crowd in a display of pure joy and enthusiasm. The crowd was the most alive, awake, alert and enthusiastic (name that song reference for some bonus points) that I have ever seen for a midday set. The crowd fed off the band, and the band fed off the crowd. And together we started the second day of the festival on the best note possible. — Madeleine Gaudin Saint Motel AJ Jackson, the frontman of Saint Motel, has the most perfectly geometric teeth I have ever seen. They’re like two rows of white Chiclet gum. And he’s a smiley singer, so the crowd on Saturday evening got a good look at that glorious set of dentures during Saint Motel’s set. The set was good — nowhere near as spectacular as the teeth, but good. Almost all bands with trumpets are better than bands without trumpets. That’s just a fact. Trumpets are fun. Saint Motel has a trumpet. Saint Motel is fun. They’re the perfect band to see at a festival because they aren’t quite enough on their own to warrant money for tickets and gas and food. But they’re good enough to stop by on your way to see LL Cool J or grab a taco (or ten) from the food tents. It’s not great music, but it’s fun music. It’s the perfect music to dance to on a sunny Saturday afternoon. — Madeleine Gaudin LL Cool J LL Cool J believes in America’s youth, and you should too! Between his love songs and early career throwbacks, LL Cool J professed a deep respect for the youth of America as the impending leaders of this great nation. Probably because our current leaders aren’t doing much for us, and partisanship is tearing this country apart — but I digress. LL Cool J, in the midst of his set, bestowed upon a lucky little girl in the audience a medal. While laying it on her shoulders, he spoke to her and said that she must have faith and be strong, because she is the future of our country. And that little girl right there grew up to be Ann Coulter. No, no, no, she didn’t. She was lifted back to her proud, smiling father, probably confused, but

immediately appeased, because Cool J burst into a rendition of “Mr. Goodbar” as if it wasn’t 2016 and he didn’t currently host “Lip Sync Battle.” What I saw of LL Cool J that evening was not his “Lip Sync Battle” self; it was his “I Need Love,” seven-season-star of “NCIS: Los Angeles” self up there onstage, giving a performance for the ages. We all have prized possessions we cling to in times of need. I can’t live without Spotify, and LL Cool J can’t live without his radio. I think this is the beginning of a beautiful friendship. — Natalie Zak Anderson Paak Paak has had a steady call to fame in the last two years, coming off the success of his major label debut Malibu and appearing on some of the year’s biggest and best hip-hop releases — Schoolboy’s Blank Face LP, Kaytranda’s 99.9% and Chance’s Coloring Book, to name a few. Accordingly, his live show comes with the energy and excitement of an artist kicking his way to the top. Paak played tracks almost exclusively from Malibu and Venice, his first coherent studio album, and he dished them out with ease and confidence. Paak was flanked by The Free Nationals, his touring band, but the instrumentals were never distracting — “Drugs” was anthemic as ever, “Milk and Honey” flared with his signature delivery and “Room In Here” grooved in the flesh even better than it does on tape. Paak’s stage presence was calm, but still electric. He knew how to keep the people happy. He also played some new music from his upcoming album Yes Lawd! with producer Knxwledge, and it was perhaps his best performance of the evening; this is an album to watch out for. Paak mentioned throughout that he didn’t know when he was going to be back, so he was going to just “groove with it like it was his last.” Groove with it he did. — Matt Gallatin Schoolboy Q TDE, showed up in force on Saturday, and Schoolboy didn’t disappoint on his end of the bargain. Perhaps the most popular modern “gangster rapper” (what that even means anymore is up for debate), Q doled out his hits hard and fast — “Studio,” “Man of the Year,” “Break the Bank.” There’s an interesting overlap between rap and punk concerts in the last few years: both love moshing. As Q reached his ultimate Kanye-assisted track, “THat Part,” no less than four full-fledged mosh pits were slamming full-throttle. Beggars can’t be choosers — this ain’t Chipotle — but Q fans got plenty of what they came for, and Q managed to keep the energy going for the entirety of his hour-long set. He even showed up for round two later that night with fellow TDE headliner Kendrick, performing “THat Part” again along with “Collard Greens.” Q was most vicious on his freshest tracks, his performance of “Ride Out” from the new acclaimed Blank Face LP being particularly hard-hitting, not worn out like hits can tend to feel after a while. Almost 30, Q is definitely on the older side of the rap game, but if his performance Saturday proved anything (along with the assorted young children in the crowd), it’s that gangster rap is ageless, maybe? — Matt Gallatin Kendrick Lamar If you’re too uncomfortable with modern music to call Kendrick the best rapper ever, you have to at least give him the last three years. Nobody else has been as consistently impressive — hell, nobody else in the game has been as impressive, period. But his live show walks an interesting line, as his latest legitimate album, To Pimp a Butterfly, moved away from the bass- and drum- heavy, festival-friendly production of his peers and moved closer to a sort of jazz rap. He had a live band with him Saturday night, but he used it sparingly. It worked

The Michigan Daily — michigandaily.com

perfectly. He awed with some off the cuff verses as he told the band to just “give him something to work with,” but he also made sure to play to the crowd, performing the chorus of banger “M.A.A.D. City” four times, nearly shaking the foundation of Zilker Park. The best moment came when Kendrick walked off the stage, and the crowd roared “We gon’ be alright” at him until he came back. He jumped right in — “Alls my life I had to fight!” He also payed homage to his label TDE (Top Dawg Entertainment) bringing out fellow Black Hippy member Schoolboy Q, who performed earlier that day. It was a fittingly powerful ending to a great night for West Coast rap. — Matt Gallatin DAY 3 St Paul “Sometimes you just have to roll yourself into a burrito.” Out of context, truer words have never been spoken. In context, this was said after Paul Janeway, the lead singer of St. Paul and the Broken Bones, was so overwrought with emotion while performing “Broken Bones and Pocket Change” that he collapsed onto the ground, wrapped himself into the rug lying on stage and rolled under the platform where part of the six-piece soul band stood. All while still singing. And I loved it. Emerging from Birmingham, Alabama in 2012, St. Paul and the Broken Bones is about the soul and the spectacle. Clad in a red tuxedo and alternating between

a rose between his teeth and a Deadpool mask, Janeway was a star, and I couldn’t take my eyes off him. The band’s raw talent is enough to carry them through a performance and leave the audience content. But their energy and Janeway’s ecstatic personability is what made the festivalgoers dance, and what made those unfamiliar with the music stare in awe as to what bizarre skit was occurring on stage. It’s not every day the lead singer of a soul band dons a Deadpool mask while singing about the woman who wronged him, but we all have the rituals that get us through the day. Who am I to judge? — Natalie Zak LCD Soundsystem I have never been in a more purely joyful crowd than the one gathered on Sunday night to see LCD Soundsystem close out the festival. I — and I think many of the people around me — had completely written off ever seeing LCD live. The band consciously uncoupled (long before Gwyneth made it cool) with a farewell show at Madison Square Garden in 2011. So as the minutes ticked down until we would all be face to face with a band we thought was dead, the crowd buzzed with anticipation, fluxing between pinching ourselves and not wanting the dream to end. I’m still a little bit in shock that what happened on Sunday night was real. It was magical to hear “Dance Yrself Clean” build, and to watch Nancy

Whang bang away on the keyboard. It was everything I had dreamed it would be since my dad made me watch “Shut Up and Play the Hits” (a fantastic movie about their break-up and “final” concert). But it was better because it wasn’t a dream. LCD Soundsystem is a project bursting with love. Its frontman and maestro James Murphy’s love of music, his love of the music he makes and his love of the people he makes music with. It’s also the love of the people that listen to that music and love that music and raise their kids to love that music (thanks, Dad). The crowd on Sunday night pulsed with that love. Our joy came out of this collective love. Something happens to music when it’s played live, and never has that felt truer than during LCD’s set at ACL. Everything — sound, energy, love — is at full volume. “Daft Punk is Playing at My House” bursts the crowd into a sea of dancing, and “New York I Love You But You’re Bringing Me Down” draws us back into a quiet sway. On either end of the energy spectrum, LCD Soundsystem makes music that asks you to lose yourself in it. It begs for uninhibitedness. It begs for joy. Finally, with “All My Friends,” Murphy leaves us with the question: “Where are your friends tonight?” And the only answer is: if they aren’t at LCD Soundsystem, who cares? — Madeleine Gaudin

COMMUNITY CULTURE PREVIEW

‘Layla and Majnun’ at Power Center Silk Road Ensemble performs classic love story in Ann Arbor here in the US,” Gramley, now associate artistic director of the Daily Arts Writer Silk Road Ensemble, said. “No matter where you go in CenThe classic Azerbaijani love tral Asia, everyone knows about story, “Layla and Majnun,” will ‘Layla and Majnun.’ ” take the Power Center stage on Gramley is also a tenured Oct. 13-15. Promprofessor and ising to be a huge, Director of Perunique production, cussion Studies “Layla and the show features at the University Majnun” two Azerbaijani of Michigan’s solo singers, two School of Music, 8 p.m. traditional AzerbaiTheatre and Oct. 13-15 jani musicians, an Dance. ensemble of eight “We first Power Center musicians and dancworkshopped it $30-$75, Student ers surrounding the at Harvard about stage. 10 years ago, tickets available The ensemble of and arranged a with student ID musicians are part version that we of The Silk Road really loved. We Ensemble, a nonprofit organiza- toured it around the United States tion created by world-renowned with Alim and his daughter, who cellist Yo-Yo Ma. The ensemble sings the part of Layla, and it was aims to incorporate multicultural a big success,” Gramley said. artistic influences into their pro“It’s really a special event for ductions and bring together per- everybody. The stage is really formers and art from all around full — it’s beautiful. The dancers, the world. singers and musicians are all on A vocalist in the Silk Road stage together, which is someEnsemble from Azerbaijan, Alim thing very unique. Ann Arbor is Qasimov, introduced “Layla and only the third city to get it so far. Majnun” to Joseph Gramley, who It just opened two weeks ago in has been with the group for 16 Berkeley, California.” years. The Silk Road Ensemble tours “It’s a very, very famous love both with Yo-Yo Ma and on its story across the world — as own. They are in residence at famous as Romeo and Juliet is Harvard University, and also do ALLIE TAYLOR

residencies at other universities around the world. They have recorded six albums and recently finished work on a documentary film that is now out in theaters worldwide, called “The Music of Strangers,” directed by Morgan Neville, who also directed “20 Feet From Stardom,” winner of the 2013 Academy Award for Best Documentary Feature Film. Additionally, The Silk Road Ensemble just had a companion album come out on Sony Records called Sing Me Home. “It’s been a busy year for us,” Gramley said. “We’re getting ready to go to Asia on Nov. 7. This tour is going to be worldwide.” The show is done in its original language, Azerbaijani, and there will be supertitles above the stage translating the Azerbaijani into English. The show is one hour long, and there is a 10-minute introductory overture done by the Azerbaijani musicians. “It’s just absolutely beautiful. It’s the first time in many years that Mark Morris has choreographed a full, evening length piece,” Gramley said. “The combination of dance, vocals and music is really a great example of group intelligence at work, and we’re really proud of it. It’s just breathtaking. I hope people will take the time to come see it.”

EPISODE REVIEW ASeason 1, Episode 7 Atlanta

“Atlanta” has been on a hot streak since it first premiered six weeks ago, churning out episode after episode of lowkey, self-contained stories. Last week’s “Value” put the spotlight on supporting character Van (Zazie Beetz, “Easy”), arguably producing the best episode so far. While this week’s episode, “B.A.N.,” can’t reach the heights the series reached last week, it’s by far the funniest episode on a scene-by-scene basis. “B.A.N.” is named for “Black American Network,” a parody of B.E.T. In the episode, Alfred (Brian Tyree Henry, “Vice Principals”) appears on a talk show called “Montague,” discussing a controversial tweet he

made about not wanting to have sex with Caitlyn Jenner. From there, “B.A.N.” resembles an episode of “Chappelle’s Show” or “Key & Peele,” interspersing its talk show segments with fake commercials. One segment of “Montague” features a story on a black man (Niles Stewart, a YouTube and Vine star) who identifies as “a 35-year-old white man named Harrison.” The episode is careful not to endorse Harrison. Later, it is revealed that despite the judgment he’s faced as a trans-racial man, Harrison has no empathy for people in the LGBT community. From there, the Harrison runner becomes an exploration of how minorities sometimes fail to extend their empathy towards other oppressed groups — even Alfred can only vaguely express support for transgender rights, otherwise defend-

ing himself and decrying the “PC culture” that forces him to face the consequences of his insensitive words. But the episode is also just worth it for the hilarious fake commercials. There’s a surreal Dodge ad that ends with the slogan “The Dodge Charger: the official car of making a statement without saying anything at all.” Even better: an animated cereal commercial that portrays a Trix bunnyesque wolf being cuffed by a cop and then physically assaulted while the terrified kids record the police brutality on their phones. These are just two of the hysterical parody ads that air over the course of “B.A.N.” The episode may not achieve stunning character work like previous episodes have, but the nonstop hilarity and typical notes of social commentary make it an instant classic. - BEN ROSENSTOCK

The Michigan Daily — michigandaily.com

the b-side

Composer David T. Little explores humanity in art Accomplished musician and UM masters alum addresses joy, fear and mortality through his compositions DAYTON HARE Daily Arts Writer

I first heard of David T. Little at approximately 12:30 in the morning. If I were a more dutiful student this likely wouldn’t have happened, but as it was, on that particular night I found myself wandering out of my dorm room and down the hall in search of something — anything — to hold my attention other than my homework. Somehow I ended up sipping tea in a fellow musician’s room, discussing life, death, humanity, art, meaning — the usual stuff. Before long, we were sharing the music we loved with one another, and my companion put on a recording of a piece he had played with an orchestra, Little’s “Haunted Topography,” a composition which deals with grief, loss and war. Well, for days after, it haunted me. Some weeks later I was even more affected by a performance of Little’s “and the sky was still there,” one of the few more-or-less explicitly political works I’ve found to be extremely moving. I remembered all of this as I sat across from David Little on a bench in the School of Music, Theatre & Dance at the University of Michigan. It seems that after all we really do have a small world. A few feet away, Little — who is an alum of Michigan’s masters of music program — explained that he, too, was mentally re-experiencing the past as we spoke. “It’s a funny thing, I texted my wife the other day and said, ‘this place is full of ghosts.’ It’s interesting being back here, in this building, because this is the building I was in on 9/11,” Little said. “I remember walking out of a class, and walking out into the lounge upstairs and seeing that there were televisions everywhere and watching the news broadcast. And over in the loading dock over there is the phone where I called my family,” Little said, gesturing to a door behind us. For the past week or so, Little has been on campus as part of the William Bolcom Residency in Composition, a program set up in honor of William Bolcom, professor emeritus of composition in the School of Music, Theatre & Dance and Pulitzer Prize-winning composer. The program is designed to help bring notable composers to the University to feature in lectures, concerts, lessons and the like for the benefit of students of composition and music generally. “It’s really nice to be back here as a William Bolcom residency composer because he was one of my teachers,” Little said. While at the University, Little studied composition primarily with Bolcom and Professor Michael Daugherty, but his studies at the University have only been one aspect of his musical education, which began in his childhood with an unorthodox ensemble experience. “I started playing music when I was 8. I was in a fife and drum corps in New Jersey,” Little said. “And so I learned a lot of Revolutionary War music and Civil War music and marched in a lot of parades.” “I grew up in the country, so there wasn’t really a lot going on, so anything that I could do that was related to music, I did,” Little said. “I was in the jazz band, any chorus I could be in, any orchestra I could be in, any band, wind ensemble. I sort of played in a rock band when I was … well, my first one was when I was 12, but my first serious one was when I was probably 14 or 15.” It wasn’t until around the age of 15 that Little “became aware of composition as a thing which existed in the world.” Watching Tim Burton’s film “The Nightmare Before Christmas,” Little realized that someone wrote the music he heard and loved in the movie: the composer Danny

Elfman. Retroactively, Little also became aware that Elfman composed the scores for numerous other films he loved, such as “Batman” and “Beetlejuice.” “After seeing (“The Nightmare Before Christmas”), I decided that I was going to be a composer, that I wanted to become a composer,” Little said. “And I spent the next couple of years trying to figure out what that meant, as far as what you do as a composer. I understood that you wrote the music, but beyond that, what did it mean for it to be your job?” Little began writing music and doing arrangements for ensembles around him, improving his musical skills prior to college. At the time, as a percussionist, Little could not read the pitches of music very well, and so he worked to expand his abilities in that direction. He attended Susquehanna University for his undergraduate degree, initially studying music education but soon switching to percussion. While there, he took composition lessons and dedicated as much or more time to that as he did his major. By the time he completed his degree he had built up a substantial enough portfolio to be accepted as a fellow at the prestigious Tanglewood Music Center summer program. The following autumn, he enrolled in the Master of Music in Composition program at the University of Michigan. Following his graduation, he moved to Boston, where he studied privately with Osvaldo Golijov, but after a time, he enrolled in the Ph.D. program at Princeton University, which he completed in 2011. There’s nothing about Little’s appearance that screams “composer,” but after a while speaking with him it begins to feel implicitly right. Relaxed and congenial, Little tends to dress in dark and muted colors and wears rectangular glasses. He sports a neatly trimmed beard, and atop his head is an asymmetrical collection of tightly curled hair which seems somehow to defy the laws of physics in a way I can’t quite place. Still young, Little speaks with a casual and laid-back tone, but directs the conversation towards art, music, politics or human existence — all the big idea topics — and you quickly realize that he has thought both quite keenly and deeply about the world around him and explains himself in language that is simultaneously articulate and expressive. He remains one of the few people I’ve ever heard use the lowercase word, “catholic,” in a conversational setting, coincidentally while discussing his opera about the first uppercase Catholic president, John F. Kennedy. “I’m very interested in history, very interested in politics, in the sense of political structures and how power works between individuals,” Little said. “I think that’s something that really plays into my interest in opera, because … the idea of the personal as political really manifests in the power between individuals. So someone who is powerful or lacks power, you can express that in an opera and it can be … a metaphor for social structure.” Little is best known for his dramatic and stage works. While his reputation has been growing steadily ever since his time at the University in the early 2000s, it was really in 2012 when he was catapulted to national and international fame, with the premiere of his opera “Dog Days,” which was lauded by the likes of the New York Times and The New Yorker as one of the standout new operas of the era. Together with the librettist (one who writes the lyrics to an opera), Royce Vavrek, Little refuses to shy away from the large ideas of existence, producing works of both dexterous technical construction and profound emo-

tional urgency. Set in a near future, pseudo-post-apocalyptic America, “Dog Days” tells the story of a nuclear family on the brink of starvation that is confronted with questions of humanness and morality when a man dressed — and living — as a dog appears begging at their home, creating conflict with the family’s aggressive patriarch, Howard. “In the case of ‘Dog Days,’ … we have a character who is grappling with what we would call today toxic masculinity,” Little said. “He’s grappling with this inherited mythology of what it is to be a man in late 20th-century America, which in the story manifests as behavior which leads to the death of his entire family, (and includes) his ceasing to be human by becoming a murderer.” More than embracing discomforting thematic ideas, Little and Vavrek also demonstrate in “Dog Days” what I perceive as a shift in opera’s cultural mores in their choice of language. Less than a minute into the opera, our ears are already peppered with a string of expletives like “fucking” and “shit,” an artistic choice which — at least in my eyes — reflects a bend toward a more fundamentally honest art in opera in the same way that Joyce’s “Ulysses” did for the novel a century ago. After all, who among us would not — in the way that the characters of “Dog Days” do — express ourselves in crude and frustrated language if placed in a brutal, war-torn hellscape? More recently than “Dog Days,” Little has produced an opera which looks backward in time rather than forward: “JFK,” a screening of which I attended this weekend. Thinking over it again, the opera works with many similar themes to “Dog Days,” in that it asks us to examine ourselves. Taking place almost entirely on Nov. 21, 1963, Little and Vavrek wrote a drama which follows the 35th president of the United States and his wife, Jackie, the night before his assassination. “(I’m interested in) human beings, what it is to be a person. In a certain sense they’re very simple but very existential questions, you know, what does it mean to be alive, what does it mean to grapple with mortality?” Little said. “In the case of my most recent opera ‘JFK,’ it’s really about the audience watching a person who they know will die in 12 hours experience their last 12 hours of life, and that becomes a mirror on our own existence. If we knew that we had 12 hours left, how would you behave, what would you do differently? And watching someone who is unaware of that makes that really explicit, and in some cases really painful to watch.” Little doesn’t claim to have the answers to all the questions he raises in his work, a trait which differentiates him from much of the political art of the 20th century, but he does have some thoughts about what an audience should get from it. “We wanted (the audience) to leave with the sense that they should hug their partners a little longer, value the people in their lives, be aware of valuing them,” Little said. “Because it’s very easy in life today to forget about that, to get wrapped up in being busy, wrapped up in your job, in work, and forget that we are all amidst this network of relationships, each of which will end at some point, potentially under unpleasant circumstances.” Little also works considerably with the idea of the intersection between memory and society, and in exploring the ways that one influences the other. “I’m really interested in memory generally, partially because it’s so unreliable … but also, how does memory affect us culturally?” Little asked rhetorically. “You see this in current political discussion, people talking

Thursday, October 13, 2016 — 3B

about the rise of fascism. You see people referencing the rise of Hitler in regard to the rise of Trump. And whether or not you believe that is accurate, I find it interesting that that memory is relevant now.” Extrapolating from frequent themes such as memory and humanness, Little deals heavily with political concepts. In the past more than now, Little was known for writing political music, but in recent years has shifted from writing about politics to, in some ways, writing about what politics is about. “I think of someone like Georg Büchner, you know, ‘Woyzeck,’ and that’s a deeply political piece, and it’s a political piece that is against a military landscape, but the politics of it are not the politics of Democrat and Republican — not that they would be in Weimar Germany,” Little said. “It’s a different kind of political manifestation. And there’s also an extent to which it doesn’t have anything to do with politics. Beyond which, aside from the idea that perhaps dealing with one’s mortality is a motivating factor for a politician, whatever drives them, I think that fear of dying is something that drives people to do sometimes great things and sometimes awful

things. But it’s a thing that is very deep in us humans.” Little is also cognizant of and interested in the role he plays as an artist. Particularly working in genres such as opera, he believes that the artist can be an agent of change or bring greater awareness to society. “There’s a great quote, and I think it’s from Bertolt Brecht, although I could be wrong. It is that ‘art is not a mirror with which to reflect society but a hammer with which to shape it,’ which is something that I like, and I think about a lot,” Little said. “I think that that can also apply not just in a political sense but also in an existential sense. I think that especially my recent work is interested in exploring ideas about what it means to be human, and more specifically what it means to be human operating within a larger social structure that has its own ideas about how you should behave … my interest is increasingly not so much — going back to that Brecht quote — to shape society through explicit political means or political messages … but, if I can contort the quote a bit, to make the mirror into a hammer, to show us ourselves, but in a way that also shapes actions moving forward.”

Elaborating on that complex idea, Little continued by saying that it is his hope that he can help society understand itself through art. “I think so much of what we do is about our understanding of life and our understanding of existence,” Little said. “And we as a culture look to various places for that; we look to religion, we look to nationalism, we look also to ourselves and our sense of self. And so, how can art — particularly when writing opera — how can those works help in the discovery of the individual?” Little aims in his work to leave the audience with questions, not of the confused sort about the art itself, but more about who we are, who we could be, and the other fundamental issues of identity and place. He wants us all to search for answers, whether or not we may find them. “I think the struggle has value. I think it’s worth asking a question even if the answer doesn’t come easily,” Little said. “And I think there’s value in continuing to pursue it, even if sometimes answering a particular question can take a long time. It can take a decade, a lifetime. But that pursuit has great value.”

COMMUNITY CULTURE PREVIEW

SMTD brings hilarious ‘Drowsy Chaperone’ to the Mendelssohn First major production of the year follows glamorous star and her groom “It’s so brilliant, and what makes it so brilliant is this character,” SMTD sophomore Isabel Stein said. “You’ll have For their first major to see it to know what I mean.” production of the year, the Also a member of SMTD’s Musical Theatre department production of “Guys and Dolls” in the School of Music, Theatre last winter, Stein plays the role and Dance will be presenting of Mrs. Tottendale. “The Drowsy Chaperone” on “Mrs. Tottendale is a happy, October 13th-16th older woman, and 20th-23rd. who can’t really “The Drowsy remember “The Drowsy Chaperone,” anything that Chaperone” a show that is happens. She’s defined as “a very flighty,” Oct. 13 at 7:30 p.m., musical within Stein said of her Oct. 14-15 at 8 p.m., a comedy” on character. Oct. 16 at 2 p.m., the poster, “It’s my Oct. 20 at 7:30 follows the story mansion where p.m., Oct. 21-22 at of glamorous the show takes 8 p.m., Oct. 23 at Broadway star place,” she added, 2 p.m. Janet and her “and it’s just so groom-to-be much fun.” Lydia Mendelssohn Robert at the Rehearsals Theater Tottendale for the show mansion. Man in hit the ground $28/$22/$12 Chair, the man running at the telling the story, very beginning of begins the show by sitting in in September. his living room and playing an “We rehearse every day LP record of his favorite (made for four hours,” Stein said. up) musical called “The Drowsy “Everyone who is in the show Chaperone.” As the show wants to be there, and everyone within the show progresses, wants to do it as a career. Man in Chair comments on In this way, it is so different the record and the show as the from high school. Every single characters on the recording are person takes it seriously. When brought to life. you are in an environment ALLIE TAYLOR Daily Arts Writer

where everyone is at such a high ability, you are able to get to such a high level of performance.” There are many students at SMTD who work on professional shows during the summer and graduate with equity cards, which allows them to do more professional work, such as Broadway national tours and regional theater productions, while they are still in school. “When those students work on productions at Michigan, they say it is very similar to productions in the real world,” Stein said. Stein’s favorite part of the show, she said, is the energy on stage. “It’s the most fun I’ve ever had when working on a show by far. It’s happy, exciting and energetic. It’s just pure fun from start to finish. It is so inspiring to be in a cast where every single person is so supremely talented,” Stein said. When asked why should people come see the show, Stein said: “If you want to experience the most fun, exciting, jampacked hour and 20 minutes of your life, come see ‘The Drowsy Chaperone.’ It is so, so, so much fun. It’s truly a great production.”

SINGLE REVIEW B “Hero” Dame D.O.L.L.A. & Raphael Saadiq

Metta World Peace — then known as Ron Artest — released a single titled “Champions” six years ago to commemorate his 2010 NBA championship with the Los Angeles Lakers. This song was very bad. Chunks of it made no lyrical sense and its blandness solidified World Peace’s spot in the ever-growing universe of failed NBA rappers. This is an expansive universe, but if star Portland Trailblazers point guard Damian Lillard’s sample size thus far is any indication, he will stay out of such a sad place. On Oct. 11, Lillard (who raps by the name of Dame D.O.L.L.A.) released “Hero” on SoundCloud, and it’s really not bad. It’s partially carried by R&B stalwart Raphael Saadiq, who immediately (and often

thereafter) pipes in with an infectious hook, belting “I just want you to know (everybody needs a hero) / That so much more (everybody needs a hero) / We will try (you should try) / We will try (you will try) / We will try (you should try).” The formula is fairly poetic — a veteran (Saadiq) leading the charge for a newcomer (Dame) as both sing about being an admirable person for those younger and/or not as wise. Lillard continues this theme on his first, and strongest, verse: “It’s a jungle out there and people watch your back / And watch your front because people be trying to front / I ain’t got them type of problems, never been the kind to stunt / Where I’m from that get you burnt, and I ain’t yearning for the sun.”

DAME D.O.L.L.A.

We often see athletes making it out of rough areas and become the type of role model they never had. It’s cool to actually hear Dame talk from a place of righteousness. He’s in an influential position, one in which he can warn others about the dangers he once faced. It’s always nice to hear virtuous rap; it’s especially nice to hear it, genuinely so, from an NBA star. That’s why any technical issues are negligible in this case — they can be set aside to make room for Dame’s sorely needed fresh take. His thoughts make for respectable listening. - JOEY SCHUMAN

b-side

4B — Thursday, October 13, 2016

The Michigan Daily — michigandaily.com

THE VAULT | ‘A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE’ (2014)

MUSIC NOTEBOOK

THIRD MAN

Icky Trump.

A new age of jock jams ROY ANDERSSON

The new replacements for classic stadium anthems JOEY SCHUMAN Daily Arts Writer

Sports fans see their team play live because it’s fun and it’s enthralling — it makes them feel like they’re part of a bigger unit, down with a cause, part of a movement. Each venue has a different game day experience — some produce over-the-top spectacles, some consist of unadulterated action on field (or court) — but they all have music. Stadium music may seem like background music, but it’s very calculated. DJs must cater to the mood of the crowd and understand how to lend their tone to the demeanor of the players. After all, the music isn’t the main event. It’s a subculture within one of the richest and most rabid cultures in this country, and proper execution is essential to the functioning of a ridiculously big undertaking. It’s exciting. And it has evolved. There was a time, presumably, when pump up songs mid-game came not from actual songs, but from an organ. It’s still used to some extent in classic baseball settings like Chicago’s Wrigley Field, but this sound no longer satisfies the increasingly volatile nature of sports settings. The days of baseball games as graceful processions

are gone. Fan tastes have become more, well, upstart. At a certain point, this attitude shift caused a transition to more rhythmic, catchy hooks from pop songs that could masquerade as both unifying and motivational. Stadium DJs favor stuff that will get 40,000-80,000 people, intoxicated or not, chanting the same thing. The White Stripes’s “Seven Nation Army” and Zombie Nation’s “Kernkraft 400” are two of the more high profile tunes that have proven they can hype up a crowd. Call it an aggressive or even tribal movement, but this was a simple era of sports jams. That is, until Kanye West made it his scene. In 2007, the iconic rapper released Graduation, arguably his most grandiose album, and for a reason — inspired by his year alongside U2 on their Vertigo Tour, West craved the ovations the band received each time they took the stage. He was captivated by such large-scale fervor for a large-scale act. Bold as he is, he wanted the same thing. He grew preoccupied with the idea of singularly anthemic rap songs, which resulted in an album simply chock-full of stadium-ready hits: “Champion,” “Stronger,” “Good Life,” “Can’t Tell Me Nothing,” “Flashing Lights” and “Homecoming” are

all more than suitable for walkup music, timeout time-fillers, or crowd energizers. Kanye started a movement toward more ambitious, atmospheric and even dynamic, stadium music. One realization changed the trajectory of this culture as a whole, and while there aren’t any definitive prerequisites for a “correct” or “effective” soundtrack, West seemed to hit on some keys. Perhaps it was due to his self-cultivation, but he understood how to tailor production to the largest of stages. A balance between going hard and establishing flow, between something easy to shout but not with too much lyricism. When he claimed “stadium status” and later that it was “hard to be humble when you stunting on a jumbotron,” he meant it. Stadium status now means a mostly trap-influenced sound and chirpy quips. It’s about the boom factor. ACDC’s “Thunderstruck” and Ozzy Osbourne’s “Crazy Train” have become Travis Scott’s “Goosebumps” and Kanye and Co.’s “Champions.” The core simplicity has endured, but the sound has ratcheted up in intensity, and deservedly so. Welcome to a new age of stadium anthems.

“Hey lil mama let me whisper in your ear.”

Critically acclaimed ‘Pigeon Sat On’ is too absurdist to make sense Swedish black comedy filled with too many incoherent half-baked ideas ANA LUCENA

Daily Arts Writer

The long and illustrious name of the 2014 Golden Lion winner, “A Pigeon Sat on a Branch Reflecting on Existence,” probably doesn’t ring a bell. But after hearing it had been recently added to Netflix, I figured I had to see the critical success for myself. Black comedy is supposed to be edgy, but “Pigeon” loses its message by trying too hard to be philosophical. The film is composed of vignettes that are loosely connected through novelty item salesmen Jonathan (Holger Andersson) and Sam (Nils Westblom). Its dark humor wasn’t stimulating enough to keep me engaged, and the oneshots are too much like staged plays, feeling stifled in a feature length movie. Such sedentary shots only work because of “Pigeon”’s top-notch miseen-scène coupled with skilled

actors flawlessly navigating their meaningful sets in singular takes. “Pigeon” begins with three scenes about meeting death, building the repetitive tone of the movie without concretely showing its driving force. The first scene showcases its sense of humor: a man holding a bottle of wine dies at the doorway of his kitchen, where his oblivious wife is cooking and singing with her back turned to him. As any millennial can tell you, death is an easy source for jokes. But the punchline is drawn out for far too long. This vignette could have ended within seconds; instead, it slowly builds until it reaches climax after minutes of little happening on screen. If the writing was slightly less astute and organic, you could predict the ending of most of the vignettes at first glance. Thankfully, “Pigeon” also makes earnest use of absurdist humor, making up for the

dullness of the black comedy. As the loose protagonists straggle around Gothenburg, Sweden to unsuccessfully pick up late payments from desperate-looking customers, they end up lost in a subdued bar. They explain (again) that they work in the “entertainment business” and “want to help people have fun” as they peddle their products (plastic vampire teeth, laughing boxes and kooky masks) to the glum-looking customers, making their livelihoods seem downright depressing and pathetic. What could possibly keep these men going? Suddenly, royal guards of the long-deceased King Charles XII of Sweden storm in and kick out all the women in the bar at sword-point. Seeing such antiquated people (riding actual horses!) inside a modern establishment is absolutely wild. Once alone in his men’s company, the king nonchalantly requests water, of all things, and makes a pass at the bartender. While the king stares into the taken aback bartender’s eyes, an exterior shot reveals a woman is playing with her baby in a carriage as the royal guards march by, making the implicit connotations explicit. I have no idea how this joke came to light, but to my amazement it paid off. The filmmakers keep “Pigeon” ’s plot from having any coherence. When Jonathan becomes sadly obsessed with a song about meeting one’s parents in Heaven, he instigates conflict with Sam, giving hope that some significant character development is incoming. Unfortunately, it only sets the stage for the darkest scene in the film where he has a startling dream of Englishmen whipping an African woman and her child into submission as they are chained in a line of slaves and pushed into a red chamber that spins like a rotisserie over a fire. More disturbingly, and telling of Jonathan’s personal sense of unease, is that a group of elderly white people in ballgowns and tuxedos are guided from a futuristic hotel and served wine to watch the deaths. This prompts Jonathan to ask Sam whether it’s right for people to use others out of pleasure. The scene is incredibly dark even for a black comedy, but I’ll be damned if two visuals without context have ever churned my stomach so quickly. Unfortunately, it’s too broad to discern what is causing Jonathan’s inner turmoil that Sam, who is his work partner and roommate, is not suffering. In the meantime many of the shorts, while true to life, go nowhere. There’s a man about to shoot himself in the head pretending to sound happy on the phone, a dance instructor groping her student and a shop owner too depressed to deal with his debtors who sends his wife as an awkward go-between. These are all painfully real, but are not explored deeply enough to make an impact. Maybe my sense of humor isn’t dark enough to appreciate the realist morbidity of the universe in which Jonathan and Sam reside. But the thoughts behind “Pigeon” are too half-baked to make sense of it all.