Issuu

ONE HUNDRED AND TWENTY-NINE YEARS OF EDITORIAL FREEDOM

Thursday, October 31, 2019

Ann Arbor, Michigan

michigandaily.com

the costume b-side

University to break ground on Town hall for $300 million center in Detroit 2020 debate ‘U’ accepts invitation to collaborate on opening innovation hub

calls for student involvement

CSG hosts conversation encouraging community participation in event is that there’s going to be such a myriad of volunteer opportunities, and helping students About 50 people attended think outside of that very the second Central Student direct, sort of (idea) that Government-hosted town your major equals your hall to discuss preparations career,” Carver said. “So I for the upcoming think that it really allows this extraordinary Presidential Debate next for fall. The event consisted of opportunity to engage in ways that students haven’t student engagement-related Design by Christine Jegarl activities where students anticipated.” Carver said the debate could ask questions and discuss various aspects of preparation extends beyond preparations, as well as find the event itself. out how to get involved in “Many students, when they think about the the event planning. According to Catherine debate, they think about Carver, co-lead of the that 90-minute moment 2020 Presidential Debate when the debate is being Initiative and the Events televised, right at 9 p.m. and Outreach Manager for on October 15, 2020,” Ford School of Public Policy, Carver said. “But in fact, the variety of opportunities one of the beauties of this needed to prepare for particular opportunity is the debate allow for the ability to understand engagement opportunities all of the different aspects for students with a that go into implementing something of this nature.” multitude of interests. “I think that part of the excitement for this See DEBATE, Page 3A ATTICUS RAASCH Daily Staff Reporter

DESIGN BY MAGGIE HUANG

MADELINE MCLAUGHLIN Daily Staff Reporter

The University of Michigan has accepted an invitation to collaborate with the city of Detroit in building the Detroit Center for Innovation, it announced Wednesday morning. The $300 million research and education center will provide new programs and courses of study for both undergraduate and graduate students.

University President Mark Schlissel explained in an email statement the location of the Center is key to furthering the University’s goal of fostering a collaborative relationship with Detroit. Additionally, he cited the University’s potential role as a “pipeline” to funnel innovation into the city to sustain it for years to come. “The center will help make our work in Detroit even more comprehensive, aligned to our mission, and responsive

to local needs,” Schlissel wrote. “The Detroit Center for Innovation will further the economic development of the city and region. U-M’s role as the center’s anchor is to provide a pipeline of talent and platform for research collaboration to help grow and attract businesses and entrepreneurs, while positioning the future workforce for success in a dynamic and diversified economy.” The new center will be

situated on a failed jail site located on on Gratiot. The construction of the penitentiary was halted in June 2013 when the building process pushed the budget $91 million over the $300-million budget. Since 2013, the half-built jail has remained abandoned on the lot. The site will be anchored by a 190,000 square foot research and education center. See DETROIT, Page 3A

Lecture Michigan Men program sparks talks food conversation about masculinity insecurity, Initiative prepares for second cohort of students to explore definitions of manhood healthcare GOVERNMENT

ALICE TRACEY

Meister Child Health and Research Center hosts specialists for 13th Susan B. Meister series LILY GOODING For The Daily

About 200 students and community members attended the 13th annual Susan B. Meister lecture in the Biomedical Research Science Building Wednesday with keynote speaker, Robert Gordon, the director of the Michigan Department of Health and Human Services. The event was hosted by the Susan B. Meister Child Health Evaluation and Research Center at the University of Michigan and discussed the prevalence of food insecurity in the country and its effect on children. Gordon has a range of previous work experiences, including working with the White House to establish Americorps, clerking for Supreme Court Justice Ruth Bader Ginsberg and serving in the U.S. Department of Education. The event also featured Public Policy professor Natasha Pilkauskas and Kelly Orringer, director of the division of general pediatrics at Mott Children’s Hospital. See FOOD, Page 3A

GOT A NEWS TIP? Call 734-418-4115 or e-mail news@michigandaily.com and let us know.

Daily Staff Reporter

Michigan Men, a University of Michigan program designed to promote open conversations around masculine identity, is preparing to welcome its second cohort of students to a seven session series exploring definitions of manhood. The initiative was founded two years ago as a collaboration

between the Sexual Assault Prevention and Awareness Center, the Office of Student Conflict Resolution and Fraternity and Sorority Life. OSCR Case Manager Jim McEvilly launched the program after being made aware of general interest, especially from the U-M Interfraternity Council, in masculinity work. McEvilly, who is also a clinical social worker, said he’s always

been interested in masculine gender socialization and its real-world impact, so he began brainstorming with individuals within Greek life organizations. “Any time you’re doing community work, you never want to go to a community and say, ‘Hey, this is what we think you need, so we’re going to do this,’” McEvilly said. “You always have to partner with the

ANN ARBOR

Task force discusses upcoming open house

community.” Michigan Men is loosely based on a similar program at Northwestern University, but McEvilly said it’s been adjusted to the specific needs of U-M students. Within the last year, Michigan Men began offering sessions to organizations such as fraternities who express interest in talking about masculinity. See MEN , Page 3A

Center of the City also spoke about online engagement, possible addition of DecaDome KATHERINA SOURINE Daily Staff Reporter

DESIGN BY KATHRYN HALVERSON

Follow The Daily on Instagram, @michigandaily

For more stories and coverage, visit

michigandaily.com

INDEX

The Center of the City Task Force met on Wednesday afternoon to discuss its upcoming open house, online engagement and possible installation of the DecaDome. The Task Force gathered at Larcom City Hall for its seventh meeting, a 10-person municipal committee created after local voters approved Proposal A to designate the library lot between Fifth Avenue and Division Street for plans to become a park and civic center commons. After public comments, group member Norm Tyler presented the work of the Neighbors subgroup, which has evaluated comments from community sources by meetings, letters and email. One recommendation included having business owners and residents learn about the history of the block and evaluate favorable urban spaces, based on prepared photos, to envision possibilities for the library block. They evaluated the efficacy of this exercise in preparation for the open house. See TASK FORCE, Page 3A

NEWS.........................2 OPINION.....................4 CLASSIFIEDS................5

SUDOKU.....................2 SPORTS...................5 ARTS.................1B

News

2A — Thursday, October 31, 2019

MONDAY: Looking at the Numbers

TUESDAY: By Design

WEDNESDAY: This Week in History

The Michigan Daily — michigandaily.com

THURSDAY: Twitter Talk

FRIDAY: Behind the Story

Geoff Barnes @GBarnesMD Excited to share my thoughts on medical professions and a career in medicine with the UMich Pre-med club.

Cordelia @cordybr Still bummed that I went from some of the best insurance in to country to MEHHH. I miss Umich Health System sooo much.

Bedrock @BedrockDetroit We are proud to announce plans for a 14-acre Detroit Center for Innovation in downtown Detroit.

Nah Bi @JDMoorman This kind of spending just makes @umich look rich and out of touch with their responsibilities as a state school.

Amytess Girgis @afmgirgis perhaps the innovation of funding flint and detroit.

Itsa Me Mollie-o @mememachine116 I tripple dog dare any student in umich ross to not talk about ross for a whole day

OPTICAL PULSES

Stanford Lipsey Student Publications Building 420 Maynard St. Ann Arbor, MI 48109-1327 www.michigandaily.com

MAYA GOLDMAN

TOMMY DYE

Editor in Chief 734-418-4115 ext. 1251 mayagold@michigandaily.com

Business Manager 734-418-4115 ext. 1241 tomedye@michigandaily.com

NEWS TIPS

news@michigandaily.com

LETTERS TO THE EDITOR tothedaily@michigandaily.com

EDITORIAL PAGE

opinion@michigandaily.com

PHOTOGRAPHY SECTION

ARTS SECTION

photo@michigandaily.com

arts@michigandaily.com

NEWSROOM

SPORTS SECTION

734-418-4115 opt. 3

sports@michigandaily.com

CORRECTIONS

ADVERTISING

corrections@michigandaily.com

RITA VEGA/Daily Dr. Donna Strickland, Nobel Laureate and professor of physics, lectures on generating high-intensity, ultrashort optical pulses in Rackham Auditorium Wednesday.

Ann Arbor politicians introduce initiatives to increase solar energy Sen. Irwin, Rep. Rabhi present a set of bills to promote investment in renewable resources MARIA SOBRINO Daily Staff Reporter

Last week, Michigan lawmakers, including state Sen. Jeff Irwin and state Rep. Yousef Rabhi, both Ann Arbor democrats, introduced a set of bills that would promote investment in solar energy across the state. The legislation would offer economic incentives for Michigan residents who install solar energy systems on their properties. The Powering Michigan Forward package would address statewide regulations on residential solar energy production that lawmakers say are preventing the expansion of renewable energy investment. The package plans to shift Sudoku Syndication residential solar energy production

in Michigan from an “inflow, outflow” system to a net metering system. In an “inflow, outflow” system, residents with solar panels must purchase all their energy needs from utility companies at a retail rate and then sell the energy created by their solar panels back to the companies at a lower cost. In a net metering system, residents with solar panels only need to pay utility companies for the energy they consume beyond what is produced by their solar panels. Additionally, if the resident’s solar panels produce more energy than the resident consumes, the resident is able to sell the unused energy to utility companies that add the energy back to the grid. Rabhi introduced two House Bills last week, which are very similar to a set of bills he

SUDOKU HARD

9 7

3 8

7 2

1 9

6 2

7 2

5 8 1

TOOTHACHE

puzzle by sudokusyndication.com

“The legislation sounded like it sponsored the last political term. The package is in response to a might have been highly influenced 2016 energy law put into effect by lobbies that didn’t want under then-Gov. Rick Snyder that renewables to really blossom,” changed Michigan’s regulation of Benedict said. “This new legislation residential solar energy production seems like it’s taking into account from a net metering system to an the idea that renewables are becoming more cheap, and if we “inflow, outflow” system. “That is creating an economic get public investment in it, it just environment for the people drives that system more.” Benedict also said a net installing solar panels on their homes that is disfavorable and metering system is an essential reduces the financial viability of step in allowing the public to have those solar projects,” Rabhi said. the power and government support to commit to sustainable energy “So that is a very bad system.” Rabhi’s first bill would repeal sources. “It’s just such a good incentive the language in the 2016 energy law that allowed the change from a to having people invest in their net metering system to an “inflow, own energy future,” Benedict said. outflow” system. The second “As opposed to leaving it up statewould require the Michigan Public level legislation which is going Service Commission to develop a to mandate how our companies http://sudokusyndication.com/sudoku/generator/print/ fair pricing system for solar energy operate, like Consumer Electric or that would reflect the benefit DTE.” LSA sophomore Fiona Lynch, of residential solar panels. Rabhi said energy utility a long-time Ann Arbor resident, companies have expressed said she is enthusiastic about a the greatest opposition for system that incentivizes Michigan these solar energy investment residents to install renewable bills, adding these companies energy systems. “I think it’s important for will have ample time to weigh in on the proposed legislation. politicians to really give respect “This is an uphill battle, to the role that they’ve been given but I think it is an uphill and start taking serious action battle that is worth fighting because that’s what they’ve been because, again, we are in dire elected to do,” Lynch said. “This is need of a renewable energy a big opportunity to actually make future and this is how we get change, and so I think it’s great that it’s starting to happen and I hope it that,” Rabhi said. John Benedict, a lecturer continues to happen.” Rabhi added the Powering for the Program in the Environment, teaches Michigan Forward package is part a course discussing of a larger political movement to contemporary ecological create and pass state laws focusing issues. A major theme of on sustainability issues. Even now, the course is the pollution Rabhi is developing and will soon and habitat destruction that introduce another bill that will results from the extraction create a 100 percent renewable and use of fossil fuels, as energy portfolio in the state of well as the urgency to move Michigan, meaning that all of the toward using renewable state’s energy will come from clean energy sources such as solar energy sources. power. Benedict said the 2016 legislation hurt interest in Read more at renewable energy in the state. MichiganDaily.com

Generate and solve Sudoku, Super Sudoku and Godoku puzzles at sudokusyndication.com!

dailydisplay@gmail.com

Editorial Staff FINNTAN STORER Managing Editor

frstorer@michigandaily.com

GRACE KAY and ELIZABETH LAWRENCE

Managing News Editors news@michigandaily.com Senior News Editors: Sayali Amin, Rachel Cunningham, Remy Farkas, Leah Graham, Amara Shaikh Assistant News Editors: Barbara Collins, Julia Fanzeres, Claire Hao, Alex Harring, Angelina Little, Madeline McLaughlin, Ben Rosenfeld, Emma Stein, Zayna Syed, Liat Weinstein

JOEL DANILEWITZ and MAGDALENA MIHAYLOVA

Editorial Page Editors tothedaily@michigandaily.com Senior Opinion Editors: Emily Considine, Krystal Hur, Ethan Kessler, Miles Stephenson, Erin White

MAX MARCOVITCH and ETHAN SEARS

Managing Sports Editors sportseditors@michigandaily.com Senior Sports Editors: Anna Marcus, Aria Gerson, Ben Katz, Mark Calcagno, Theo Mackie, Tien Le Assistant Sports Editors: Bailey Johnson, Bennett Bramson, Connor Brennan, Jacob Kopnick, Jorge Cazares, Rian Ratnavale

ARYA NAIDU and VERITY STURM

Managing Arts Editors arts@michigandaily.com Senior Arts Editors: Clara Scott, Emma Chang, Cassandra Mansuetti, Sam Della Fera, Trina Pal Arts Beat Editors: John Decker, Sayan Ghosh, Mike Watkins, Ally Owens, Stephen Satarino, Izzy Hasslund, Margaret Sheridan

ROSEANNE CHAO and JACK SILBERMAN

Managing Design Editors design@michigandaily.com Senior Design Editor: Sherry Chen

ALEXIS RANKIN and ALEC COHEN

Managing Photo Editors photo@michigandaily.com Senior Photo Editors: Alexandria Pompei, Natalie Stephens, Alice Liu, Allison Engkvist, Danyel Tharakan Assistant Photo Editors: Miles Macklin, Keemya Esmael, Madeline Hinkley, Ryan McLoughlin

ANDREA PÉREZ BALDERRAMA Statement Editor

statement@michigandaily.com

Deputy Editors: Matthew Harmon, Shannon Ors

SILAS LEE and EMILY STILLMAN

Managing Copy Editors copydesk@michigandaily.com Senior Copy Editors: Dominick Sokotoff, Olivia Sedlacek, Reece Meyhoefer

CASEY TIN and HASSAAN ALI WATTOO

Managing Online Editors webteam@michigandaily.com Senior Web Developers: Jonathon Liu, Abha Panda, Ryan Siu, David Talbot, Samantha Cohen

ELI SIDER

Managing Video Editor video@michigandaily.com Senior Video Editors: Ryan O’Connor, Joseph Sim

NA’KIA CHANNEY and CARLY RYAN

Michigan in Color Editors michiganincolor@michigandaily.com Senior Michigan in Color Editors: Lorna Brown, Samuel So, Ana Maria Sanchez-Castillo, Efe Osagie, Danyel Tharakan Assistant Michigan in Color Editors: Harnoor Singh, Nada Eldawy, Maya Mokh

CATHERINE NOUHAN Managing Podcast Editor

MADALASA CHAUDHARI and HANNAH MESKIN Managing Social Media Editors Senior Social Media Editor: Allie Phillips

Business Staff MOLLY WU

RYAN KELLY

Creative Director

ZELJKO KOSPIC

Sales Manager

Special Projects Manager

ROBERT WAGMAN

ANITA MICHAUD

Marketing Consulting Manager

Brand Manager

The Michigan Daily (ISSN 0745-967) is published Monday through Friday during the fall and winter terms by students at the University OF Michigan. One copy is available free of charge to all readers. Additional copies may be picked up at the Daily’s office for $2. Subscriptions for September-April are $250 and year long subscriptions are $275. University affiliates are subject to a reduced subscription rate. On-campus subscriptions for fall term are $35. Subscriptions must be prepaid.

The Michigan Daily — michigandaily.com

DETROIT From Page 1A In addition to the academic portion of the building, the 14-acre site will also feature residential units, a hotel, a conference center and a business collaboration and incubation space. Production is slated to begin in 2021. He went on to explain the center will provide degree programs through the University’s Ann Arbor campus tailored to the needs of the local economy, in the hopes of sustaining long-term growth for the city. “These could include senior-level undergraduate and graduate courses and stackable certificate credentials in highly relevant, growing areas such as mobility, artificial intelligence, cybersecurity, privacy, data science, financial technolog y, entrepreneurship, sustainability, and advanced manufacturing,” Schlissel said. The development of the site will be funded in large part by donations from Stephen Ross, the University’s largest donor, and Detroit businessman Dan Gilbert, as well as other public and private funding sources. In a statement to the University, Ross expressed his donation to the center was rooted in his desire to give back to the city that made him into the man he is today. “I spent my childhood and many of my young

DEBATE From Page 1A During the event, students were able to split off into small groups to discuss a variety of issues pertaining to debate preparation, including campus climate, volunteer engagement, voter registration, media literacy and post-debate events and programs. Students had the chance to share their ideas with the event organizers. CSG President Ben Gerstein, Public Policy junior, said the small group discussions were beneficial for hearing the thoughts of the student body. “To be able to share out here, in the room specifically, what students are thinking, I think is a lot

FOOD From Page 1A The lecture began with opening remarks from CHEAR center director Lisa Prosser. Prosser took the stage to recognize Meiser, who founded the CHEAR Center Board of Advisors and for whom the center is named after. Gordon began by addressing the current political climate, emphasizing the importance of simple and efficient change. He went on to identify the three key themes of his discussion: policy, process and personnel. “All of this sounds Hallmark simple, and it is,” Gordon said. “I think we’ve gone astray because we have made things too complicated and if we can stay anchored in simple ideas like these and if we can simplify the ways we do our work, we can activate

TASK FORCE From Page 1A “What we do is we have a meeting, and we show the history of the library block first, and then we have them do an interactive exercise,” Tyler said. “And then, we find that people are ready to talk. If you just went into a meeting and you said, ‘Tell us what you think about the library block,’ they probably wouldn’t be good reference points, but by taking the time, they gradually open up, and we get a lot of comments.”

News

adult years living and working in Detroit and have long wanted to find a way to have a real impact on my hometown,” Ross said. “The University of Michigan helped spark my entrepreneurial spirit and nurtured my curiosity for all aspects of innovation, leading me to not only become a founder, but an incubator and investor in a variety of technologies and businesses.” The center’s development occurs in conjunction with other efforts by the University to expand into the city, namely the Detroit Center, Rackham Memorial Building, and “cradle to career” program at Marygrove College. Detroit Mayor Mike Duggan expressed excitement for the growing relationship between Detroit and the University, as it will allow the city to f lourish in an era of rapid technological innovation. “I am pleased President Mark Schlissel accepted the invitation to have U-M power this center,” Duggan said. “Detroit is the ideal location for this extension for the prestigious University of Michigan and will help keep our city competitive in the emerging industries of tomorrow.” The University announced the Innovation Center would feature an interdisciplinary committee made up of faculty from the University’s three campuses, led by James Hilton, U-M Vice Provost

of Academic Innovation, to develop academic programs and design the building in the most efficient way. Additionally, the faculty committee will convene to re-strategize every few years as an effort to efficiently target the most pressing issues of the surrounding community. However, not all were impressed with the University’s decision to take on such an expensive project, especially when the Dearborn and Flint campuses still lack significant funding. In response to the announcement of the Innovation Center, LSA junior and spokesperson for One University Amytess Girgis tweeted, “Perhaps the innovation of funding Flint and Dearborn.” In an interview with The Daily, Girgis cited the One University Campaign — a coalition aimed at increasing parity between the Ann Arbor, Flint and Dearborn campuses — and brought up that significant disparities still exist between students. While she commends the University for the important work they can potentially do in Detroit, she said she sees the University’s decision to invest so heavily in the Innovation Center in Detroit as misaligned with its commitment to the campaign. “We commend the Administration on its professed commitment to support the people and communities of

Michigan,” Girgis said. “I just have to wonder why, if U-M is truly a public institution, it is allowing its Flint and Dearborn campuses to suffer from abhorrent lack of funding that it could very easily rectif y? I g uess the voices of students and faculty in these communities aren’t as strong as that of Dan Gilbert’s.” Some students also questioned the University’s decision to go into partnership with Ross and Gilbert. LSA senior Sharif Krabti said the University’s investment in the downtown area of Detroit as opposed to areas that receive less attention is an example of gentrification. “I don’t really see how those two folks have a vested interest in the communities in Detroit, outside of the DowntownMidtown area and that business development there,” Krabti said. “It’s important to recognize — and the University really should know this considering its faculty are the ones teaching this and have this understanding — that business doesn’t mean that it’s going to be prosperous for communities that live there.” Krabti, who participated in Semester in Detroit this summer, said there are Detroit-based initiatives the University participates in that help the city. He said this project, however, does not because it only benefits rich people and would rather see the resources in this project used elsewhere.

different than just having questions answered at a surface level,” Gerstein said. “I think it allowed for us to dig deeper into sort of some of the details. LSA junior Bridget Corwin said her group on voter registration talked about how to increase student engagement with the democratic process, and said the smaller focus groups allowed students to share ideas on topics that they are passionate about. “It was cool to have those small group discussions as well,” Corwin said. “Sometimes I don’t necessarily talk about the different aspects of voter registration with my friends all the time, and it’s something that I’m passionate about, and I care about, and I see it as an important aspect of

just like civic and political engagement on this campus.” According to Corwin, the group discussed why voter registration is an important conversation due to the political ideas being brought to campus with the debate. “I also think it’s really important that people understand that they have a voice and they are able to use their voice and literally shaping what those debates look like,” Corwin said. “I just think that voter registration is a really important piece to that, and it really important avenue for getting people civically and politically engaged.” LSA freshman Russell McIntosh said his small group, discussing media literacy, highlighted various modern concerns

and discussions of the current media landscape and political climate. “Media is pretty much our greatest inf luence and controls the way we think,” McIntosh said. “TV is going to be a huge portion of the debate, so we talked about the importance of educating people about the turn of the fake news and what fake news really is. We talked about how Michigan is going to be targeted by certain outside inf luencers. So media is just going to play a huge role.” Carver said the debate presents a unique opportunity for students to participate in the democratic process. “Educational opportunities are about what you do in the classroom and what you do outside of the classroom,”

a compelling agenda for reducing poverty and hunger.” Gordon then called attention to more specific issues in the process such as recent strides to move to self-attestation, which would allow low-income applicants to report their assets themselves instead of having to provide asset proof when filling out applications for benefits. Gordon said he believes the change to self-attestation would take away some of the stress from having to provide proof of assets. Gordon also spoke about the importance of good design when it comes to applications and processes, providing an example of a benefits application that was cut down from 42 pages — the longest in the country — to 18 pages, making it more efficient for low-income families to apply. Gordon also talked about changes in website layout that would make

it easier and quicker for applicants and caseworkers to read and fill out. “We should care about how things look,” Gordon said. “Design, as it turns out, is one of the ways that we treat people as equals.” Gordon closed his presentation with a call for hope, ensuring that although this type of work is difficult, it is worth it. “The public sector is often demonized. And a big part of my job is just reminding my colleagues that our work is among the most important work that there is,” Gordon said. Orringer, who has a specialty in pediatrics and a degree from Harvard Medical School, spoke on identifying food insecurity as a major indicator of child health as well as a social determinant for health. Orringer elaborated further on this topic, linking food

insecurity to youth mental and physical health problems as well as family vulnerability. Orringer stressed the importance of advocating for children’s health, specifically calling on the engagement of hospital staff. “What’s really important on a clinical basis is to make sure our staff, our nurses, our medical assistants, our trainees that come through, and faculty all are sensitive to this issue and are aware of the screening for this, why we are doing it, why this is important, and what the resources are,” Orringer said. Pilkauskas reiterated many core facts Orringer touched on, focusing on the policies that influence the prevalence of food insecurity.

John Haines, another member of the subgroup, ref lected on the addition of an activity survey as well as the urban spaces survey to have community members consider the activities they’d like to have in the community space. “The goal for us is to really generate discussion,” Haines said. “And while we did get some discussion after the urban spaces exercise, we thought maybe by describing activities people might be able to think a little bit more about what they might want to talk about.” Next, the task force

discussed the upcoming open house at the Ann Arbor District Library scheduled for Wednesday, Nov. 6 at 6 p.m. The open house will host four stations: a welcome station, a definition station, an audience station and an experience station. Each station has an activity to stimulate conversation on defining the space of the library lot, considering who will use the space and how it will be used. After discussion, Task Force Chair Meghan Musolff expressed an optimistic outlook on the upcoming event.

The event will have coffee, cookies and other snacks. “I’m feeling good about what our strategy is for this event, and we’ll see what we learn and move on from there,” Musolff said. “And as a reminder, we have another one in January, so I’m hoping, somewhere along the way, we’ll have a little bit of time to debrief to think about what we learned from this one and what our strategy might be for the next.” The committee also talked about online public engagement to allow those who can’t make it to the event to participate, as well as discussion on the

Read more at MichiganDaily.com

Opinion

4A — Thursday, October 31, 2019

SAMANTHA SZUHAJ | COLUMN

Edited and managed by students at the University of Michigan since 1890. Stanford Lipsey Student Publications Building 420 Maynard St. Ann Arbor, MI 48109 tothedaily@michigandaily.com

MAYA GOLDMAN Editor in Chief

MAGDALENA MIHAYLOVA AND JOEL DANILEWITZ

FINNTAN STORER Managing Editor

Editorial Page Editors

EDITORIAL BOARD MEMBERS Alanna Berger Zack Blumberg Emily Considine Emma Chang Joel Danilewitz

Emily Huhman Krystal Hur Ethan Kessler Magdalena Mihaylova Timothy Spurlin

Miles Stephenson Finn Storer Nicholas Tomaino Joel Weiner Erin White

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.

MARY ROLFES | COLUMN

Unwrapping the conversation about wrapping it up

y high school sexed experience wa sn’t g reat — probably not a cont roversia l statement. But liv ing in a count r y where only 18 states require information about bir t h cont rol to be pa r t of t he curriculum, I consider myself luck y to have received at lea st some information on how to practice safe sex, even if it wa s delivered by a g uy who taught kickba ll next period. The education included t he delight f ully cliché pin-t he-condom-ont he-ba na na demonst ration in f ront of a g roup of squirming high school sophomores unsuccessf ully at tempting to stif le t heir g iggles. This performa nce wa s nea rly t he sum tota l of t he condom discussion: Don’t have sex, but in ca se you do, use a condom a nd use it correctly. A side f rom t he abstinence encouragement, I wa s satisf ied w it h t he knowledge prov ided. Condoms a re a necessit y for safe sex — use one ever y time. How much more complicated ca n it be? A lot more complicated, a s it t urns out. A s I took my education outside of t he cla ssroom, I discovered w rapping it up wa sn’t a s simple a s I had believed it would be. I’ve experienced a nd hea rd countless stories of somet hing Cosmopolita n’s Julia Pugachevsk y ca lls “r ubber-sta lling ”: hesitation, avoida nce a nd even surprise surrounding t he question of g rabbing a condom. Event ua lly, t his resista nce beca me somewhat expected, despite how uncomfor table a nd insecure t he behav ior made me feel. I accepted t his aversion to condoms a s a pa r t of my societ y ’s pa r ticula r sexua l script. But looking back on my experiences a nd ot hers’ stories in t he wa ke of t he #MeToo movement, I recog nize how serious a nd unacceptable t hese behav iors a re. In ma ny ca ses, resista nce to a pa r t ner ’s safe sex requirements is a form of reproductive coercion — a nd reproductive coercion is a form of abuse. Fur t hermore, condoms a re imperative to sexua l hea lt h on a private a nd public level a s t hey a re t he only form of bir t h cont rol to of fer protection aga inst sexua lly t ra nsmit ted infections. It is cr ucia l to acknowledge t he necessit y of condom use a nd t he implications of resista nce to it, a nd to empower ever yone to spea k out aga inst a ll forms of reproductive coercion in order to mitigate its ef fects a nd to prevent it in t he f irst place. While encourag ing safe sex is impor ta nt for ever yone, it is especia lly per tinent to college st udents — af ter a ll, nea rly ha lf of newly diag nosed STIs per

yea r occur a mong young people aged 15 to 24. Yet over 15 percent of college st udents repor t never using a condom, w it h a not her 14 percent only using t hem sometimes. This isn’t just a mat ter of monoga my, eit her: Those who repor ted a lways using condoms had t he second-lowest average of sexua l pa r t ners, while t hose in t he ‘never ’ categor y averaged t he most. Of course, t here is not hing w rong w it h hav ing ma ny sexua l pa r t ners, but nonmonoga my a nd unprotected sex do not ma ke a cute couple. So why is it t hey a re pa ired so of ten? For one, t here a re misconceptions a nd excuses surrounding condoms, including t hat t hey ’re a ll t he sa me, t hey r uin t he mood a nd — my persona l favorite — condoms a re simply too sma ll. The overa ll at tit ude seems to be t hey just don’t feel

Condoms are imperative to sexual health on a private and public level

good. A nd while t here is no deny ing condoms do remove some sensation, ma ny of t he protective mea sures we ta ke to ma inta in a hea lt hy lifest yle have undesirable side ef fects — ca se in point, hormona l bir t h cont rol. Yet ta king t he pill does not face nea rly a s much opposition a s using a condom does. In fact, it ’s of ten used a s a rea son not to wea r a condom. But hav ing a not her form of preg na ncy prevention in place is not a suf f icient justif ication for going unprotected. Condoms a re a necessa r y mea sure to prevent STIs t hat ra nge f rom unplea sa nt to life-t hreatening. When it comes to promoting public sexua l hea lt h a nd indiv idua l wellness, condom use is a no-bra iner. Of course, practicing safe sex is not just about using protection. A lt hough it is ra rely discussed in even t he best A merica n high school sex-ed courses, menta l a nd emotiona l factors play a huge role in hea lt hy, enjoyable sex. Def ining a nd upholding a cult ure of consent is cr ucia l to sexua l hea lt h on college ca mpuses. This is especia lly t r ue at t he Universit y of Michiga n, where a st riking 34. 3 percent of women in t he underg raduate st udent body have repor ted nonconsensua l contact since enrollment. The physica l

a nd emotiona l a spects of sex a re not sepa rate, a nd condoms a nd consent of ten go ha nd-in-ha nd. According to t he Sexua l A ssault a nd Prevention Awa reness Center, U-M’s def inition of consent includes t hat consent is una mbig uous, mut ua lly understood a nd f reely g iven. This def inition cer ta inly applies to t he decision to use a condom, a nd begg ing, pleading or g uilt-t ripping someone into sex w it hout a condom is absolutely not consensua l. These behav iors a re not exclusive to men, eit her. In a 2017 sur vey by The Journa l of Sex Resea rch, roughly ha lf of t he women sur veyed repor ted ta king action to avoid condoms, including seduction tactics a nd ma nipulation. Ever yone needs to be held accountable in practicing consensua l sex, including when it comes to g rabbing a condom — a nd ever yone needs to be empowered to cont rol t heir sexua l hea lt h. There a re indiv idua ls who may genuinely st r uggle w it h condoms, which is completely va lid. It is not va lid, however, to use t hat st r uggle a s a n excuse to coerce someone into unprotected sex. There a re ma ny hea lt hy, productive st rateg ies for improv ing condom experience, such a s t r y ing out dif ferent kinds. Condoms a re not one-size-f its-a ll a nd it may require some t ria l a nd error to f ind t he perfect match. A not her approach is ta king t he condom outside of a n intimate set ting by ma st urbating w it h one, which ca n help brea k potentia l psycholog ica l a ssociations bet ween condoms a nd negative sexua l experiences. A nd if externa l condoms rea lly a ren’t working out, do not f ret. Interna l condoms, sometimes ca lled fema le condoms, prov ide simila r STI protection. Wit h t hat in mind, t here cer ta inly a re circumsta nces where it ’s OK to stop using condoms, but such a decision should be reached t hrough conversation a nd consideration, not coercion. A safe, consensua l sex life is a huma n right, a nd t he experience of resista nce or ref usa l to safe sex behav iors should not be norma lized. By acknowledg ing r ubbersta lling for what it is — coercion a nd abuse — we ca n empower indiv idua ls to spea k about t heir experiences a nd prevent it f rom happening in t he f irst place. Let ’s w rap t his up: w rap it up. It ’s not t hat complicated. Mary Rolfes can be reached at morolfes@umich.edu.

CONTRIBUTE TO THE CONVERSATION Readers are encouraged to submit letters to the editor and op-eds. Letters should be fewer than 300 words while op-eds should be 550 to 850 words. Send the writer’s full name and University affiliation to tothedaily@michigandaily.com.

The Michigan Daily — michigandaily.com

Indecision kills

n NBC’s popula r sitcom, this ca mpus that have the “The Good Place”, abilit y to f urther impact main cha racter Chidi our livelihoods, friendships, relationships, A nagonye f inds experiences a nd himself in the interests. show’s form of a n The sense of af terlife as a result g ravit y that comes of his crippling with the decisionsense of indecision. ma king process Chidi, a moral of ten weighs on me. philosopher, always Some choices have g rapples with what been incredibly the most “moral” clea r, such as decision would be. SAMANTHA deciding what to He f inds himself in a SZUHAJ major in ( political personal stalemate, which of ten has negative science). Others have been repercussions — in his case, faced with uncertaint y — the death — due to his inabilit y to consta nt back a nd forth, such ma ke a split-second decision. as weighing the decision to In the show, Chidi of ten vent ure across the countr y to wastes time deciding which go to school with no fa milia r outcome may be the best for faces or stay closer to home. himself a nd those a round There a re times when I wa nt him a nd of ten ends up to just ra ndomly select one frustrating ever yone. Though choice just to have a sense of my indecision has not reaped f inalit y on the issue at ha nd. Obviously, these problems such serious consequences, I f ind myself in a perpet ual middle g round bet ween one choice or a nother. From having a ha rd time deciding which restaura nt to go to, to deciphering where I see myself af ter college, I have this crippling inabilit y to ma ke decisions. This sense of indecision, for me, is of ten coupled with the looming nat ure of uncertaint y. I personally struggle with the g ray ness or lack of cla rit y that some decisions pose. If I go this a re not just lef t to the moral route, will others be upset? philosophers in sitcoms, but If I choose this way, will to all of us, whether we a re others be happy at the hy per-conscious like Chidi expense of my discontent? I or not. Being a n indecisive person know I a m not alone in this feeling. As st udents on this ca n pose dif f iculties. Most ca mpus, we f ind ourselves of the time, we just need ma king decisions that have someone to suggest one of the abilit y to impact our the options a nd say how lives f urther down the road: they feel about it for you. Or what we wa nt to st udy, what maybe we need to use a pros jobs we apply for, what clubs a nd cons cha rt, if that ca n be we join, how we choose to a n oversimplif ied, tempora r y spend our free time a nd with solution. At the end of the whom. These a re all choices day, though, a decision that we ma ke as st udents on usually must be made. It

I find myself in a perpetual middle ground between one choice or another

ca nnot sit on the backburner forever, wilting away due to purposef ul neglect. As I have found for myself, this indecision ca n lead to what I call a “double loss” sit uation, in which both you a nd those a round you a re frustrated or discontented with your decision — or lack thereof. It is evident with Chidi in “The Good Place”, as he missed out on so much due to the copious a mounts of time he spent tr ying to f ig ure out what to do about something or in rega rd to someone. His friends, his fa mily a nd even his st udents come to see his obsession with ma king the best choice all the time as a hindra nce instead of a streng th. I do not wa nt to be a Chidi. Sometimes I need to have faith that, despite not knowing how one choice may catalyze a nd inf luence f ut ure outcomes, it will work out. At the end of the day, we all face dif f icult choices at this pivotal point in our lives. I strive to be unlike Chidi, to not look back on the past with a sense of reg ret due to the a mount of time spent toiling over decisions, instead of being able to f ind satisfaction with whatever I pick. I wa nt to look back knowing that despite how tough one thing may have seemed in the moment, it all worked out in the end. I was recently asked for a piece of advice that I wish I could g ive my past self. Without hesitation, I said, “Ever y thing will work itself out in the end,” which surprised me. I hold this to be true, a nd hope that others who struggle with the big a nd lit tle decisions on our ca mpus a nd within our communit y ca n f ind this to be true as well. Samantha Szuhaj can be reached at szuhajs@umich.edu.

ANIK JOSHI | COLUMN

How “exporting culture” could help China

he NBA’s recent dispute about Houston Rockets General Manager Daryl Morey’s Hong Kong tweet made the headlines as an example of a Western company bending the knee to China’s Communist Party, but it was less the exception than the rule. A number of Western companies have made alterations to appease the Chinese: Paramount removed the Taiwanese f lag on Tom Cruise’s jacket in the “Top Gun sequel” and Disney scrubbed the heritage of a Tibetan monk from “Dr. Strange.” Clearly, when Bill Clinton said in 1994 that continuing to grant China the most-favored nation status in trade was “the best opportunity to lay the basis for long-term sustainable progress on human rights,” he was wrong. China has not made progress in the areas of freedom of speech or human rights and today, in addition to the unacceptable militarism in Hong Kong and toward Taiwan, China is running concentration camps holding upwards of a million people in Xinjiang — which is also the location of some NBA training camps. The expectation was that as American culture was shared worldwide, things like respect for democratic principles and support for liberty would be exported along with it. Just like Levi’s Jeans became commonplace, eventually, tolerance and respect for democratic institutions and principles would as well. However, this hasn’t happened. In an ironic twist, American companies getting involved in China have not made China and the Chinese people more free but have instead made America and Americans seem less free. What to do about this? There are two options: continue to do nothing until we get to the point where Stephen Curry and LeBron James are playing exhibition matches in concentration camps after delivering sermons about the importance of cultural tolerance, or show other

countries why they should value liberal democracy and lead by example. The first option has the bonus of demonstrating how your cultural betters tend to be hypocrites chasing the almighty dollar, while the second would be better off for American power in the long run. America didn’t win the Cold War with military might and President Reagan’s lasers alone — though those were both big parts of it. A big part of it was another Ronald — one who showed that while eternal vigilance was once the price for freedom, it was now 3.75 rubles and came with a side of fries. Does this mean that the USSR fell because of McDonald’s? No — but it did fall because of what McDonald’s represented: a uniquely American strand of culture. McDonald’s (and other American cultural vanguards) were important because they were exporting the best of America rather than importing the worst of the authoritarian world. This cultural subversion helped us win hearts and minds. Another organization with a much less welcoming mascot also did a lot to export American culture and try and turn the hearts of citizens of authoritarian countries. During the Cold War, the CIA exported American cultural icons and Western art abroad to fight communism. The CIA was instrumental in launching the Congress for Cultural Freedom, one of the most inf luential advocacy groups supporting the West during the Cold War. They supported a number of artists, writers and more abroad until finally dissolving in 1979 (the CIA’s relationship ended with them in 1966). However, this was not the only time Western intelligence fought cultural wars — artists like Dizzy Gillespie and Louis Armstrong went abroad on goodwill tours to help the CIA. The tours were successful, and this type of cultural inf luence should get a second look from policymakers

today because it helped both America and the countries targeted by the visits. Those on the policy’s receiving end got to see the value of pluralistic democracy and the beautiful cultural content it created, and America benefitted and gave itself a better name. We projected ourselves as a beacon of hope and liberty, leading us to believe we had a duty of higher causes. The CIA’s propaganda efforts wound down after the fall of the USSR perhaps because capitalism itself was meant to fill in for cultural export efforts. However, this fill-in has not occurred. Capitalism has done much to raise the global standard of living and deserves more than two cheers, but every economic system has its limits. At a certain point, there has to be external pressure on countries to address human rights issues — and while it would be nice if it came from a united front of Western companies and governments standing up for basic decency (and clearly saying that concentration camps are bad), it clearly will not. The CIA should step up to the plate once again. Though it has had failures like any other intelligence agency, its value-based efforts in the past did a lot of good and are needed again in today’s world. Finally, it is worth thinking about how amazing the stories that will come out via the Freedom of Information Act process in 30 years will be if the CIA restarts the process. The last time the FOIA process happened, it was found that the CIA funded activist Gloria Steinem. This entire enterprise can be easily justified by the laughs we’ll have when it comes out that CIA Director Gina Haspel chose to fund Lena Dunham because the latter’s writing is more painful than waterboarding. Anik Joshi can be reached at anikj@umich.edu.

Sports

The Michigan Daily — michigandaily.com

Thursday, October 31, 2019 — 5A

Stifling defense leads Michigan Wolverines triumph in rivalry bout past MSU, 2-0, to claim Big Bear I think our guys did a great job at settling in and grinding it out.” Daley was right to characterize it a grind-it-out type of game. Just 10 minutes into the game, Michigan State defender Nick Woodruff illegally slid into Michigan junior midfielder Marc Ybarra, knocking him to the ground and earning a yellow card. The Wolverines and Spartans acquired three more yellow cards and totaled 25 fouls by the end of the game. Michigan senior forward Jack Hallahan could attest to the physicality of the game. He

BRANDON TRACHTENBERG Daily Sports Writer

JACOB COHEN

Daily Sports Writer

With about three minutes left to play, freshman goalkeeper Owen Finnerty dove out from his near post to cut off a low cross into the box. The crowd roared. The radio announcer’s voice grew excited as he finally got to commend the keeper on his first collegiate save. In fact, Finnerty’s effort was not a save at all. The announcer’s misplaced excitement indicated the f low of Michigan men’s soccer’s 2-0 win against Michigan State on Tuesday night, as the freshman had zero save opportunities in his collegiate debut. Finnerty certainly performed well, as he demonstrated good kicking ability and a keen awareness, but he couldn’t have asked for better support from his back line. The defensive quartet of senior Abdou Samake and juniors Joel Harrison, Austin Swiech and Jackson Ragen played a stellar match, f lowing as one cohesive unit en route to the Wolverines’ eighth clean sheet in 16 matches. Michigan coach Chaka Daley was quick to praise his defense, pointing out that the team has only given up 12 goals through 16 matches, and that two of those goals were off penalty kicks and four came in the first match. The defense matched the standard it has set for itself throughout the game. Michigan State barely

mustered any offense in the whole match, repeatedly watching as any danger they created was cleared the second it materialized. Such solid defensive play sowed benefits for the offense as well. While the Wolverines sputtered offensively at points throughout the match, the strikeforce benefitted from the freedom its defense permitted. Michigan enjoyed a substantial lead in possession because the defense forced turnovers so quickly. “They’re rocks back there,” said graduate transfer Nebosja Popovich. “It puts other teams under pressure (when the defense plays very well). Because we’re so solid in the back we end up having more chances in games.” Popovich and senior forward Jack Hallahan were the primary beneficiaries of the defense’s play. Each played an important role in applying the offensive pressure that resulted in Michigan hoisting the Big Bear Trophy after the final whistle blew. Popovich took advantage of the few scoring chances that came the Wolverines’ way, netting the only two goals in the game: a goal off a chaotic corner in the ninth minute and a low, curling shot from outside the box 28 minutes later. And although Hallahan was ultimately left without a goal or assist, the senior forward repeatedly charged at Michigan State’s wingbacks, creating a large portion of Michigan’s encouraging possessions with quick dribbling moves and

We know they can keep clean sheets, which is a nice feeling.

timely crosses and leaving his footprints all over Tuesday’s match. In what Daley praised as a “gritty and grindy” performance in a physical slugfest of a game, it is only fitting that the two offensive standouts immediately credited the defense for their success. “We feel safe with them back there,” Hallahan said. “We know they can keep clean sheets, which is a nice feeling.” Daley said that he told the offense at half that two goals was not enough, but even one gets the win when your the goalkeeper doesn’t face a shot.

After a sluggish game, it was the Michigan men’s soccer team that awoke from hibernation to win the Big Bear Trophy against rival Michigan State, for the first time since 2015. A physical matchup ended up with the Wolverines (8-4-4 overall, 3-1-3 Big Ten) defeating Michigan State (3-10-3, 3-3-1), 2-0. The win allowed Michigan to jump three spots in the Big Ten standings, leaping over the Spartans to third in the conference. “That’s a good, positive win for a group,” said Michigan coach Chaka Daley. “More importantly for us, to get three points in the league and not get distracted by the magnitude of the moment. And

battled all game on the right side of the field with Spartan defenders. In the 35th minute, Hallahan caught up to a leading through ball and dribbled it up toward the corner. Michigan State midfielder Alex Shterenberg contested Hallahan the whole way, pushing and shoving him. Hallahan managed to create space and get a good cross off. “It’s a rivalry game,” Hallahan said with a chuckle. “And I kind of like it, honestly. If people are fouling you, it probably means you are doing something right.” Hallahan created efficient plays that set up his teammates, which compensated for his lack of scoring. And despite fighting through an undisclosed injury, he looked like he was near full strength. “Yeah, he was good in the first 45 minutes,” Daley said. “Over the last 25 minutes, I think you saw what he’s all about.” Two first-half goals by Michigan fifth-year senior Nebojsa Popovic helped ease some of the pressure in this sluggish fight of a game. However, the contact and intensity continued throughout the game. “We stayed positive and keep fighting to the end,” Daley said. In the 48th minute, Michigan junior forward Mohammed Zakyi ran directly into Michigan State goalkeeper Hunter Morse. A through ball zoomed past Zakyi, and he was unable to stop his momentum, barrelling into Morse. Zakyi knocked Morse over with ease, got up and ran away without looking back. It was the kind of moment — hardly pretty, but overpowering nonetheless — that encapsulated Michigan’s win.

I think our guys did a great job at ... grinding it out.

MILES MACKLIN/Daily

Senior forward Jack Hallahan created scoring opportunities for his teammates in Michigan’s 2-0 win over MSU.

In aftermath of loss to Western Michigan, ‘M’ focuses on intangibles ROHAN KUMAR Daily Sports Writer

After losing the first road game of the season against then-No. 18 Western Michigan, the Michigan hockey team was quiet on the ride back from Kalamazoo on Saturday night. “When do you let it go?” said Michigan coach Mel Pearson. “When do you get over it? When do you just say ‘OK, you know what, we can’t bring it back, we’re over and done with it?’” Pearson believes the somber mood was the result of multiple factors — namely, the loss and overall fatigue from playing extremely physical games two nights in a row with travel in between. “It’s not like you lost and you’re throwing a party or anything right after,” Pearson said. “They were subdued about it. They’re taking it serious, but at the same time they know that we have a good team.” He also thinks highly of this group and is quick to pick out its strengths and areas for improvement. The team effort on the defensive end — as well as solid goaltending — stand out to him most, as these factors can give a team the chance to win any game. But on the other hand, the offense needs a spark to start capitalizing on its opportunities. Pearson’s observations extend off the ice, too.

Specifically, he’s taken note of leadership, chemistry, preparation and confidence. Chemistry is important to any team, as it can lead to a more competitive, cohesive effort on the big stage. Pearson likes where the chemistry is at right now but sees room for growth. “The chemistry part of it takes time,” Pearson said. “You just can’t put it all together.” Much of the responsibility to build chemistry goes to the veterans, and so far, Pearson is delighted with the leadership he’s seen. He recognizes the unique personalities among the Wolverines and knows different players prefer being treated and reached out to in different ways. He views his leaders’ ability to navigate this and effectively manage the rest of the players as a major asset. The veterans know how to balance being strict on players with letting them cut back. What impresses him the most, though, is the leaders’ effort to create a positive environment for all. “They’re really good at that,” Pearson said. “As far as just

being welcoming to all our freshmen and then making sure they know that they’re a big part of this team, that we don’t have cliques and things like that, because it’s easy to get in those groups. I mean, the two Swedish guys can just sit in the corner and talk Swedish all the time if they wanted, but we have to pull everybody together, and that’s one of my biggest things, is to make sure that we’re in it together and we lose together, we win together. “... It’s just how they’re able to draw everybody and make everybody feel welcome, and that’s so important. Even some returning guys who maybe don’t have big roles or whatnot, we try to stress the importance of everybody on the team. There’s a reason everybody is here.” But while the chemistry is coming along, Pearson would like to see better preparation — specifically, mental preparation in the moments before a game. Pearson was displeased with the group’s preparation leading into Saturday’s loss. He notes that it’s clear ahead of time when a team is casual instead of mentally focused. Freshman forward Eric Ciccolini offered a similar sentiment. “Just coming off a win Friday night I think that you got to be more prepared, obviously, and not take (the opponent) too lightly,” Ciccolini said. “We beat them 4-0 and then they came back at us hard, which we knew they were gonna, but we didn’t react good enough to.” To Pearson, a central part of preparation is about balance. He doesn’t want his players to be too tight or scared to play, but at the same time needs them to be in the zone and ready to go right away. Finding that balance, or “sweet spot,” as

When do you let it go? When do you get over with it?

ALLISON ENGKVIST/Daily

The Michigan hockey team is moving on from its 4-1 defeat to WMU.

he calls it, can instill valuable confidence when the puck drops. “You can have all these things and then you got to sprinkle in some confidence, but you can’t go to the corner store,” Pearson

said. “I can go to the corner store and buy some eggs, and some f lour and whatever water I gotta to start making the cake and icing, but I can’t go and sprinkle in confidence. You can’t. You have to go out and

Classifieds

earn that and acquire that and develop that.” If Michigan can continue its strides with the intangibles then Pearson might get what he’s looking for when the oven sounds.

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

Release Date: Thursday, October 31, 2019

Los Angeles Times Daily Crossword Puzzle

HELP WANTED

Edited by Rich Norris and Joyce Nichols Lewis

ACROSS 1 Spot for a salt scrub 4 Aromatic evergreen 10 Wind with nearly a three-octave range 14 Fresh from the oven 15 Collection of hives 16 Sullen look 17 Track 18 Halloween feeling in a warren? 20 Buffalo lake 22 Like the vb. “go” 23 Belly laugh syllable 24 Halloween feeling near a water supply? 27 Valleys 31 “Take Care” Grammy winner 32 “We’ve waited long enough” 34 Bebe’s “Frasier” role 38 Overlook 39 Halloween feeling in the office? 44 Enjoy privileged status 45 Poise 46 It may get the ball rolling 48 Trio in “To be, or not to be” 53 “Borstal Boy” author Brendan 54 Halloween feeling in the yard? 58 Angel dust, initially 60 “You wish, laddie!” 61 Put out 62 Halloween feeling in the loo? 67 Summer hrs. in Denver 68 Stood 69 Paparazzo’s gear 70 Mature 71 Lumberjacks’ tools 72 Gave it more gas 73 Finch family creator DOWN 1 Astute 2 Bartender, often

3 Fifth-century conqueror 4 Soap unit 5 Two (of) 6 Cuba __ 7 Brand of hummus and guacamole 8 Actor Millen of “Orphan Black” 9 Folk story 10 Wheeler-dealer 11 Feathery neckwear 12 CSNY’s “__ House” 13 Many “Guardians of the Galaxy” characters 19 Latest things 21 Rockies bugler 25 Sandwich source 26 “Same here” 28 Vehicle with a partition 29 Mideast potentate 30 Slowly sinks from the sky 33 Those folks 35 Confident words 36 Suit part sometimes grabbed

37 Unhealthy 39 Nursery piece 40 Narrow way 41 Engrave 42 Backslides 43 Hitting stat 47 Advance slowly 49 Big club 50 Koala, for example 51 Game based on whist 52 Living room piece

55 Japanese art genre 56 Carried on 57 Big name in Indian politics 59 Some GIs 62 Monk’s address 63 Cured salmon 64 Employ 65 31-Across genre 66 Covert information source

ANSWER TO PREVIOUS PUZZLE:

10/31/19

BIOCHEM 212 TUTOR WANTED Text Judy (312)-678-6736

Sports

6A — Thursday, October 31, 2019

‘Cees in Space’: Ruiz hitting stride MAX MARCOVITCH

Defense mixing in more zone looks ETHAN SEARS

Managing Sports Editor

Cesar Ruiz sat atop the podium, smirking frequently and bantering with junior guard Michael Onwenu to his right. The confidence oozed — perhaps due to the 57-carry, 303-yard demolition his unit had just orchestrated, perhaps simply a product of his happy-go-lucky attitude. “We said in the locker room we knew what kind of game it was going to be,” Ruiz said after the game. “We changed the openers a little bit. We knew we were gonna be ground and pounding a lot today. It’s the game we’ve been waiting for. We love running the ball. And just, we knew today was gonna be the day we were gonna be able to showcase it.” It wasn’t simply that Ruiz and the rest of the offensive line had its way with a physical Notre Dame defense, but the manner in which it happened. In a persistent rain, the Irish knew Michigan was going to run. The Wolverines did so anyway, putting hat on hat, winning individual matchups, completely taking over the game en rout to a 45-14 win. When Ruiz arrived at Michigan, the offensive line was among this program’s biggest flaws; his commitment was a major boon. Now, that group appears to be the team’s foundation, and the Notre Dame game was just the latest evidence of the group’s evolution. The coaches said Ruiz graded out the highest among a group of highlygraded linemen on Saturday. “I thought he had his best game as a Michigan Wolverine,” said Michigan coach Jim Harbaugh on his radio show Monday night. “He was doing so many athletic things in this ball game. He had a touchdown block. And on that one, where he did pull and got the block on the

The Michigan Daily — michigandaily.com

Managing Sports Editor

ALEXIS RANKIN/Daily

Junior center Cesar Ruiz graded out as the best offensive lineman on Saturday.

linebacker, you actually see him checking the gap before he went on his pull.” Ruiz has started from day one, arriving with the Wolverines after a year at IMG Academy in Florida. He was a top-tier recruit, as close to a finished product as they come. He appeared in 10 games in 2017, his freshman season, and started at guard in the final five — both merited by pure talented and warranted by necessity. Still, there are times in every successful collegiate career when things really click — when the speed and complication ceases, and football becomes football again. Ruiz always had too much talent to fail, but there have been times of inconsistency in the first couple years of his career. Any such struggles appear to be ways of the past now. “I have two starting centers in the National Football League, both started as rookies. He has that kind of ability some day to get to that point,” said Michigan offensive line coach Ed Warriner in April 2018, the spring preceding Ruiz’s second season. “Not yet, he’s just a young kid. But if he keeps going, I know what they look like.” That was, presumably, mere months after the two had met. All Warriner had to do was flash Ruiz’s high school tape to

know he’d be relying on Ruiz early and often. All Ruiz had to do was toss a cursory Google search of Warriner’s history to understand why that need went both ways. The comfort level with Ruiz is now obvious, and all parties are reaping the benefits. “He’s good in space — we tease him, ‘Cees in space,’ We joke around about that. We got into a situation with the defenses where we were playing where we were able to pull him some, get him on the perimeter, and he likes doing that.” Added Harbaugh: “The level of him understanding the game has really grown where he can know the front, see rotations now and even when he goes to put his head between his legs to snap the ball back to Shea,” Harbaugh said. “He’s got a pretty good idea where his man is going to be even if that linebacker moved or that down-lineman moved. It’s extraordinary.” After Saturday’s game, Ruiz and Onwenu were asked a question about whether this kind of performance had been building. Onwenu went first, providing a diplomatic answer. Ruiz nodded immediately, smiled and nudged toward his microphone. “I knew it was coming sooner or later.”

Brian Kelly’s playcalling didn’t seem to account for the weather. But Book finished 8-for-25 with just 73 passing yards. “I definitely think he was a little confused,” said junior safety Brad Hawkins on Monday. Brown’s base zone coverage is called “Eagle.” It’s not new — he’s had it in his playbook for a long time — but he’s now deploying it more liberally. As far as self-scouting goes, any evaluation of Michigan under Brown would have shown a team married to single-high coverage with a tendency to blitz liberally. That, to be clear, is not a bad thing. Anything that gets you to the sustained success Brown has had is the opposite. But a lack of ability to do much else well put the Wolverines on the back foot in Columbus last year. And ultimately, beating teams of that caliber is still the hump Michigan still needs to get over. Against Notre Dame, a rival and a top-10 team, the Wolverines managed to shut things down with a healthy mix. They still know who they are, and they certainly aren’t about to stray from Brown’s aggressive philosophy. “Within all that zone coverage, there’s still pressure,” Zordich said.

“So that is a big plus for us.” Still, adapting to each opponent has been an emphasis. “Every week, Don does add a little different flavoring into it,” Zordich said. “Little change in the pattern, here or there. You have to make changes weekly, but the core of it pretty much stays the same, and that’s how you get better.” As Michigan tries to bridge the gap that has defined the program, going from a team that makes its living against lackluster competition to one that can beat anyone, adjustments like that are a necessity. Ohio State exposed that hole last year, and Brown seemed to slam it shut against Notre Dame. “It definitely has teams guessing,” Hawkins said. “Has quarterbacks guessing.” It doesn’t solve every problem for the defense, and the Fighting Irish should not be mistaken for the Buckeyes. But it is clear that while everyone was still dwelling on Michigan’s problems last spring, Brown was working on a solution. “Don Brown called a great game,” said Michigan coach Jim Harbaugh on Saturday. “He really had it wired. Can’t say enough about that.”

Five months after The Game happened, Don Brown was still getting asked about it. His vaunted defense, one that dominated 10 straight teams and seemed like a train rolling into Columbus last year, couldn’t stand up to Ohio State. The Buckeyes whipped Michigan, scoring 62 points on the back of crossing route after crossing route, with the basic man-coverage beaters doing their jobs. And when spring ball came around last April, Brown was still answering for it. It was clear at the time that Brown, the Wolverines’ defensive coordinator, wasn’t about to back away from his philosophies. Not now, not at age 64, not when he’s piloted one of the best defenses in the country since first stepping into Schembechler Hall in 2016. But that didn’t mean he wasn’t going to address the issue at hand. That brings us to last Saturday, as Notre Dame dialed up play after play designed to beat man coverage. When he saw zone, quarterback Ian Book reeled. “We have been playing a lot more zone,” said cornerbacks coach Mike Zordich on Wednesday. “I think it’s helped in a lot of aspects, especially in the passing game, cause they’re not expecting it.” Michigan doesn’t need to be a zone team to be effective running zone. Football is a chess match — if you can throw something different at your opponent than what they’re expecting, you’re probably going to come out on top. That was what happened Saturday, as Book stared into the zone coverages like a test he hadn’t studied for. It didn’t ALEXIS RANKIN/Daily help that there was a monsoon during the first half, or that Defensive coordinator Don Brown has his defense playing more zone.

Northwood, no problem Michigan cruises past Northwood in exhibition on Wednesday, 97-46, starting on a 12-0 run and never looking back BRENDAN ROOSE Daily Sports Writer

Wednesday night’s exhibition against Division II Northwood offered an opportunity for the Michigan women’s basketball team to showcase its talent working at peak level. Leaning on their superior size and tough defense, the Wolverines ran with that opportunity, dominating the Timberwolves, 97-46. Michigan opened the night on a 12-0 run and finished the first quarter up 30-11, behind senior forward Kayla Robbins’ eight points on 3-for-3 shooting. Keeping up the pressure, it put Northwood into foul trouble early, drawing four fouls in the first three minutes of the game. This forced the Timberwolves into a more tentative approach defensively, opening up space down low. As a result, the Wolverines’ bigs feasted, spearheading the team’salmost unfathomable 58 points in the paint. “I think (scoring in the paint) is something that our team has got to do this year,” said Michigan coach Kim Barnes Arico. “Because our post game is our strength, and our ability to score in the paint.” Senior guard Akienreh Johnson aided the Wolverines’ dominant offensive attack early on, adding seven first-quarter points of her own, including a 3-pointer that helped Michigan balloon its lead at the end of the first quarter. In the second quarter, sophomore forward Naz Hillmon and freshman forward Izabel Varejão stepped up. Hillmon tallied seven points on 3-for-3 shooting before she was subbed out midway through the quarter. She and Varejão, who notched 10 points of her own in the second quarter, proved to be a lethal onetwo punch on both sides of the ball. Their length helped them to anchor defense that held the Timberwolves to just eight points in the second quarter. “I feel like me and Naz have a really good game together,”

Varejão said. “Because I can shoot, and she can post up.” Varejão was just one example in a game full of young players seizing the opportunity to shine against inferior talent. Sophomore forward Emily Kiser — who didn’t see much playing time as a freshman — tallied 10 points on 4-of-4 shooting, and freshman guard Michelle Sidor notched eight points on 2-of-6 shooting. Freshman guard Maddie Nolan added four points of her own — all from the free-throw line. “Michelle is a power shooter,” Varejão said. “ … She made a few threes, she was being patient. Maddie hustling — that’s her thing, she hustled. So I feel like we (freshmen) did what we were

supposed to do.” The Wolverines maintained their 55-19 halftime lead with elite defense, holding Northwood to a dismal 25 percent shooting in the third quarter and 34.5 percent over the whole second half. “(We used) our length to get steals, deflections and tips,” Johnson said. “Even something as small as close out, put your hands up, really takes away their shot and makes their shooting percentage go down.” Added Barnes Arico: “Our communication (on defense) was better (than in practice). We were way more aggressive from the tip. We didn’t sustain it for 40 minutes, but that’s our next step in our development.”

JACK KINGSLEY Daily Sports Writer

The Michigan women’s basketball team began its season on Wednesday with an exhibition against Northwood. With three of its main rotation players from last season not returning, it was an opportunity for the Wolverines’ younger players to earn minutes before the regular season. Michigan’s three freshmen — guard Maddie Nolan, guard Michelle Sidor and center Izabel Varejão — all took advantage of their first in-game opportunity to impress the coaching staff. Varejão was the standout of the trio. In 21 minutes, she led the team with 18 points, shooting

KEEMYA ESMAEL/Daily

Michigan coach Kim Barnes Arico guided her team to an easy win in Wednesday’s exhibition against Northwood.

8-for-10 from the floor — tacking on six rebounds, three blocks and two steals. When she was on the floor she made her presence felt the paint, scoring 16 points inside, and her teammates continued to look for her for easy baskets. “It feels great, honestly,” Varejão said. “Before your first game, being a freshman, you’re a little nervous. … It’s my first time playing college basketball, and then I go out there and I play well like I did today. It just encourages me for next game.” Varejão also showed that she can be a threat from 3-point range. Towards the end of the fourth quarter she attempted a three, and while it did not fall, her shot appeared comfortable from deep. An ability to score in the paint and on the perimeter could make Varejão a difficult player to defend. “I usually shoot threes but today didn’t have many opportunities,” Varejão said. “...it’s hard to block (6-foot-4) players especially if it’s threes, so it just gives me more options in the game.” While Varejão racked up statistics, Nolan impacted the game in ways that didn’t necessarily show up in the box score and earned minutes with four of the starters to start the fourth quarter. In the second quarter, Nolan missed a three, but hustled to get her own rebound and found sophomore forward Naz Hillmon under the basket, which resulted in two free throws. In the fourth quarter, Nolan dove on the floor for a loose ball, a play that caught the attention of senior guard Akienreh Johnson. “Maddie came in and got down on the ball,” Johnson said. “I don’t know if you guys have seen her, but she’s got that knee brace, but she’s still on the ground, she does

not care.” Of the three freshmen, she was not as highly-touted of a recruit as Varejão and Sidor, but Michigan coach Kim Barnes Arico saw a lot positives in her game. “I think any time you can have a player that understands their role and buys into what you need them to do to help the team be successful, they are an unbelievable addition to the team,” Barnes Arico said. “She’s just gradually getting better and better each and every single day, and I’m gaining confidence in her ability to really help us be successful.” Sidor showed how her quickness could be a gamechanger for the Wolverines. Throughout the second quarter, Sidor had the opportunity to run the point and consistently pushed the pace. She scored six points in her six minutes in that quarter alone, along with an assist and a steal. “I think we really want her to push the pace, but that kid is a scorer,” Barnes Arico said. “She’s a bucket-getter and I think she really needs to have that mentality on the floor for us because she does shoot the three exceptionally well and she can score around the rim. So I want her to be aggressive, and I was happy with her ability to do that tonight.” Not only did the trio’s performance impress coaches, but it also gave Michigan’s experienced players confidence that the freshmen can be important contributors this season. “I was so excited,” Johnson said. “Iz was able to make some great moves. Michelle has been getting rebounds … I think they just played really great, and I was really very happy for them.”

She’s just gradually getting better and better...

Thursday, October 3, 2019

Design by Christine Jegarl

2B — Thursday, October 31, 2019

b-side

The Michigan Daily — michigandaily.com

B-SIDE: LEAD

All dressed up and ready to go: Costumes in Ann Arbor CLARA SCOTT Senior Arts Editor

There’s nothing quite like Halloween on a college campus. In most people’s minds, Halloween is one day, Oct. 31, where all the ghouls and black cats come out to play. But in a college town, the spirit of the season goes on for weeks, if not all year round. There’s a reason we all refer to the general timeline between Oct. 15 and Nov. 5 as “Halloweek.” This is especially true of the costume culture in Ann Arbor, which serves as a healthy reminder of both the brilliance and the stupidity of everyone in their early twenties. You might see the best costume to ever walk this earth, but you will also inevitably witness a parade of sexy black cats marching to various frat parties. Who’s to say which is empirically better — the point is, Ann Arbor is no stranger to dressing up. In the past three years that I’ve lived in our magical city, Halloween has always been an event to anticipate eagerly. I’ll be honest: It is my favorite holiday and always has been, so it wouldn’t take much to get me excited about that special day anyway. But there’s something even more whimsical and fun about the energy of an entire city dressing up for weeks on end, the joy on the faces of everyone who lives here, from students to children to those who hand out candy and host parties. Regardless of what you’re disguised as this year, the brilliance of Halloween in Ann Arbor is worth noting, even if it’s just listening to the laughter on our streets or catching a stray glimpse of a cape as someone walks past. This seasonal spirit is most present at special events on campus, such as the annual showing of cult film “The Rocky Horror Picture Show” at the Michigan Theater. “‘Rocky Horror’ has just been something that we’ve been doing in our theater forever,” said Ariel Wan, Director of Programs and Marketing for the State Theater in an interview with The Daily last week. The showing of “Rocky Horror” is something myself and my friends look forward to annually, notwithstanding the excuse to go out in basically nothing and scream at a screen for two hours. It isn’t truly Halloween in Ann Arbor, or even fall for that matter, without seeing that line of leather-clad students and film geeks alike wrap all the way around the block. “They always did it at the State Theater,” Wan continued, “you know, the State Theater used to be really divey and kind of gross, like perfect for people to throw stuff, you know?” (For anyone who has, in fact, attended a showing of the film around Halloween, they would know that this is an absolutely perfect setting for a very dirty time, in more ways than one.) “When they closed the State Theater for renovations, we were like, well, we still need to do ‘Rocky Horror,’ but we can’t do it at the State, let’s just put it up the Michigan . . . And it sold out. 1700 seats.” The sheer scale of the main theater she was referring to is a sight to behold, especially compared to the pre-renovation State’s mere 400 seats. “You can’t hear the movie at all,” Wan said, laughing. “But it doesn’t matter, because someone next to you is screaming all the lines.” The energy around “Rocky Horror” is a perfect example of what can happen when you put one crazy event and an entire city of equally crazy people together for one night of the year. “A lot of people are dressed up as the characters. So there’s just a lot of thongs and fishnet stockings,” Wan said. “We again sold out this year, and we encountered a few problems where there were some people not wearing shoes and shirts, and we were like, you have to at least wear shoes.” We both laughed as she explained the camera footage that State Theater’s employees watched that night, but I couldn’t help but imagine some of the things I have seen myself. This no-shoes, no-shirt, no-nothing concept really checks out. There’s nothing like seeing someone stand in line for hours in nothing but a bustier and face paint. Wan said much of the enthusiasm around cult film showings like that of “Rocky Horror” is due to the student population on campus, notably in terms of the turnout for each event. “Yeah, I mean, the reason why we’re able to sell out 1700 seats and still turn away like tens and tens of people is because of the students,” Wan explained. “‘Rocky Horror’ is one of those films that we don’t spend much, if any marketing dollars on promoting, it’s usually just social media and f lyering . . . I was looking at the number of student tickets versus adult versus our member tickets. And students by far were, like, almost 1100 tickets or something like that. So we know they’re all still there.” It’s easy to see why events like these are so alluring to the students of Ann Arbor specifically. I mean, hey, during midterm season, who doesn’t enjoy yelling at things with 1700 other people, clad in sequins and stars and fake blood all night? Though “Rocky Horror” is probably the best example of costume culture as it pertains to film events in the city, the movie isn’t alone in its thousand-person draw to the theater. In addition to annual events like a showing of the famously bad movie “The Room” starring Tommy Wiseau, the theater also makes sure to put on seasonal series that appeal to a larger audience. This month specifically saw audiences clamoring to both the Michigan and State Theaters to see movies like “Night of the Living Dead” and a special late-night feature of “The Blair Witch Project” in light

of Halloween. Each movie is chosen from a different decade for every weekend in October: “They’re all really just really great horror movies,” Wan said, “some of it is funny, but it’s because it’s older. ‘Blair Witch’ still scares the shit out of me,” she laughed. I couldn’t agree with her more. According to Wan, events like this are what keep theaters alive in an age of home entertainment and streaming services. “People still go to the movie theater for the experience of watching a movie with other people,” Wan said. “No screen is bigger than the screens here.” The Michigan Theater is decidedly the place to go to celebrate the Halloween season in style, but where do you even start with a costume, or for fun dressing in general? Go no further than The Getup Vintage, a purple-painted secret hidden amongst the shopfronts of State Street. Sandwiched in between Totoro and Taste of India and just a stone’s throw from Urban Outfitters, the vintage store is a nugget of color and happiness on the chilly streets of Ann Arbor. “We’re very fortunate with the foot traffic here on State Street,” said co-owner of The Getup Vintage Lindsey Leyland in an interview with The Daily. “People (will be) eating at Sava’s and something will catch their eye. You know, we’re small. That’s why we painted the front purple.” In addition to the purple, they also

It’s a beautiful thing to imagine the original owner of a garment screaming in the same Big House stands as you are, 50 years later. This also goes for any black dress you might buy at the store, which according to Leyland, comes with a free witch hat during the month of October.

decorate for every season — trust me, the Halloween window is something everyone needs to see. The Getup has a strong history in Ann Arbor, having served the town and students in particular for almost 15 years. The store was opened in 2005 by couple Kelly and Paul McLeod in the attic of their current space, then sold to Leyland and Mitchell in 2015, who expanded downstairs. “It was like a slow and steady climb to this place, like, I knew as like a 13-year-old I wanted to have a vintage clothing store,” Leyland said. “You know, gotta put in your dues and work for a bunch of other people first and a bunch of other jobs and figure out what the best fit is. And I love Ann Arbor, all of my best friends live here. So it was like an easy place to want to settle in. Michigan is one of the most beautiful places I’ve ever been.” The Getup has always been a favorite of fashionistas in the city and also lends itself to costume in whatever form they may desire. For Leyland, this line between the costume and the every-day is thin, all depending on the day. “To me, costumes start with just kind of the quality of the clothing,” she explained. “Like, for me, costuming is made to look like the real thing, but not as good. You know, unless it’s like an actual theater performance where they’re like constructing the things, but like, we have a little costuming

COURTESY OF CLARA SCOTT

section over there . . . I guess it just depends on your personality.” Leyland sat across the front desk from me, clad in an olivegreen military jumpsuit and long ’70s-style hair. “So it really just depends on like the personality of the shopper and how adventurous they kind of are, with their wardrobe. Like this is a neutral color. But some people don’t feel comfortable in, like, jumpsuits,” she gestured to her own getup, laughing. Leyland is almost a personification of her and co-owner Kaylan Mitchell’s technicolor store, a great example of what Ann Arbor brings to the realm of adventurous dressing. Surrounded by the racks and decorations of the store, I couldn’t help but notice all the beautiful garments from years past. Sure, some of them could be used for a costume, an ’80s cruise, ripped apart and remade into modern styles, but they are also surprisingly wearable in a contemporary wardrobe. “I always say, you don’t have to replace your whole entire modern closet with vintage things. But like, find a sweater cut you really like or (like) a little. I feel like the ’70s clothing fits me best,” Leyland continued. “And then try a piece here and there with the stuff you already have. Like most of those ’70s dresses, you throw like a modern sweater over top of it. I mean, they’re remaking all of those styles anyway.” The place of The Getup is not to cater to Halloweeners only, who would be better suited to stores like Ragstock, which sits farther down Liberty St. The Getup is more about fostering a culture of appreciation for the clothes we wear and seeing the value in things once worn. “Some people know what (vintage clothing) is, some people still don’t, some people are still confused by a secondhand store,” Leyland explained. “That’s why I really really try to educate about like, yes this clothing has been worn before but I wash it, repair it. Pick only the coolest stuff out of Nancy’s basement,” she said. Wearing secondhand clothing from The Getup, whether it’s for a costume or not, also gives Ann Arbor the chance to see itself from the future. “I think it’s great when people care about (the past of their clothing), you know, not everybody cares about the history of where you’re from, or where you live and who occupied it before you and that’s kind of what we do is, you know, meet those people go through their barns, attics, basements, closets, and see what type of stuff they have . . . I love hearing people talk about, like, why they got this or why they got that.” Seeing the letterman jackets and vintage Michigan gear dotting the walls of the store drives this sentiment home as well. It’s a beautiful thing to imagine the original owner of a garment screaming in the same Big House stands as you are, 50 years later. This also goes for any black dress you might buy at the store, which according to Leyland, comes with a free witch hat during the month of October. “Yeah, like maybe you could work this into your costume, but also, like, wear again . . . Really you just put a black dress on, a little witch makeup. And then you would hopefully wear that black dress again and it wouldn’t be like something that sits in your closet forever,” she laughed. Between The Getup and Ann Arbor’s various theaters, those in search of costume need not look far to get their fix, especially during this time of year. The climate of a campus filled with the excitement of students and the warmth of townies is perfect for businesses like Wan’s and Leyland’s to f lourish. You don’t have to dress up to be a part of the magic, but it always helps. “It’s a place where they are embraced, you know, that they can feel very comfortable, very safe, and they’re among other people who are as excited, if not more,” Wan said. Our town is one of the only places where not wearing shoes or shirts every day is completely permissible. Despite the chill of waiting in line for “Rocky Horror” or the brash statement of walking around in a shimmering ’70s jumpsuit, the people of Ann Arbor will always make you feel warm.

Between The Getup and Ann Arbor’s various theaters, those in search of costume need not look far to get their fix, especially during this time of year. The climate of a campus filled with the excitement of students and the warmth of townies is perfect for businesses like Wan’s and Leyland’s to flourish.

COURTESY OF CLARA SCOTT

b-side

The Michigan Daily — michigandaily.com

Thursday, October 31, 2019 — 3B

B-SIDE: FILM NOTEBOOK

B-SIDE: MUSIC NOTEBOOK

YOUTUBE / TOUCHSTONE PICTURES

Enough with Richie: Let’s Ghost: Anonymity matters all dress as Chas this year FACEBOOK / LOMA VISTA RECORDINGS

JIM WILSON

Daily Arts Writer

STEPHEN SATARINO Daily Film Editor

We all have that pair of friends who, almostsiblings in forbidden love or not, decide to dress up as Margot and Richie Tenenbaum of Wes Anderson’s “The Royal Tenenbaums” for Halloween. She wears a pinstripe Lacoste tennis dress. He wears a shaggy-wigheadband combo that falls over shoulders in a Fila tee. Their costumes are a hit, though nobody at the party knows who they’re supposed to be. After they spill the beans, the party-goer nods and smiles like they’ve “maybe seen the end of that one on HBO,” and the one guy they’re mutual friends with who never stops talking about Wes Anderson grins at all the poor uninitiated souls. When the Richie-andMargot-for-a-night pair get home, they post a picture of their ‘fits on Etsy and get added to a government database somewhere of all the people to call if our alien invaders’ one weakness is the inability to see humans dressed as quirky characters from early-aughts indie movies. These two outfits, along with Chas Tenenbaum’s iconic red Adidas jumpsuit, make “The Royal Tenenbaums” one of the most thematically costumed films in Anderson’s catalogue. Not only do the three individual outfits feed into the characterizations of the siblings who wear them, the presence of the outfits, and how they exist as tokens of the characters’ traumas, plays into the film’s atmosphere of a childhood disaster that will never end. Going one by one, the outfits Richie, Margot and Chas wear are all tied to the grief each of them are trying to beat. Richie wears the remnants of his tennis ‘fit, but he hides it under a camel-hair coat and trousers. He even hides his face, covering it with a beard and long hair, searching for a way to free himself of the embarrassment of his past — both athletically with tennis and romantically with the adopted Margot. Chas’s red jumpsuit (and the identical jumpsuits he makes his two boys Ari and Uzi wear) signal a father on high alert. Terrified of the dangers he and his kids face at every moment after their plane crashes, killing his wife, Chas forces the whole family to pack light, to wear clothes that make them ready to run or fight at a moment’s notice. Though Margot is never seen participating in any athletic activities, she too wears a sporty ‘fit, usually a Lacoste dress covered by a lush fur outercoat. Her outfit’s incongruous link to the passion she’s never hinted at can be explained by her lost, repressed, forbidden

love for her stepbrother, resident tennis star, Richie. And whew, man, Wes could have done better on this last one. Not great, giving your one female lead an outfit that characterizes her as being all-encompassingly hung up on a guy while Richie and Chas’s costumes are so individually and vocationally driven. Too bad. In a film about “getting over it,” everything links back to trauma. The house on Archer Ave. is as much a character as any of the Tenenbaums in the film, and the way it’s decorated (the house’s “costume”) plays a big part in illustrating how the incidences of the Tenenbaum’s childhood has forever come back to haunt them. The walls in the Tenenbaum house are covered with moments of success from the children’s childhood. Karate medals and trophies hang next to colorful watercolor paintings of family and friends. In Richie’s room, joyous little pictographs of his father and his family fill the space between a pulsing green and blue. Everything in the house is a reminder of what should have been, of how things should have turned out, of the successes of old that never translated into the future. These moments exist frozen in time in the Tenenbaum house, and as the movie progresses, we see it takes all three characters returning (“That night, Etheline found all of her children living together under the same roof for the first time in seventeen years”) to the scene of the crime before they’re able to exorcise those demons, to be able to finally beat what’s been holding them back for their entire adult lives. What I love most about a meticulous director like Wes Anderson is that, with everything in his movies so hyper-specific — every lamp, rug, Sharpie mark on a polkadotted rat seemingly chosen by him — there are these opportunities for totally tangential meaning-making (the whole reading into the costumes of the characters and the house above) that might not have anything to do with what Anderson was thinking when he made the choice. I find this misalignment to be incredibly exciting. To make an artistic decision off of pure instinct and to have it still wrap around into some theme or characterization you’re not aware you’ve been building along the way has to stand as a great testament to the artist’s gut. In the director’s commentary for “The Royal Tenenbaums,” while talking about why each of the characters dresses how they do, Anderson pauses when he gets to Chas. “The red jumpsuit, I’m not sure,” he says, “I guess I just thought it was funny.”

To make an artistic decision off of pure instinct and to have it still wrap around into some theme or characterization you’re not aware you’ve been building along the way has to stand as a great testament to the artist’s gut.

YOUTUBE / TOUCHSTONE PICTURES

In theory, performance should be based on ability and ability alone. In practice, however, there are many other factors at play. For example, appearance often has just as large an impact on performance as ability does. As the great Deion Sanders once said, “Look good, feel good. Feel good, play good. Play good, (they) pay good. Pay good, live good. Live good, eat good. Die good.” He’s right: If you look the part, you’re most likely going to perform better, which will lead to improvements in all areas of life. That is, in everything but metal. In metal, you have to look the part to play the part, but that does not mean you end up rich in the end. In fact, it often means that you have to work a real job in addition to performing in a metal band. But do these acts really care? Of course they don’t. They’re in the business of metal music to make art, not make millions, and the best way for them to make their art is to get into costume. Costumes, whether the artists want to admit it or not, are a crucial aspect of metal. Hair metal relied on it (you really think these guys dressed like this when they weren’t touring?). Black metal relied on it (it really sells the image that these guys might actually be the dead reincarnate). Nu-metal relies on it (if the music is going to suck, they have to make it interesting somehow). Whatever this kind of metal is relies on it (words cannot describe the favors these costumes do for the music). Despite this, few bands lean as heavily into their costumes as Ghost does. For Ghost, anonymity is key. The members want to release as little personal information as possible and focus solely on the music, and to do so, they all adorn costumes to maintain their namelessness. What’s more, Ghost uses their costumes to create their own mythology, a sort of storyline surrounding the band and their music. Their live shows take themes and rituals from the Roman Catholic Church and reinterpret them through a Satanic lens. The typical crosses are inverted, white is converted to black and rather than praise the Holy Trinity, the band worships Satan. Every member of Ghost has their own character. The lead singer and guitarist assumes the role of Papa Emeritus, a mysterious figure shrouded in face paint meant to resemble a skull and dressed in Satanic “Papal” garb. The other four members — the bassist, guitarist, keyboardist and drummer — are part of an ensemble known as “A Group of Nameless Ghouls,” a group of underlings dressed in dark robes and metallic masks subservient to Papa Emeritus. They assume no individual identities, distinguished on stage by an alchemical symbol — when one of them speaks to the media, the quote is attributed to “A Nameless Ghoul.” Nothing more, nothing less. The lead singer, on the other hand, is a whole lot more interesting. He has undergone several transformations as his Papa Emeritus character. In fact, there have been four incarnations of the character: Papa Emeritus I, Papa Emeritus II, Papa Emeritus II’s younger brother Papa Emeritus III and the much older Papa Emeritus 0, each with their own unique and convoluted backstory and specific costume. For example, Papa Emeritus II was replaced by Papa Emeritus III because II was fired for lack of productivity in overthrowing churches and governments.

Though the costumes were meant to conceal identities, one of the members was bound to have their identity revealed, and ultimately, it was Papa Emeritus. After being faced by a lawsuit set forth by former members of Ghost who claimed they lacked adequate compensation for their roles in the band, Papa Emeritus decided that it was time to oust himself. In 2017, after seven years of mystery, Tobias Forge, previously of Repugnant and Crashdïet, revealed himself to be the mastermind behind Ghost and all iterations of the mysterious Papa Emeritus character. Once the dust surrounding the lawsuit settled, Forge announced a new character: Cardinal Copia. Cardinal Copia is a figure once thought to be Papa Emeritus IV, yet he shares no relation to any manifestation of the Papa Emeritus lineage. He sports a plain mask with black eye sockets, complete heterochromia and blacked-out vestments, and according to Forge, has not yet earned his face paint yet. In addition to Cardinal Copia, Ghost also added several new members. In 2018, a third guitarist joined the “Group of Nameless Ghouls,” two new keyboardists known only as the “Ghoulettes” appeared, and, surprisingly, the artist formerly known as Papa Emeritus 0 returned and is currently known as the saxophone-wielding Papa Nihil. Forge plans for Cardinal Copia to be around for only five years, and after that, there’s no telling where the band might go next. The elaborate costumes, innumerable characters and Byzantine lore may seem distracting, but they really add a lot of dimensionality to Ghost. It makes the music seem that much more real. Songs like “Stand by Him” and “Rats” are inhuman rockers, and if the songs are performed by blatant humans, a lot of the band’s charm would be lost. Consider lines like this, “Them rats! / Into your sanctum, you let them in / Now, all your loved ones and all you kin / Will suffer punishments beneath the wrath of God / Never to forgive, never to forgive.” These lines wouldn’t pack nearly the same punch if, instead of a Satanic cardinal priest, an ordinary metalhead complete with a black tee, pasty skin and wispy, greasy hair said it. In fact, it would be comical, even farcical. The costumes are what allow the band to make the music that they do. It may all seem like a gimmick, but Ghost’s act is more than a mere schtick. A quote from A Nameless Ghoul (presumed to be Tobias Forge himself ) states that “(h)ad not the music been rocking, I don’t think that people would have gone gaga just about our looks. Had we not had the looks, I’m not sure we would have gotten the same attention.” This is to say that, regardless of looks, the music will always be good, but the costumes are what elevate and separate Ghost from the more pedestrian heavy metal acts of today. The costuming and lore allow the band to transcend reality, and, in a way, become even more metal. Appearance doesn’t always dictate performance, but in the case of Ghost, the appearance of each members most certainly enhances their performance. Their appearance makes them that much more convincing, even when the band can’t be seen. The very thought of Ghost in full dress is enough to lure listeners into their Satanic world. When in costume, the band sinks fully into the music, unaware of the human world around them. If Ghost feels Satanic, they’ll play Satanic; If they play Satanic, they will make some of the most notable heavy metal out today.

WIKIMEDIA COMMONS / LOMA VISTA RECORDINGS

b-side

4B —Thursday, October 31, 2019

The Michigan Daily — michigandaily.com

COMMUNITY CULTURE COLUMN

B-SIDE: TV NOTEBOOK

The editor’s dilemma, or, never being fully satisfied SAMMY SUSSMAN

Daily Community Culture Columnist

This past Friday, “Diseducated,” a musical I spent the past six months writing with my friend Allison Taylor, was premiered through the Blank Space Workshop. This was a show I had initially conceived of this past October but hadn’t started working on in earnest until late March/early April, when Allie joined the project. It was something we spent the summer writing, something that utterly consumed this past September for us both as we worked frantically to notate the music we had heard in our heads for so long. During the three-week workshop, we decided to make some radical changes to the plot structure that we hadn’t really touched in four or five months. In the first week, we cut two scenes and added one. Later, we moved the seventh scene into the third scene’s slot and the third scene to the very end of the first act. We cut two songs and added four. In the last week, we completely changed the point of view of the piece, deciding that making it take place in one character’s memory might make the first act more engaging. And now, seven months after starting our work on the piece, Allie and I can’t help but think that our work has only begun. This is not to say we were unhappy with the piece we presented to our friends this past Friday. Deep down, however, we know that there are changes to be made to make the show even better — changes that we, as maturing musical theater writers, are beginning to understand. This process has made me rethink one of my performing art pet peeves: the tendency of creative artists to continuously edit their work until it receives a professional premiere. It’s something that I’ve always struggled with as an audience member and a fan, particularly when it comes to seminal pieces of the repertoire that artists needlessly retouch after they reach their prime. I’ve always viewed it as a weakness — insecurity, perhaps or workaholic self-obsession — that these artists continue to edit their work despite its commercial and critical success. Take Igor Stravinksy’s “The Firebird Suite,” for instance. “The Firebird” was Stravinsky’s first successful ballet score. It’s a staple of the contemporary orchestral repertoire. During his lifetime, Stravinsky created three different orchestral suites from the ballet score. Two of the suites, the 1911 and 1919, are both intended solely for the concert hall. The third, the 1945 suite commonly referred to as a “ballet suite,” comes much closer to approximating the ballet in full. Was it really necessary for Stravinsky to continue editing after publishing his first suite? The discrepancies between these suites, after all, leads to much confusion among musicians and audience members. And though one of the suites does tend to be performed more than the others, no clear victor has won out. Is it not a point of weakness that Stravinsky continued to edit the work, that it took him 34 years to finally feel satisfied with his many different iterations of it? One criterion that I used to apply to determine whether I thought this after-

Allie and I, for example, can’t see any means of being happy with our show without extensively editing it and improving upon it. And even if we never stop editing it, I hope that audiences will be able to select between the different versions to find their personal favorite.

HBO

Do we have to wait until an artist dies, I wondered, before we can assume that we’ve witnessed the artist’s complete artistic vision?

publication “editing” was permissible or not is whether work had been changed to the point that it formed a new work. If the artist had stumbled upon a new form for their work, perhaps, or a different means of organizing it that better delivered it’s point, who was I to judge them for this? Take Gustav Mahler’s “Symphony No. 1,” for example. Between 1888 and 1898, Mahler created or edited six different editions of the orchestral score that have survived to the modern day. These different editions have lead to great confusion among orchestras, particularly when it comes to some of the minor edits that Mahler made to orchestration and the development sections of a few of the movements. Nevertheless, I’ve always felt that Mahler’s editing was justified because of the big change that he makes to the overall structure of the work: between 1888 and 1898, Mahler decided to omit an entire movement. This large scale change completely alters a listener’s perception of the work; it is more than justified, in my view, though it was made so late after the work’s first publication. Perhaps it was the size and substance of the edits that justified their latent application? Perhaps I was becoming annoyed not with the substance of the edits but with their knit picky nature. Perhaps grand, substantial edits were always justified, whereas minor semantic edits were not. But then I thought about Francis Ford Coppola’s “Apocalypse Now Redux,” a 2001 director’s cut of sorts that restored 41 minutes of previously cut footage to Coppola’s seminal film. Though Coppola’s additions added much to the film, it did little to change the substance of it. If anything, it added needless footage, making the plot more meandering, less direct and less entertaining overall. Do we have to wait until an artist dies, I wondered, before we can assume that we’ve witnessed the artist’s complete artistic vision? And assuming that one agrees with my judgement of the two “Apocalypse Now” films, which should be considered to be the primary “Apocalypse Now” used to introduce new viewers to this film? This leads me back to my own project, “Diseducated.” Though we’ve already premiered the piece, Allie and I plan on spending many more months revamping it. We hope to completely change it to make it more effective. Though we know that some audience members from our premiere probably have a vision of the show in their head, we are confident that we can improve upon it. Rather than being annoyed at creative artists’s predilection towards constant editing, I’ve thus learned to accept it as a byproduct of this unusual profession. Allie and I, for example, can’t see any means of being happy with our show without extensively editing it and improving upon it. And even if we never stop editing it, I hope that audiences will be able to select between the different versions to find their personal favorite. Perhaps it is ultimately up to fans and critics to determine which version of a work they are most happy with, and which they want to ignore. And rather than viewing this as a weakness, as an indicator of insecurity or self-obsession, perhaps it indicates a creative artist’s pride in their work and the degree to which they take it seriously. Perhaps instead of wishing for fewer late-stage edits, I should wish for more artists taking such an active role in the ongoing life of their work.

Ripping through the artful seams of HBO’s ‘Euphoria’ ANYA SOLLER Daily Arts Writer

HBO’s new teen drama, “Euphoria,” dominated social media in the summer of 2019 and inf luenced teenagers across the nation to experiment with glittery eyeshadow and rhinestone eyelashes. The show’s Instagram account has amassed over one million followers, with many of the cast members boasting similar follower counts on social media. With a second season airing in 2020, “Euphoria” currently has the ratings for renewal and a stronghold on viewers’ attention, even a few months after its first season’s finale. Throughout the airing of the first season, the show gained a popular following through Twitter as its explicit and shocking content made for great live-tweeting material. Once “Euphoria” gained traction online, inf luencers immediately jumped to replicate the street fashion that makes each character pop on an already mesmerizing show. The makeup and costuming departments have appeared in fashion publications like InStyle and Allure to explain how the 2019 show caught the audience’s attention with its unconventional stylistic choices. Costume designer Heidi Bivens references real-world examples of streetwear and pedestrian yet fashion-forward looks to develop each character’s unique personal style. In an interview with Ssense, Bivens said main characters Jules and Rue were her favorite characters to develop visually, adding “There were no real rules in the approach with them, and when your creativity is boundless in terms of where you can go to in your mind to glean ideas, that’s the most exciting.” While the elaborate costumes maintain an air of fantasy and couture, each outfit seeks to mirror the images teenagers want to project in their own clothing. The characters of “Euphoria” mix designer pieces with more pedestrian articles to heighten the most fashionable trends in American high schools. Some ready-to-wear pieces come from popular retailers like Target or Nordstrom, while designers like Zana Bayne and Akna provide more show-stopping items for moments of dramatic f lair. Entire Instagram accounts and websites are dedicated to documenting every identifiable piece of clothing available to consumers looking to incorporate into their own wardrobes. While every episode features now-iconic looks, the clear stand-out is “The Next Episode” which plays on TV’s best trope: the Halloween party. In the context of a holiday celebrating the beauty of absurd costumes, “Euphoria” is at its stylistic height. Characters’ looks range from Marlene Dietrich’s tuxedoed glamor to a

f lawlessly executed Bob Ross, beard and all. The episode garnered so much media attention that websites like E! Online have published articles on how to reproduce Kat’s take on Thana from “Ms. 45” or Maddy’s modernized version of Jodie Foster in “Taxi Driver.” “Euphoria” shows how much teen Halloween has changed since the highly memorable commentary in the 2004 comedy “Mean Girls.” In this film, the main character Cady describes the holiday as the opportunity for “the hardcore girls (to) just wear lingerie and some form of animal ears.” Although this may ring true for high school kids in the early 2000s, “Euphoria” demonstrates how Halloween has become about a lot more than wearing the quintessential “sexy” costume. While some characters’ outfits are revealing or sexualized versions of pop culture figures, the artistry and concepts of their ensemble are far more important. In one particularly emotional scene of “The Next Episode,” Cassie attends a Halloween party at her boyfriend’s college but is told to change her risqué costume based on Alabama Worley from “True Romance.” Her boyfriend feels the outfit would attract too much sexual attention from other men and offers her his football jersey to wear instead. Cassie sadly responds, “This isn’t even a real costume.” Her disappointment at being told to switch outfits comes not only from the manipulative behavior that guilted her into changing but also from her inability to express herself and show off what she had made. For the characters of “Euphoria,” the clothes they wear are not just clothes. The makeup they wear is not just makeup. The goal isn’t to look pretty or desirable or cool. For Rue, Jules, Maddy, Cassie, Kat and everyone else on the show, how you present yourself is the best and only way to show who you are or, in some cases, who you want to be. In the wash of neon lights and glitter-soaked tears, each costume or outfit worn brilliantly ref lects the growth and conf lict within each character’s arc. “Euphoria” at its core wants to depict life as it is, or even how it seems to be, in 2019. Issues like revenge porn, opioid addiction and climate change define the lives of the East Highland students the show follows. Even if the content of the series is heightened for dramatic effect, the key elements are grounded in the reality of how it feels to be in high school right now. Every day is a chance to reinvent yourself to your classmates, and the young audience of “Euphoria” is inspired by the creativity of these fan-favorite characters they see themselves in. As Halloween approaches, there’s no doubt social media will be full of “Euphoria”-themed costumes as fans get a chance to go all out and pay tribute to TV’s newest hit.

Once “Euphoria” gained traction online, influencers immediately jumped to replicate the street fashion that makes each character pop on an already mesmerizing show. The makeup and costuming departments have appeared in fashion publications like InStyle and Allure to explain how the 2019 show caught the audience’s attention with its unconventional stylistic choices.

BBC AMERICA

b-side

The Michigan Daily — michigandaily.com

Thursday, October 31, 2019 — 5B

B-SIDE: SECONDARY

I’ve got big dreams and exactly one hot glue gun: Going behind the scenes of our sweet University Costume Shop EMMA CHANG Senior Arts Editor

It’s Halloween, and that means I have to find a costume. It’s not that I don’t have any ideas — I have plenty. There’s always Mulan, I’ve wanted to be a piece of sushi since freshman year and, quite honestly, Waldo doesn’t seem too bad right about now. But I have a few issues with Halloween costumes. First of all, Halloween is in the middle of the semester and I like to try and DIY what I wear; not a very good combination of activities, if you ask me. Second, you’re telling me I have to spend money on something I’m probably only ever going to wear once? I will do that for Christmas and maybe even New Year’s, but Halloween is a no-go. None of this is to say that I don’t like costumes or Halloween. I love both of them, it’s just that together, they can add up to a lot of work. So this year, instead of stressing over making a Halloween costume, I went to talk to the University Costume Shop about how they make costumes for various shows. Though the amount of work and time that goes into making a Halloween costume is daunting, it’s nothing compared to what goes behind the scenes for many University productions. Before actually going to the costume shop, however, they recommend you watch “What to Expect at the University Costume Shop.” It’s an introductory video and gives an overview of everything from how to get there to what happens at your final fitting. Unsurprisingly, the video is entertaining and informative, a well-made production perfect for anyone who wants to take a visit to the costume shop but finds themselves without the necessary talent to be cast in a University production. Located on the second f loor of the Walgreen Drama Center on North Campus, the University Costume Shop is a dream for performers and sewers alike. Upon walking in, dress forms are scattered throughout the shop and sewing machines sit in rows, some mid-project, others available for whatever the staff throws at them. At one point, I was distracted by the fact that some of the outlets hung from the ceiling, suspended on a track that could follow someone along as they ironed a larger piece. To be able to iron all in one go without the length of a cord to hold you back is something I’ve only dreamed of, and to see it in person at the costume shop was unimaginable. The physical aspects of the shop, however, would mean nothing without the people who use them. The costume shop’s team is composed of a costume shop manager, costume designer, wardrobe supervisor and multiple drapers. All these people come together to create the masterpieces you see on stage — to listen to them talk to about each of their creations and the shows they’ve worked on is like stepping into another world. But how do you even get into that world in the first place? It’s a different process for everyone. Take Lea Morello, a draper at the University Costume Shop. A philosophy major in college, she has been working with the costume shop since 2002 and has been in costumes for around 24 years. Though her love of sewing came from what she was doing as a stay-at-home mom, it started to become something more when Morello got a job as a part-time stitcher at the University Costume Shop. From there, she ended up going back to school for theater design and production and, eventually, found herself at the costume shop as a draper. The rest is history — a really impressive history, if you ask me. Others, though, have always known that in some capacity, they’ll end up in theater. Christianne Meyers, a designer at the costume shop, grew up backstage watching her mother dance and eventually found her niche as a designer by the time college came around. For her, design was a way of merging her fascination with behind-the-scenes work and her love for art. With a BFA from Pace University, she spent a few years working in New York City, where she eventually got her masters at NYU. Afterward, she stayed in the city freelancing on a variety of projects offBroadway and in regional theaters. In time, she realized that working 60 or more hours a week and living in the competitive culture of the New York City costume industry wasn’t for her. Come 2002, Meyers joined the University Costume Shop along with Morello and has designed 45 shows in the last 17 years. While Morello and Meyers are important staples at the University Costume Shop, it is still a university costume shop, and would be incomplete without the presence of students honing their craft. Saawan Tiwari, a senior pursuing his BFA in theater design, talked about his life behind the scenes, a five-year-process that actually started in zoolog y. Though most of his time had been spent at a zoo rather than a studio in high school, he always jumped on the opportunity to work on a school play. His first project? Creating a donkey head for “A Midsummer Night’s Dream.” With little to no crafting background, Tiwari pulled together what he described as a “helmet contraption” with a wig glued onto it. Obviously, the donkey head was named Bernard. And while his first foray into costumes was not the most conventional, what Tiwari did have was a “hot glue gun and a dream,” the only things you really need to make it in theater. It took a few steps for Morello, Meyers and Tiwari to make it to the University Costume Shop, but they all eventually did. So, what does creating a costume actually entail? More often than not, it starts with the designer working with the director to come up with a vision for the show. The meetings can range from idea sessions on each side, with directors only coming with vague concepts of what they want, to detailed brainstorming inspired by a director who has everything mapped out in their head. But costumers can’t rely just on what the director wants — they have to know the actual show inside and out, too. From quick changes between scenes to historical renditions of various characters, costume designers are resident experts in every show they work on. Oftentimes, the designers and other costume makers know more about a production than the cast themselves, especially at the beginning. In order to effectively design a show, Meyers emphasized the importance of being able to make a decision and move on with it. “Designing is deciding,” according to Meyers. It’s also not surprising for them to start designing and choosing costumes before the show is even fully casted. Construction of the costume is everything from the undergarments to the makeup, so being not only familiar, but intimate with the director’s vision and the show is critical to developing good costumes. Understanding a show is an art in and of itself — Meyers noted that sometimes they do brand new shows while some have been done for centuries. Currently, the shop is working on the University

The costume shop is cognizant of the diversity of their actors and always takes a skin tone swatch, a basic technique that can go a long way in making an actor feel comfortable in their costume. Morello highlighted the roles of directors in facilitating this change. She worked on a production of “Romeo and Juliet” that ignored the traditional casting and opted instead to explore the tensions that an interracial couple might experience in the production.

production of famed opera “La Bohème” and as Meyers said, “they have been singing those same notes for 200 years.” In a case like “La Bohème,” where the director has put on the show four times and Meyers herself has worked on it before, designers understand the minute details of the show already. It’s an entirely different thing when the show has never been done or seen before. At times, they’re working on something where some of the cast and characters aren’t even worked out until the first rehearsal. It’s a dynamic job that takes a level of creative f lexibility many wish they had. Once the designs are worked out, and even as they’re being finalized, they go to a draper, like Morello, who takes the ideas from their 2-D rendering to a 3-D mockup. This process can often vary — it might even start from a newly bought piece of clothing. In fact, one of the skirts for the upcoming “La Bohème” is a dyed skirt from Mod Cloth. When costumes do start from scratch, however, they go through a rigorous process that transforms them from an idea on some muslin to a piece of art on stage. Throughout fittings, Morello is constantly adjusting, looking where she can bring things in and take things out, aware of the fact that a costume is made to fit the person rather than the person to the costume. That attitude, however, is a more recent one, especially as more and more people are learning to embrace their body’s natural curves and lines. Both Meyers and Morello have worked in the industry for a little over two decades and have been at the University Costume Shop for 17 of those years. So, not only have they seen changing attitudes when it comes to body positivity, but they have also seen an increasingly diverse set of casts come through their doors. No longer does the typical tan work to fit every skin tone of a cast. The costume shop is cognizant of the diversity of their actors and always takes a skin tone swatch, a basic technique that can go a long way in making an actor feel comfortable in their costume. Morello highlighted the roles of directors in facilitating this change. She worked on a production of “Romeo and Juliet” that ignored the traditional casting and opted instead to explore the tensions that an interracial couple might experience in the production. Not everything has changed for the better, though. With how short audience attention spans can be, the demand for speed has increased dramatically within the industry. Sure, that might mean more costumes and more shows, but it takes away from the creative process — what you get in speed, you lose in what Meyers deems “cogitation time,” which is the time that an idea just sits in the back of your head. Waiting until that moment of revelation and the designs just come together. Knowing how their creative processes reacts to the speedy needs of various shows is just one of the ways these artists have been shaped by their experiences working in the costume industry. Morello noted the importance of knowing your boundaries and how to prioritize projects — she is still able to make costumes for her grandkids while working at the costume shop by splitting who gets a costume which year. Tiwari spent the second semester of his freshman year taking 17 credits and trying to put together three different shows. One of these shows had a $150 budget for a large ensemble that saw some questionable communication between designer and director. But he got it done, as an unpaid freshman, and it was still one of his favorite shows. The lesson here is that 17 credits is never a good idea, regardless of whether you’re running three shows and volunteering at the same time. But, beyond that, Tiwari emphasized the importance of pushing your boundaries and figuring out how to put yourself and what you want first. That is something we could all stand to learn at least once in our lives. Meyers drove home the idea that learning to let go is one of the biggest skills you can have as a designer. As a freelancer, she designed and made two $750 dresses for one of her shows that, eventually, the director decided to cut from the show. The same director “turned the set upside down.” So, what is a designer supposed to do when their work is tossed aside? For Meyers, the answer wasn’t to get angry or hold a grudge: Instead, she ended up shopping at Vivienne Tam’s studio with Frances McDormand. The whole thing happened relatively early on in her career, and Meyers was happy to note that now she is able to take things as they are and address problems in a cool, collected manner. The mark of a true professional. So, where does all this leave me in my hunt for a Halloween costume? I have a wig. I did not design a full show or costumes for my grandkids. But it’s a step in the right direction. And, honestly, after seeing what costumers have to go through, that might be my only step. The staff at the University Costume Shop have been through it all and still make up a cast worthy of the productions they help create.

But costumers can’t rely just on what the director wants — they have to know the actual show inside and out, too. From quick changes between scenes to the historical renditions of various characters, costume designers are resident experts in every show they work on. Oftentimes, the designers and other costume makers know more about a production than the cast themselves, especially at the beginning.

FILE PHOTO / DAILY

Arts

6B — Thursday, October 31, 2019

The Michigan Daily — michigandaily.com

B-SIDE: STYLE NOTEBOOK

Bob Mackie and embodying the fantasy ... also Cher SAM KREMKE Daily Arts Writer

It’s hard to overstate the cultural significance of Bob Mackie. While his legacy is intractable from that of Cher (being responsible for her most iconic looks), his work spans from his sketch work for Edith Head and Jean Louis in the early ’60s (including the dress that Marilyn Monroe sang “Happy Birthday” to President John F. Kennedy in), to assisting his future lifetime partner, Ray Aghayan, on “The Judy Garland Show” and “The Carol Burnett Show,” to his work with Cher and just about every celebrity of note over the course of the mid-to-late 20th century. His career spans almost 60 years, but his eponymous ready-to-wear line, Bob Mackie Originals, was comparatively short-lived and failed to fuel him in the same way as the work he’s done designing for studios, Broadway shows and world tours. Unlike other designers considered to be a household name, Mackie didn’t build a brand that was marketable to the public — he’s never stepped out and done the creative direction for a massive conglomerate, designed an it-bag or even thrown his name upon a storefront. Even during his years doing a ready-to-wear line, he has never been that guy. Bob Mackie has spent his years in pursuit of the costume, stitching together an endless sea of paillettes and Marabous, creating marvelous and f leeting moments that live on in history through photographs. Part of what draws people to special events is their temporality. There’s a special brand of allure that comes with only being able to wear or see something once, and one of the central tenets of the costume is that it’s meant to be

frivolous. The visual arts have historically been discredited due to their political feminization — high fashion is often viewed as wasteful and gluttonous, with little regard given to its greater societal impact or its role in the economy. Red carpet looks and garments used for tours and on sets for TV shows are at the most unlucky intersection of perceived inaccessibility, wastefulness and feminized discreditation. This may be why Bob Mackie never had the opportunity to brand himself the way that, say, a longstanding leather goods company with a high fashion line already has built into it. He never fought to turn his name into a behemoth. He didn’t capitalize on the media frenzy that his work has created time and time again. There were perfumes, sure. There was

SINGLE REVIEW: ‘ORPHANS’ & ‘ARABESQUE’

a ready-to-wear line and a QVC collaboration. There’s even a limited collection of Barbies. But Bob Mackie is a tried and true dressmaker. He is a costumer who has undoubtedly helped shape how the world considers what is possible in fashion. To commit oneself to the costume, either through embodying it over the course of a night or, in Mackie’s case, a lifetime, is to commit oneself completely to a fantasy and throw caution to the wind. Excess and unadulterated flair have external validity in a capitalist marketplace (if that’s your thing) when they become a source of inspiration, but the point is that cannot happen if any mind is given to whether or not bits and bobs can be reinterpreted into something consumable. Bob Mackie may have (mainly) worked for pop stars and production studios, thus needing in some way to interact with the notion of acceptability in his work, but he has spent the majority of his career unbeholden to retail sales. References to Sontag’s 1964 essay “Notes on Camp” have reached their saturation point, but she refers to the concept of visual camp in this way, arguing that camp turns its back on the good-bad axis of ordinary aesthetic judgment. Camp doesn’t reverse things. It doesn’t argue the good is bad, or the bad is good. What it does is to offer art (and life) a different — and supplementary — set of standards. To realize a concept with the purest intention possible, as Mackie often did, is not to concern oneself with what’s considered to be in good taste, or possessing the proper ingredients to achieve a certain level of popularity. It is to pursue a vision to its fullest extent, communicating an idea with the greatest level of efficacy that can be achieved. Bob Mackie took the absurd and brought it to the eyes of the mainstream, and we’ll be forever grateful for it. FACEBOOK

MUSIC VIDEO REVIEW: ‘I THINK’

COLUMBIA RECORDS

PARLOPHONE

After nearly five years, Coldplay has emerged from musical stagnation with two singles off their upcoming album, Everyday Life. The album’s title seems to be the exact premise of the singles, celebrating the small moments in life with a blend of saxophone solos, bluesy guitar riffs and dynamic horns. “Orphans” sounds like the Coldplay we’ve heard on past albums, with its bubbly “woo-woos” and Chris Martin’s passionate chanting throughout the verses. The lyrics are nostalgic in nature, walking through the loneliness of being away from home while still maintaining an overwhelming and spirited sensation of freedom. The tune ends with an overpowering

blend of drums and background vocals as Martin sings the line “I want to be with you ‘till the whole world ends,” crafting the signature Coldplay euphoria. “Arabesque” is more

‘Orphans’ & ‘Arabesque’ Coldplay Parlophone

experimental in nature, slightly deviating from Coldplay’s soft rock tradition. The tune starts off with noises from a bustling city and transitions into an angular guitar riff before the introduction of a protrusive horn section that has its own solo towards the end of

the song. Unlike “Orphans,” “Arabesque” is more lyrically abstract as it attempts to deconstruct Western fears of Islam in the wake of terrorism. Interwoven in the folk sounds are Middle Eastern motifs, such as the prominence of percussion instruments and the usage of horns. Despite the time away, Coldplay still sounds like the euphoric rock band they established themselves as back in the ’90s. While “Arabesque” slightly diverges from their traditional rock sound, both singles revisit the signature sound of the band. The singles are complex yet captivating and serve as a promising precursor to Everyday Life. — Kaitlyn Fox, Daily Arts Writer

Tyler, the Creator’s IGOR alter ego, Wolf Daley, returns with the music video for “I THINK.” Directed under Tyler’s Wolf Haley alias, the video features a caption that reads “a fraction of the video*,” indicating more to come. The lavish scenery of “A BOY IS A GUN” is replaced by a grimy club scene — a sketchy restroom, claustrophobia, reprehensible hookups and all. Whereas Daley’s last appearance reflected a more emotionally unhinged side, “I THINK” is less dramatic, zeroing in on a simpler narrative many of us can relate to with some comical glimmers along the way. Wolf dons an on-brand pastel Neapolitan suit, his signature bowl-cut wig and tinted sunglasses as he wanders aimlessly in pursuit of yet another Timothee Chalamet-esque love interest in the club. A ’70s clad crew of men sequester themselves at the edge of a bleak restroom, rolling dice at

the very beginning of the video. From there, the video pans and we find Wolf stepping up to use one of the urinals as a couple leaves a stall and some people walk in and out of the entrance. Wolf then makes his way to the bathroom mirror where he sings the song’s lyrics while preening himself. Hell breaks loose when a fistfight occurs between the men from

‘I THINK’ Tyler, the Creator Columbia Records

earlier, and Wolf is shoved out of the bathroom and into a wall. Unbothered by his surroundings, he ventures into the club, pushing and shoving his way to his unknowing love interest. From here, we pan to a photo shoot of various characters from earlier in the video, including Tyler, the Creator in GOLF gear, Kendall

Jenner and then finally Wolf, who occupies the last quarter of the video. The camera then zooms in on a forlorn Wolf and then looks up to a hand on his shoulder, presumably that of the individual he pursued earlier. The video is an anomaly in the series of IGOR videos. Rather than presenting Wolf as the primary focus of the video, it provides insight into the experiences of other people at the club. This effect is more humorous than anything else, Wolf sticking out like a sore thumb, neglecting the interactions surrounding him in his ridiculous garb. There’s a comical backbone to this video, but it doesn’t overpower its sincerity the way it does in “EARFQUAKE.” Rather, it embraces the all-consuming nature of love, awkwardly unfolding in a casual club scene we’ve all experienced before. — Diana Yassin, Daily Arts Writer

B-SIDE: COMMUNITY CULTURE NOTEBOOK

Categorizing and calling out classic Ann Arbor costumes BEN VASSAR

Daily Arts Writer

In the last week, even the least bothered of us have considered some of the angles we may take with our costumes this year. With three years of Halloween in Ann Arbor in the bag, the following is what I’ve solidified as the categories that encompass 95 percent of costumes on show and they’re the spooky truth. The Nostalgic Costume The shrieks and sobs produced by a nostalgia-inducing costume are the reason for the popularity of this category around campus. As we’re all from different places, we seek the ties that bind us — nationally-televised ’00s cartoons, the club hits that played at elementary school birthday parties, the earliest memes of 2011 or 2012. Finding the Cosmo to our Wanda or the milk to our Reese’s Puffs or the Brad to our Angelina on a night out instantly elevates such an interaction to one of predestiny. Whether as points of shared love or sharp contention, nostalgic costumes carry emotion without much conceptual or executional heavy-lifting. The Sexy Costume The thirst trap has been so fully integrated into university costume culture that it could almost be a costume in itself. For a few years only certain costumes were sexualized — cats, nurses, Freddie Mercury. But now, it wouldn’t be so radical to conceive of a sexy Cheerio. When people asked me for costume advice this year, I reminded them that the point of Halloween is to look good. This can’t, however, be at the expense of the idea itself. If you go as a mafioso just because you look good in a white buttondown and want to fiend cigarettes all night, your costume is actually not that great. The Scary Costume Being scary on Halloween just doesn’t have the same appeal it did as a

kid. At this point, completely unwillingly and regretfully, I’ve seen actual beheadings online. Costumes in this category these days are therefore either terrifying or trivialized by an undeniable layer of sex appeal. A costume that attempts but fails at scariness should either adapt to satirizing/sexualizing itself or it should go home. The Niche Costume The thrill of the arts, baby. Some of us ride or die so hard for particularly influential figures in our respective fields of interest to the extent that we forget their existence is known by maybe 10 percent of our peers. When it comes to the big day, we prep for hours putting the finishing touches on a representation that channels this character or person’s very soul. But the night only breeds disappointment and demoralization as our peers don’t even know who Rick Owens is and we get guesses from Keanu Reeves to Steven Tyler (that’s just bad). The Pregame-Decided Costume While some of us workshop costumes in our phone’s notes app for months before the actual events of Halloweek, others of us couldn’t be bothered to think critically enough about it until the big night itself. Thankfully, though, some girl at the pregame needs a boy to complete her Taylor-Swift-in-the-“You Belong With Me”-music-video look. The “Number of Friends You Have” Costume If you’ve got one friend, you’re good for Batman and Robin, maybe a pair of boobs. Two guys and a girl? Harry, Ron and Hermione. Four Mean Girls. Five Spice Girls. Incestuous squad of six? Friends. Conceive of this: going as the seven continents! Or maybe the eight directions on a compass. Nine ladies dancing? Ten beer pong cups. Eventually you can just be Brockhampton. The “Just Abstract” Costume Many of us have likely seen the Buzzfeed concept of going with a t-shirt that says “life” on it and a bag of lemons to give people. I did this my senior year of high school. But with an internet culture that hybridizes and layers

references more than ever before, as well as new generations of students who spent a larger percentage of their formative years within this culture, Halloween has begun to reflect such thinking. You could go as superthicc, but specifically the distorted Photo Booth “Twirl” effect version of this. You could go as the hissing cat meme itself. You could go as “Bort,” the poorly drawn meme version of Bart Simpson. You could ironically go as the tapestry and Christmas lights that your roommate put up because they don’t represent you. You could go as the video-game screencap of “Ah shit, here we go again.” You could go as the generic vaporwave mannequin in a suit with a big “stonks” sign, or better yet you could go as a bar graph of our national debt with block text over it that says, “Honestly I’m just fucking vibing rn.” All angles have the potential for success, but only in their purest form. The only thing worse than a bad costume on Halloween is not going allin. So even if you’re Taylor Swift’s boy-toy from that music video every else seems to know, you’re gonna take photos with her and the signs you supposedly have to flash one another from your windows, and you sure as hell are gonna get that slow dance at the end of the night.

If you’ve got one friend, you’re good for Batman and Robin. Maybe a pair of boobs.