Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Cavern effect
5 Cornfield call
8 “Frozen” studio
14 Amorphous mass
15 “Say again?”
16 Mercedes-Benz
sedan line
17 Disapproving
cries from
bleacher “birds”
18 Prefix with meter
19 “I do” setting
20 *Ornamental
flower with
clustered blooms
23 Wall St. index
24 Steeped brew
25 Badlands bovine
29 “Green Eggs and
Ham” guy
31 Marshmallow-
filled snack
33 “I do”
36 *Blab about one’s
romantic life
39 Brainchild
41 “Dancing With
the Stars” move
42 Law school
newbie
43 *Luxury car until
the 1930s
46 Like deadpan
humor
47 Bringing up the
rear
48 Tail movement
50 “Speak up!”
51 Had a meal
54 Comment from
Fido
57 *Former PBS
science show
with a fruit in its
title logo
61 African desert
64 Beat it
65 Body support for
the end of 57-
Across, in a Swiss
folk tale suggested
by the ends of the
answers to starred
clues
66 Online form entry
67 __-fi
68 Ireland, in poetry
69 Sonnet features
70 1930s N.L. home
run king Mel
71 __ avis
DOWN
1 Flows back
2 Kids’ party
performer
3 Twaddle
4 Think constantly
about something
5 Food on the trail
6 Review of
books?
7 Unbroken
8 Tenth: Pref.
9 Crane who fled
the Headless
Horseman
10 Hit very hard
11 Snooze
12 Peoria-to-
Cincinnati dir.
13 French
designer’s
initials
21 Shipbuilding
wood
22 Hedy of
Hollywood
26 Use up cash
27 Persian Gulf
ship
28 Nice __: prude
30 Teeny parasites
32 At the minimum
setting
33 “Goodness me!”
34 Twin Cities
suburb
35 Like a run-down
motel
37 Go after, as a
mosquito
38 Elton John’s title
40 Linked while
walking, as
friends
44 Circle of friends
45 H2O, to a
toddler
49 Burrowing
rodent
52 Sculpted figure
53 Put into law
55 “The Marriage of
Figaro,” e.g.
56 Knack
58 Rolls of money
59 Agitated state
60 Funny Dame
61 Big __, California
62 Hearth remains
63 “Yo!”
By John Lampkin
©2015 Tribune Content Agency, LLC
03/10/15
03/10/15
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, March 10, 2015
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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6 — Tuesday, March 10, 2015
Arts
The Michigan Daily — michigandaily.com
ALBUM REVIEW
Madonna embraces
her ‘Rebel Heart’
By CHRISTIAN KENNEDY
Daily Arts Writer
Madonna’s newest LP, Rebel
Heart is a monster. It consists
of 14 songs, five iTunes bonus
tracks and six
more
bonus
tracks
on
the
physical
CD. That is
25
songs,
compromising
a
90-plus-
minute
experience
loaded
with
some serious beats, five-star
collaborations, a lot of “bitches”
and
an
auto-tuned
infant.
Much like the hearts of mere
mortals, Madonna’s newest LP,
Rebel Heart has four distinct
chambers that keep it beating:
the cocky, the boring, the filthy
and the impassioned.
This is Madonna’s 13th (yes,
13th) studio album. At this point
she has proved herself over and
over again, and has the right
to a song such as “Bitch I’m
Madonna.” The beat mixes hip-
hop, funk and EDM and knows
exactly when to drop and when
to let off. This track also features
another mystifying Nicki Minaj
cameo
(follow-up
to
2012’s
“ Give Me All Your Luvin’”).
Madge furthers her confidence
streak on “Unapologetic Bitch,”
“Iconic” and “Veni Vidi Vici.”
“Unapologetic
Bitch”
mixes
fighting words with a bohemian
beat; it’s certainly an odd mix,
but the rolling bongos dull the
edge of otherwise in-your-face
lyrics. To bring “Iconic” and
“Veni Vidi Vici” to the next level,
she enlists the help of Chance
the Rapper and Mike Tyson on
the former and Nas on the latter.
Tyson opens with “I’m the best
the world has ever seen … ”
before Madonna comes in with
an OK chorus. “I-can. I-con.
Two letters apart” is clever, but
in reality the lines don’t come
off as natural. This track finds
its footing in the echoes that
follow of “iconic” and “ironic.”
“Veni Vidi Vici” (Latin for “I
came. I saw. I conquered”)
recounts her career. She deems
herself fearless and provocative
— cheers to you, Madge. Nas
echoes her sentiments with his
own story; his verse is good and
leads back to the chorus with
some well-placed gunfire, but
overall it’s distracting.
Madonna certainly has a lot to
say about herself, but a handful
of Rebel Heart tracks come out
way beneath her. “Hold Tight,”
a drum-backed love song, seems
to echo sentiments of other
tracks in a repetitive monotone.
The two final tracks on the
basic album package, “Inside
Out” and “Wash All Over Me,”
are forgettable as well. These
tracks are honestly boring. The
choruses don’t invite a listener
to join in, nor do they present
something worth listening to
without that catch. “Autotune
Baby” is frustrating to say the
least. The infant wailing in the
background offers no twist,
just simple annoyance, similar
to that of a baby crying. These,
as well as bonus-bonus tracks
“Beautiful Scars” and “Queen,”
are
the
slumps
among
an
otherwise uplifting, reflective
and tantalizing album.
As
seen
by
Madonna’s
Givenchy-sponsored ass flash at
the Grammys, she isn’t afraid of
getting down n’ dirty. The first
somewhat-risqué track, “Body
Shop,” is a mess of innuendo.
Clapping and a single drum back
a mixed metaphor of doing the
dirty/getting your car serviced.
Some lines are so subtle, it’s
hard to tell what she’s really
singing about — I’m not sure if
she’s looking for sex or if she
just has a really fucked-up car.
But no fear, she brings all the
tricks out on “Holy Water” and
“S.E.X.” “Holy Water,” which
was produced by Kanye, may
be the oral-sex anthem of 2015
(if there’s such a thing? I don’t
know, but there should be). It
almost sounds like a “fuck you”
to Kim Kardashian between the
lines, “Bitch, get off my pole”
and “Yeezus loves my pussy
best.” So, if you really want to
know if it tastes like holy water,
you know who to ask.
Any subtlety that may be
present in “Holy Water” or
“Body Shop” is thrown out of
the bedroom on “S.E.X.” The
deep synths that are present
throughout the track set the
mood, and it quickly moves
from semi-vanilla-headboard-
breaking-sex
to
something
darker. Following a dark cackle,
string instruments take over
for the synths, and Madge
lists off a string of sexually
charged phrases (“raw meat”
and “golden shower” included).
In short, these songs are hot.
The beats and lustful delivery
of lyrics work to make listeners
sweat in their seats.
Beyond the passion for sex,
there’s a passion for life and
love, — a forum for where she’s
most infectious. The number-
one, “Living for Love,” opens the
album with that tinge of auto-
tune present throughout Rebel
Heart. The chorus, “I’m gonna
carry on,” stands just above
the rest of the track’s elements,
creating a cloud of reassurance,
which really anchors the track
as an empowerment anthem.
That,
combined
with
the
grinding
post-chorus
synth,
creates an impeccable pop song.
In a somewhat similar fashion,
“Ghosttown” allows a snippet of
silence before the chorus breaks,
and it’s that short transition
from the piano-assisted verse
into
the
bold
chorus
that
really
highlights
the
track
among its neighbors. Finally,
“Joan of Arc” is her down-
to-earth
masterpiece.
Her
vulnerability speaks volumes,
as it’s surrounded by sex and
uncontrolled
confidence.
The message is simple: words
hurt, and they even hurt the
queen of pop. A single guitar
supports her until the chorus
comes
in
and
she
proves
there’s strength in embracing
vulnerability. Production and
delivery take what would be
a self-deprecating track and
transform it into a powerhouse.
Finally,
there
are
tracks
that transcend any category
imaginable.
The
dubstep
inspired “Illuminati” is a club
banger, and nothing less. The
baseline begs to be moved
to and the constant name-
dropping is simply lurid fun.
The
Super
Deluxe
Album’s
closer, “I’m Addicted,” begins
slowly, but soon blossoms into
an amazingly catchy chorus,
completed with rhymes and
an infectious guitar rhythm. It
succeeds at bringing together
25 tracks worth of journey into
a final track. The albums other
feat is its title track. “Rebel
Heart” is simply stunning; it’s
retrospective, but also looks at
the future with optimism. Her
critics will say she’s desperately
clasping at her youth, but
“Rebel Heart” and Rebel Heart,
for that matter, show that she
recognizes the growth that she
has experienced over her past
13 albums, and that she’s where
she wants to be.
Rebel Heart relies on its three
chambers of confidence, sex
and passion to pick up the pace
of its lacking fourth chamber.
And like any heart, it needs
more than its four chambers
to keep it beating; It needs
something greater. Rebel Heart
has that something greater.
A-
Madonna
Rebel Heart
Boy Toy Inc.
FILM REVIEW
‘Shadows’ bites into
vampire pop culture
By CONRAD FOREMAN
Daily Arts Writer
The
exposure
that
documentary films can give
to an underrepresented group
can
change
the
dialogue
surrounding
important
issues.
The
college
generation
would
best
remember
this
from
“Super
Size
Me,” the 2004
exposé on fast
food from Morgan Spurlock.
Playing for a limited time at
Ann Arbor’s State Theatre is an
equally important documentary
from the minds of brilliant
New Zealand comedians Taika
Waititi (“Boy”) and Jemaine
Clement (HBO’s “Flight of the
Conchords”).
“What We Do in the Shadows”
follows three flatmates, Viago
(Waititi), Vladislav (Clement)
and Deacon (Jonathan Brugh,
“How to Meet Girls from a
Distance”). The trio’s dynamic is
much like that of any group that
lives together. They argue over
chores, help each other select
outfits and provide a support
system based on camaraderie.
There’s one wrinkle — Viago,
Vladislav and Deacon are all
vampires, aged 317, 862 and 183,
respectively. Along with their
8,000-year-old fourth flatmate,
a newly turned vampire, and
everyone’s
favorite
human,
Petyr (Ben Fransham, “30 Days
of Night”) the vamps navigate
the hardships of everyday life
for the undead.
The film points out that
immortality isn’t all it’s cracked
up to be, especially when it
comes at a cost. Vampires not
only fear burning alive from
any exposure to sunlight, but,
whether they like it or not, they
must feed on human flesh for
sustenance. This is especially
problematic when Viago can’t
avoid a main artery in the neck,
leading to quite the messy
dinner.
Vampires
find
themselves
disadvantaged in more mundane
ways as well. Just like any of us,
when the gang wants a night on
the town, the most important
decision to make is what they’ll
wear. Their decision-making
is more difficult than ours,
though, because of vampires’
inability to create a reflection;
they must rely completely on
their flatmates’ guidance. Once
they finally make their way
downtown, their entrance to
any nightclub is often blocked
by the necessity for them to
receive an explicit invitation
before entering.
“What
We
Do
in
the
Shadows”
succeeds
because
the production perfectly toes
the line between realism and
ridiculousness.
This
starts
with the cast, highlighted by
Waititi and Clement, but with
exceptional
performances
from every player. The special
effects, shockingly real at times
and cheesy at others, also work
to create the seriously silly
tone.
“Shadows” takes vampires,
a concept with prevalence and
resonance in pop culture, and
de-glamorizes them, de-roman-
ticizes them. It shows that vam-
pires need companionship just
as humans do, and that immor-
tality can be as excruciating
as it is enriching. More than
anything else, the film shows
that what they do in the shad-
ows, while not as abnormal or
demonic as one might expect, is
certainly hilarious.
A
What We
Do in the
Shadows
State Theater
Madman
Entertainment
FILM REVIEW
‘Chappie’ falters
By NOAH COHEN
Daily Arts Writer
Some movies are good despite
being obviously bad. With Hugh
Jackman (“The Wolverine”) and
Die Antwoord’s
Yolandi Vi$$er
and
Watkin
Tudor
Jones
headlining,
“Chappie” was
supposed to be
one
of
those
movies.
It’s
weird, has comic appeal, has a
uniquely Johannesburg cultural
flavor, hosts penetrating philo-
sophical questions and sob-worthy
reels. But it fails where a crappy
movie isn’t allowed to fail: It isn’t
enjoyable to watch, and it doesn’t
leave the audience with good feel-
ings. It’s a minstrel show of vio-
lence followed by a wild stab at
creative A.I. storytelling that may
be compelling depending on how
stupid you are, but at that point it
doesn’t matter.
Cross your fingers and pray that
“District 9” wasn’t Neill Blom-
kamp’s “Sixth Sense,” because he’s
on a familiar downward spiral.
Strangeness, as it’s leveraged in
action movies, is a delicate partici-
pant and can’t be tonally dominant
without subverting the action.
Seating strangeness in the fore-
ground of “Chappie” puts too
much stress on a script not coor-
dinated to juggle the shallow
with the deep. This brings us to
Hugh Jackman.
Hugh Jackman doesn’t know
how to be a bad guy. He doesn’t
have it in him. Compare his roles
in “X-Men Origins: Wolverine,”
“Swordfish” and “Real Steel.”
Jackman can play a Byronic Hero,
but he’s never had the emotional
complexity to withstand the moral
tidying in “Chappie.” Jackman is
a chest-hair champion; when he
tries to be a baddie, he just reads
the script louder and goes harder
in the paint. No fresh angles on
the warmonger archetype are
addressed here.
Dev Patel (“Slumdog Million-
aire”) plays an amazing Dev Patel.
In fact, it’s doubtful that anyone
could play Dev Patel as well as Dev
Patel. Truly inspiring work. A+. The
best acting is no acting. This brings
us to Die Antwoord.
Die Antwoord (Afrikaans for
“The Answer”) is a band and per-
sonality-cult composed of Watkin
Tudor Jones, stage name “Ninja”
and Anri du Toit, stage name
Yolandi Vi$$er. Their stage perso-
nas are borderline psychopathic,
and they play these exact stage
personas in “Chappie.” Even their
names in “Chappie” are their band
stage names. Their band’s music
plays in the background multiple
times. The level of influence these
two non-actor actors have over the
whole production of “Chappie”
is ridiculous and surreal. It’s as if
the movie was written to accom-
modate the off-set antics of these
two cast members. If anything is
extraordinary about this film, it’s
the power Die Antwoord wields
over it.
One arguable plus to this mis-
take of a science-fiction is that
“Chappie” is littered with refer-
ential and insane gimmicks. Rub-
ber chickens, “He-Man,” ninja
stars and Anderson Cooper play-
ing Anderson Cooper in his debut
acting role. No kidding. Google
Anderson Cooper and Control-
F on “filmography.” This is the
first movie to which he’s lent his
incredible professional reputation.
“Chappie” is “Wall-E” fucked
up beyond recognition. You love
Chappie himself and you hate the
world he’s born into. This film por-
trays South Africa as a sprawling,
morally bankrupt, tech-hub trash
heap. I want to accuse “Chappie”
of cashing in on the American per-
ception of Africa as a savage place,
but Die Antwoord is as authenti-
cally South African as you can get,
without actually being Zulu.
Honestly, this movie would
have been way cooler if Chappie
had been raised as a Zulu, instead
of a cheap Zef meme. Remove
all the poorly-acted antagonists
and let’s have that movie instead.
Die Antwoord is the answer to a
question Hollywood never asked,
and “Chappie” is cut from the
same cloth, a buckshot attempt at
comic steampunk. For each note it
strikes true, it gruesomely muti-
lates two others. It’s a feel-bad
flick, overall.
C-
Chappie
Rave & Quality 16
Columbia Pictures
COLUMBIA PICTURES
Bro-bot.