ACROSS
1 Succotash bean
5 Make a decision
8 Within reach
14 Tree of Life
garden
15 Like much sushi
16 Set of lines on
personal
stationery
17 *Motorist’s
headache
19 DNA sample
source
20 Vietnamese New
Year
21 Dutch South
African
22 Censor’s cover-
up
23 *Enjoy, with “in”
26 Counting
everything
29 Part of DJIA:
Abbr.
30 *Recap on a
sports crawl line
34 Phi __ Kappa
38 Took wing
39 Toward the back
of the boat
40 Physics class
subject
41 Evergreen
shrubs
42 *Kids’
introduction to a
full school day
44 Religious sch.
45 Wrinkle-resistant
synthetic
46 *Red-carpet
movie event
53 TV studio sign
54 Either of two
Henry VIII wives
55 Lacking light
58 Victimized
lieutenant in
“Othello”
60 “Chestnuts
roasting” spot ...
and a hint to a
divided word
found in the
answers to
starred clues
62 Election
surprises
63 1921 robot play
64 Pennsylvania
port
65 Mall directory
listings
66 “What was __
do?”
67 Lemon peel
DOWN
1 It’s not right
2 Just hanging
around
3 Vegan no-no
4 Wee hill builder
5 Hunter
constellation
6 Peeled with a
knife
7 Punk
8 Massage
responses
9 Lipton packet
10 Concert
auditoriums
11 Bordeaux bye
12 Not even once
13 Hang loosely,
as on a
clothesline
18 Govt. security
23 Character
weaknesses
24 “__ Theme”:
“Doctor Zhivago”
song
25 Three-time
Wimbledon
champ Chris
26 Up in the air
27 Aswan High Dam
river
28 Once again
31 Less dangerous
32 Burglary, for
one
33 “The Star-
Spangled
Banner”
contraction
34 Ballerina’s rail
35 List-ending abbr.
36 __ list: chores
37 “I’m with you!”
43 “The Elements of
Bridge” author
Charles
44 7UP rival
46 Sharpen the image
in the viewfinder
47 Ill-suited
48 Rodeo rope
49 Penny pincher
50 New Zealand
native
51 Data to be
entered
52 January, to José
55 Desperate
56 Commonly
purple bloom
57 Swimming event
59 ’40s spy org.
61 Shriner’s hat
By C.W. Stewart
©2016 Tribune Content Agency, LLC
03/08/16
03/08/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, March 8, 2016
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
Classifieds
Call: #734-418-4115
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6 — Tuesday, March 8, 2016
Arts
The Michigan Daily — michigandaily.com
The 1975 ages like a
fine wine on ‘Sleep’
By SHIMA SADAGHIYANI
Daily Arts Writer
Variety is the spice of life, and
The 1975, with its funky electron-
ic rhythms and lead singer Matt
Healy’s
even
funkier
hair,
know all about
spicing things
up.
With
17
tracks,
their
new album, I
Like It When
You Sleep, for
You
Are
So
Beautiful
Yet
So Unaware of
It, is as long-winded as its title
and could have easily fallen prey
to repetition and flat, consistent
songs. Instead, The 1975 push the
bright and bold LED aesthetic it
is known for; every song in this
album bursts with uniqueness,
zealousness and vitality. It’s a
mess, but it’s an endearing mess,
with The 1975 unashamedly
unconcerned with its strange
conglomeration of songs.
Of course, The 1975 isn’t one to
shy away from ambition, consid-
ering its first formidable 16-track
self-titled album. It was on this
album that The 1975 created its
offbeat yet sensational pop-punk
sound through songs like “The
City,” “Chocolate” and “Girls.” A
mixture of Healy’s endearingly
unguarded vocals and a (slightly
off-tempo) blunt and eclectic
beat established the band as hav-
ing a sound that was distinctively
its own. With its first album, The
1975 not only lit a space for itself
in the music industry with blind-
ing, neon lights but also made a
promise to come back in a way
that both kept its idiosyncratic
music alive and pushed the label
of its creativity.
I Like It When You Sleep,
for You Are So Beautiful Yet So
Unaware of It carries out that
promise and more. The album is
an assorted mix of homages to
the past and salutes to the explo-
ration of the future. The surface-
level electronica dance hits clash
with the bone-deep, heavy beats
of mournful ballads to conjure
an album that is some parts old,
some parts new and all parts
incredible.
The new album begins with
the self-titled “The 1975,” a
complete parallel to their first
album’s opening track, also self-
titled “The 1975.” Both songs in
the two different albums sound
so similar they might as well be
the same song. Hearing the soft,
dulcet chorus over a rising melo-
dy repeat itself in this new album
is comforting and creates a con-
nection between past and pres-
ent. The album then transitions
into “Love Me,” a light-hearted
celebration of former renowned
songs such as “Chocolate” and
“Girls.” “Love Me” (just like
its predecessors in The 1975) is
jaunting and weird. The unpre-
dictable beat in the background
almost has as much animation
as Matt Healy’s voice, as he sings
“and love me / if that’s what you
want to do.” However, instead
of being unsettling, the song’s
surreal sound mimics the sound
of The 1975’s entire first album.
Much like this album’s first track,
“Love Me” is captivating not in
its strangeness, but in its famil-
iarity.
Slowly, through songs like
“Love Me,” and later on, “UGH!”
and “She’s American,” The 1975
guides its listeners through an
album that starts off recognizable
but slowly veers into experimen-
tal. This beginning familiar-
ity helps prevent the album from
becoming distant as a result of an
overwhelming number of songs
that push the boundaries of The
1975’s usual sound. Instead,
through subtle R&B influences,
songs like “If I Believe You” and
“Loving Someone” help add
depth and appeal. Smooth and
slow, “If I Believe You” oozes sex
appeal; through “and if I believe
you, would that make it stop /
if I told you I need you, is that
what you want?” Healy’s voice
conjures up images of soft sunset
beaches and dimly lit rooms as it
crawls out of the speakers. “Lov-
ing Someone” is somewhat simi-
lar, with the ambient “yeah, you
should be loving someone / oh,
oh, loving someone” of the cho-
rus contradicting the quick and
direct vocals of the verses. Both
these songs are enthralling in
their novelty and keep the album
itself from becoming flat.
However, the best moments on
I Like It When You Sleep, for You
Are So Beautiful Yet So Unaware
of It are on songs that are quietly
simple. With a band whose music
has such an intense presence,
songs like the title track, “Nana”
and “She Lays Down” shine in
their unobtrusiveness. The title
track is entirely instrumental,
with a tranquil driving beat that
makes the entire song twinkle
like fairy lights. Both “Nana”
and “She Lays Down” finish the
album off with softly acous-
tic guitar strums. The minimal
background noise of these two
songs helps bring the vocals front
and center. Healy’s melodious
singing voice signs the album off
with a gentle flourish.
Overall, I Like It When You
Sleep, for You Are So Beautiful
Yet So Unaware of It reads like
an older sibling of The 1975’s
first album. It is similar in many
aspects and holds much of the
same winning qualities, but it’s
inherently more mature. The
1975 felt comfortable in experi-
menting with music that might
be hard to jive with, but they hold
their own, standing dauntlessly
with the album. This album
proves that, right alongside wine
and cheese, The 1975 can be
added to the list of things that
age with grace.
POLYDOR
We like it when you have long album titles, for you are so pretentious yet so unaware of it.
ALBUM REVIEW
A-
I Like It
When You
Sleep...
The 1975
Polydor Records
FILM REVIEW
‘Triple 9’ doesn’t
bring the thrills
New action film is
just an exercise in
hyper-masculinity.
By DANIEL HENSEL
Daily Arts Writer
What is the purpose of a
thriller? Is it to attain some per-
verse sense of entertainment
—
cinematic
schaden-
freude? What-
ever the reason
we have tra-
ditionally val-
ued the crime
thriller genre,
“Triple 9” tests
our dedication
to it. The film, directed by John
Hillcoat
(“Lawless”),
offers
viewers two hours of visual tor-
ture. It’s a film so brutal and
visceral that by the end, one
feels as if watching a Tarantino
movie would lighten the mood.
“Triple 9” follows a group
of criminals and corrupt cops
who decide to kill a new police
officer so they can carry out a
large heist on behalf of a Rus-
sian mafia boss, led by Irina
Vlaslov (played by a steely Kate
Winslet, “Steve Jobs”). The
film boasts some pretty good
acting performances. Chiwetel
Ejiofor (“12 Years a Slave”) and
Aaron Paul (“Breaking Bad”)
both deliver reliably good per-
formances as two dark, slight-
ly
maniacal
criminals,
and
Anthony Mackie (“The Hurt
Locker”), playing a two-timing
cop, makes the best of a limited
script. Casey Affleck (“Ocean’s
Eleven”) and Woody Harrel-
son (“True Detective”) deliver
performances that play to their
strengths, or perhaps their
career stereotypes.
Thrillers generally fall into
two camps: they either use mys-
tery to build tension and sus-
pense until a climactic action
sequence,
or
they
surprise
their audience by constructing
a peaceful scene that quickly
becomes mired in violence.
“Triple 9” awkwardly straddles
the two. The score by Atticus
Ross (“The Social Network”)
feels almost repetitive, as if he
created only two or three tracks
for the entire movie. The edit-
ing by Dylan Tichenor (“There
Will Be Blood”), who is usually
at the top of his game, never lets
us linger on a face for too long,
keeping us on edge yet never
quite achieving the tension that
elevates a good film to a great
one.
But more than anything else,
it’s the writing that hampers
the film. Situated somewhere
between a crime thriller, family
drama and body horror, the film
just doesn’t know where it wants
to go. It has little to no point or
purpose, other than to provide
entertainment. That alone is
not a problem. In fact, it’s quite
the opposite; too often, films
try to have a point when they
really shouldn’t. But “Triple 9”
is so brutal and violent that it
couldn’t just stand by itself as
a piece of entertainment. It’s a
thriller that just doesn’t thrill
as much as it should. “Triple
9” also suffers from confusing
what information it should and
should not reveal. A critical
storyline gets lost in the action
sequences, yet the identities of
the two-timing police officers
are revealed in the first scene.
The final moments of the film
suggest that Hillcoat and writer
Matt Cook were more inter-
ested simply in the concept of
a Triple 9, the police code for
a death of a police officer, than
a good story that involved one.
And, admittedly, the code does
have a nice ring to it, but that’s
no excuse to spend money and
two hours of one’s time.
Further, the film seems to be
more of an exercise in hyper-
masculinity than an attempt
to tell. Like a cinematic dick-
measuring contest, each scene
seems like an attempt to be
more masculine than the scene
before. Pointless drug use?
Check. Pointless nudity, includ-
ing a scene in more-graphical-
ly-depicted-than-normal strip
club? Check. Profanity flies as
frequently as the bullets. And
of course, this is not always a
problem; if the world of the film
calls for these sorts of charac-
ters, it’s appropriate. But for
“Triple 9,” it’s utterly pointless.
C
Triple 9
Rave & Quality 16
Open Road Films
DID YOU WATCH
SPOTLIGHT SIX
TIMES IN 24 HOURS?
WE’RE WITH YOU.
Check out more articles online at
michigandaily.com/section/arts