Classifieds

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

ACROSS
1 Roam
4 Got ready for
company,
perhaps
9 Norse shape-
shifter
13 Word often
following “further”
14 One adopting a
puppy, say
15 The Tempter
16 Trivial amount
17 *Bargain dairy
product?
19 Go out
20 Dedicated lines
21 Eliminates
completely
22 Bar supply
24 Farm cries
25 Vessel with a
spout
26 Database
command
27 Spots
30 __ of roses
32 *Nickname for a
roller coaster
highlight?
34 Reclined
35 Easily provoked
36 Soap containing
ground pumice
37 *Security workers
asleep on the
job?
39 Only Dwarf
without a beard
40 Had
41 Goes after
42 Oath for
toondom’s Dick
Dastardly
43 Provide money
for
44 It’s named for a
trapeze artist
47 Turkish tabby
50 Deaden, as a
piano string
51 Reason for an
extra period
52 *Really hot cold
drink?
54 Violin ending
55 Cuckoopints, e.g.
56 Merge
57 “Well now!”
58 Bar offerings
59 It’s a stunner
60 Reject

DOWN
1 They may be
noble
2 __ Reader
3 Holiday rate,
perhaps
4 Loser-to-be?
5 Stray
6 Arab potentate
7 Muscle mag
display
8 Green Day
drummer __
Cool
9 Lorenzo of
“Renegade”
10 Man with rising
aspirations?
11 Iron-rich cabbage
12 Signs
15 Layered clouds
18 Neighboring
23 Bluegrass
characteristic
24 Transvaal
settlers
26 Shakes off
27 2002
Cage/Streep film
28 Honky-tonk
29 Fix, in a way
30 Goya’s “The
Duchess of __”
31 Stretched

32 Overused
33 Unsportsmanlike
look
35 Regional animal
life
38 Seizes
unlawfully
39 Medicine
dispenser, and,
in another way, a
hint to the
answers to
starred clues

42 Bump at the
office, maybe
43 Bar heads
44 Blue gem, briefly
45 Hindu sage
46 Withdrawal
process
47 Open a touch
48 Not
49 Kindergarten
staple
50 Spanish lady
53 Hardware item

By Peg Slay
©2015 Tribune Content Agency, LLC
04/10/15

04/10/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Friday, April 10, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

THESIS EDITING. LANGUAGE,
organization, format. All Disciplines.
734/996‑0566 or writeon@iserv.net 

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Housing, 
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discounted 
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(906) 
847‑7196. 
 
www.theisland‑ 
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ONE BEDROOM APARTMENT 
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School 1 year lease May 2015 ‑ April 

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Call: (734)834‑5021

ARBOR PROPERTIES 

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Burns Park. Now Renting for 2015. 
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SERVICES

FOR RENT

SUMMER EMPLOYMENT

6 — Friday, April 10, 2015
Arts
The Michigan Daily — michigandaily.com

HBO film reminds 
us why the singer is 

timeless

By SOPHIA KAUFMAN

Daily Arts Writer

“Ladies and gentlemen … Frank 

Sinatra.”

Few figures in American music 

history 
can 

claim to have 
the same hyp-
notic hold over 
the 
American 

music 
scene 

that 
Frank 

Sinatra had and 
still has. His 
crooning voice 
floats from our radios during the 
holiday season, or serves as the 
subtle, yet recognizable back-
ground music for period films; his 
music seems to possess a mysteri-
ous timelessness unattainable for 
anyone else. But Sinatra the man 
is just as intriguing as his music is 
mesmerizing, and Alex Gibney’s 
four-hour 
long 
documentary, 

“Sinatra: All or Nothing at All,” 
captures this mystique.

How do you capture the 

essence of a man larger than 
life? You never take your eyes 
off of him, according to Gibney’s 
documentary. The entire four-
hour piece consists of old foot-
age of Sinatra’s performances, 
clips from his films, photographs 
and news clippings with voice 
overs by recognizable figures 
like Bruce Springsteen or Terry 
Teachout. There’s not one piece 
of footage from the interviews 
conducted for the film, only 
audio recordings. From the first 
few seconds of a lazily seduc-
tive static record player scratch, 
to the last few notes of his daz-
zling “New York, New York” 
performance, you are completely 
immersed in Sinatra’s character, 
his voice, his charisma — there’s 
no one else to distract you.

Gibney structures the docu-

mentary by following the song 

setlist 
of 
Sinatra’s 
so-called 

retirement concert in Los Ange-
les in 1971, using each song to 
mark a new chapter in Sinatra’s 
story. It begins with a young 
teenager from Hoboken who 
loved his mother Dolly and was 
kicked out of his house by his 
father for quitting high school to 
sing. The documentary follows 
Sinatra through each pit stop on 
the way to a skyrocketing solo 
career from music to acting, pay-
ing close attention to how his life 
intersected with those of other 
icons like Elvis Presley, Martin 
Luther King, the Kennedys and 
various other presidents.

There’s nothing new about 

Sinatra that people haven’t heard 
before; what is different about 
this version of the tale is how 
well-rounded it is. Sinatra’s life is 
vivified by ample cultural back-
ground. There’s footage of people 
during The Great Depression 
and of glamorous movie stars in 
Hollywood; there are extended 
shots of other household names 
of Sinatra’s time, including Walter 
Cronkite, Elvis Presley and Mia 
Farrow. The lack of interruption 
from current faces (such as the 
experts on Sinatra) contributes 
to the documentary’s effect by 
embodying the feel of the Ameri-
can psyche during these times.

There’s no direct criticism 

or open discussion of Sinatra’s 
flaws, but it doesn’t keep up the 
untarnished romantic image of 
him either. He may have been an 
icon, but he was still very much a 
product of his time period. While 
he’s credited with changing per-
ceptions of immigrants and push-
ing for African American rights, 
there are hints that his personal 
relationships didn’t always reflect 
this gold-hearted activism.

Of course his complicated rela-

tionships with women are any-
thing but secret. “He reeked of 
sex,” according to Ava Gardner, 
the sultry film star with whom 
he conducted his first affair while 
married to his first wife Nancy. 
Few men of the time exuded sex 
appeal in the sophisticated yet 

irresistible way Sinatra did. All 
four of his tumultuous marriages 
were characterized by passion-
ate affairs and a habit of spring-
ing divorce papers on his wives, 
not to mention flirtations with 
big names in Hollywood. Despite 
his various relationship highs and 
lows — Sinatra never quite went 
out of style, even when the bobby 
soxers began screaming Presley’s 
name instead of his own. Few 
people in America have had such 
complicated relationships with 
newspaper headlines.

Some stories could have been 

cut down for the sake of time, 
such as the story of his son’s kid-
napping, which felt surprisingly 
off-topic for the amount of time 
it took. Some of the auditory 
contributions felt too measured 
and practiced, so it’s almost too 
easy to tune them out. But Gib-
ney made a smart decision when 
he chose to focus on the music. 
Each song he uses is recogniz-
able in its effect and emotion — 
the stripped down sound of “Try 
a Little Tenderness,” the evoca-
tive appeal of his rendition of 
“Ol’ Man River” or even the wry 
humor on “That’s Life.”

“Sinatra: All or Nothing at All” 

doesn’t feel like it is piecing togeth-
er or pulling apart an image of the 
legendary figure radically differ-
ent from the one most of us have 
of him. The documentary’s length 
allows it to organically retell the 
story of a complicated man, but for 
all that, it doesn’t feel like view-
ers get inside Sinatra’s head. This 
makes for a startling contrast 
with Gibney’s latest work “Going 
Clear,” an exposé on the church 
of scientology in which he delves 
into the minds of former scientolo-
gists at length. But by the end of 
this documentary, it feels like we 
aren’t supposed to be able to delve 
into Sinatra’s psyche — it doesn’t 
appear that anyone else during his 
lifetime was able to either. So we’ll 
just have to be content with the 
biographies, articles and of course, 
as the documentary reminds us, 
the timeless music. Happy belated 
100th birthday, Sinatra.

New Sinatra doc 
captures mystery

A-

Sinatra: All 
or Nothing 
at All

HBO

FILM REVIEW

By KEN SELANDER

Daily Arts Writer

In planning out a music video, 

there are a number of mostly 
intangible things you don’t con-
sider. For one, the importance 
of complying with the director 
is often overlooked. While you 
might have your own ideas for 
the video, it’s their job to think 
how such a shot would play out 
in editing and timing with the 
song. They usually know what’s 
best, as much as you might want 
a shot of you doing BMX bike 
tricks outside at night in bad 
weather and poor lighting. It’s 
also easy to be impatient, even 
though quality clearly takes 
time. Most notably, however, 
is how awkward it can be to 
film in places where any pass-
erby can see you recording. 
Jumping around outside in an 
attention-grabbing outfit spe-
cifically selected for the music 
video while lip-syncing to the 
track you recorded yourself on a 
loud speaker can feel a bit silly 
and uncomfortable – especially 
when passerbys are staring at a 
commotion of high quality cam-
era equipment recording some 
goofball dancing around to a 
parody song.

For my music video project, 

the 
recording 
process 
took 

place over two days, probably 
amounting 
to 
seven 
hours 

of time spent, and about a 
couple hours of footage. I’m 
lucky enough to have two 
friends, Lingene and Chris, 
with extremely high quality 
camcorders, 
stabilization 

equipment, experience behind 
the camera and an attention 
to detail that allowed for a 
video quality comparable to 
those produced by plenty of 
cinematographers hired by real 
rappers. 
They 
then 
labored 

through the editing process, 
which took about two weeks, 
with 
school 
slowing 
things 

down. The video editing process 
can be tedious and frustrating — 
a reality I learned from various 
skateboard and snowboard edits 
of friends and me that I made in 
high school for fun. After all this 
hard work, the final product was 
ready and released to the masses 
via YouTube.

The friends who have been 

kind enough to watch the paro-
dy music video we made (often 
only after my encouragement) 
all get a good laugh out of it, and 
we’re very proud of the final 
product. Soon after, I talked 
with my friend Chris about the 
music video, and told him I’d be 
sure to give him due credit for it 
whenever it was brought up. He 
responded kindly, and in con-
versation casually mentioned 
that “It’s OK. No one cares 
about the editor.” This really 
struck me, knowing how much 
work he and Lingene had put 
in behind the scenes, but then 
I thought on how this state-
ment seems to hold a lot of truth 
across the rap industry, too.

Before the Internet, most 

music videos surely saw almost 
all of their play come on media 
outlets like MTV – a funny 
thought considering the chan-
nel’s programming nowadays. 
With the explosion of the Inter-
net, it would’ve been a safe 
bet to venture that rap music 
video directors would begin to 
receive more recognition, much 
as producers have. Sadly, it’s 
simply not so.

With the natural course of 

development of the Internet, 
mixtapes can now be widely 
promoted, 
distributed 
and 

downloaded. 
Along 
with 
a 

wider audience for mixtapes, 
producers also started branding 
their productions in the form of 
shout outs and adlibs on tracks. 
Producers like Zaytoven, Mike 
Will Made It, Young Chop and 
many more have come into 
mainstream rap consciousness 
through what is essentially a 
creative promotional marketing 
technique (in addition to their 
beats, of course). Such promo-
tion is now a common practice 
and can usually only be escaped 
by listeners on actual rap 
albums which shed the repeti-
tive DJ/producer shout-outs as 
a form of quality control. Heck, 
just yesterday I was listening 
to a Young Thug mixtape pro-
duced by DJ Esco, and I can still 
hear “DJ Esco the coolest dee-
jay in the world!” in my head.

Despite all the recognition 

the 
Internet 
has 
helped 

bring to producers — and 
even 
photographers, 
in 

cases like Cam Kirk and Dan 
Folger — it doesn’t seem that 

cinematographers/directors 
have followed suit into the 
mainstream rap conscious.

There are basic reasons why 

video directors have not fol-
lowed others in rising to fame 
since the Internet has allowed 
a potential venue for newfound 
stardom. 
Obviously, 
being 

behind the camera means you 
are not in the video. The cred-
it they do get is typically only 
allowed during the intro and/
or conclusion of the video, but 
can easily be overlooked. If 
music videos were to be tagged 
with a cinematographer/editor 
watermark on screen the entire 
time, it would take away from 
the rapper around whom the 
video is focused. Even worse 
in my mind, it would be in bad 
taste. Photographers, on the 
other hand, can excuse the use 
of watermarks as a means of 
preventing copyright to vali-
date their use, simultaneously 
helping establish recognition 
for themselves.

More generally, the nature 

of music videos makes it hard-
er to be recognized as a direc-
tor. The videos contain a lot of 
stimuli – scenes are constantly 
switching up and there’s often 
tons of action. In contrast, a 
picture is still, and its analysis 
is simpler. Also, the variance in 
output probably plays a big role. 
Producers can put out plenty of 
mix-tapes featuring only their 
beats with various artists and 
at the same time have other 
beats on individual tracks, art-
ists, albums and mix-tapes. 
They can sit on beats, and wait 
to use them for a moment when 
the chemistry with a rapper is 
right. The recording and edit-
ing process for music videos is 
long and tedious, so production 
is slower for that reason. Also, 
directors cannot sit on music 
videos like producers can sit on 
beats, because it’s crucial for 
them to be released at the right 
time for maximum popularity 
and relevance.

Surely, people closer to the 

rap music industry are more 
conscious of music video direc-
tors — like “The Devil,” who 
I was first introduced to in 
Noisey Atlanta. As far as I’m 
concerned, the average con-
sumer of rap music and its 
related media isn’t aware of 
directors and probably doesn’t 
pay the topic much mind. There 
isn’t a “mixtape” for music 
videos whereby directors can 
achieve better name recogni-
tion among consumers, but I 
think something of the sort 
would be the best way for it to 
happen. Creating lower quality 
videos for lesser known artists 
probably wouldn’t do the trick, 
unless directors could actively 
and accurately search out tal-
ented up-and-comers. Perhaps 
if directors were to start mak-
ing lower budget music vid-
eos for lesser known songs by 
already famous artists they’d 
have a better chance at wider 
recognition. With quicker and 
increased production, and per-
haps the opportunity to slap 
more director branding onto 
rap music videos — because the 
artistic/musical value of non-
hits is less important than hit 
songs — directors could start 
having their names better rec-
ognized amongst mainstream 
consumers of rap music.

What I learned from 
making a music video 

COURTESY OF KEN DIESEL

Is that a money flip phone?

MUSIC NOTEBOOK

