Classifieds

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

ACROSS
1 Latte option
6 Difficult position
10 It’s cut and dried
13 Loud, as a crowd
14 African city
where pounds
are spent
15 Tree feller
16 Venue that keeps
you up-to-date
18 __ Tin Tin
19 Hunk
20 Really bother
21 Bus terminal
23 “Beaches”
actress Midler
25 Canadian
stadium renamed
Rogers Centre in
2005
27 Tropical cocktail
whose color
comes from
curaçao liqueur
30 First name in
game shows
31 Work-wk. start
32 Basic Latin
conjugation word
36 “Got it, man?”
37 This puzzle’s
theme, as
suggested by the
ends of 16-, 27-,
47- and 61-
Across
41 Big heart?
42 Ladies of Sp.
44 Chicago’s __
Center
45 Elena of the
Supreme Court
47 Chaste priestess
of ancient Rome
51 Record covers
54 “__ a stinker?”:
Bugs Bunny
55 Upright, e.g.
56 Bow (out)
57 Disaster relief
org.
60 Longtime football
commentator
Cross
61 Biblical wise man
65 Actress Charlotte
66 Where to learn
une leçon
67 Practical joke
68 CIA forerunner
69 “Man, you are not
serious!”
70 Rocker Patty
married to John
McEnroe

DOWN
1 24 Hours of Le
__: auto race
2 Hurler Hershiser
3 Ninja Turtle’s
“Awesome!”
4 Faded star
5 Curved part
6 Went under
7 Alley target
8 Load from a lode
9 “Shoulda listened
to me!”
10 Silent Marx
11 Assumed truth
12 “Fiddler on the
Roof”
matchmaker
14 Hall of Fame
infielder Rod
17 Words before
homer or brick
wall
22 Novelist Ferber
24 Takeout option
25 “The Da Vinci
Code” priory
26 Warm-hearted
27 Some undies
28 Lion’s den
29 Range maker
33 Rod Stewart
classic with the
line “You stole
my heart but I
love you anyway”

34 Trendy berry
35 Ky. neighbor
38 Postage-paid
enc.
39 Gobs
40 Banana peel
43 Kristoff’s reindeer
in “Frozen”
46 Sculpture or
ballet
48 Brought forth
49 Run out
50 Corleone
patriarch

51 Veep between
Hubert and
Gerald
52 Turkish coins
53 Some nest sites
56 Give the eye
58 __ Blanc: tallest
Alp
59 Egyptian cross
62 Post-ER area
63 Sign of 
approval
64 Old DJ’s 
records

By Kurt Krauss
©2016 Tribune Content Agency, LLC
03/16/16

03/16/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, March 16, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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space included. Different floor plans to 
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or visit www.michcomrealty.com.

NOW A
V
AIL. FOR FALL 2016! 
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ARBOR PROPERTIES 
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6 BEDROOM FALL 2016‑17
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Parking, Laundry, Lots of Common area
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2, 3 & 4 Bedroom Apts @ 1015 Packard
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 pay electric to DTE; Limited parking avail
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4 BEDROOM HOUSE 
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PARKING & LAUNDRY 
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4, 5 OR 6 BEDROOM HOUSE
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 Tenants pay all utilities. 
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aughn #1 ‑ multilevel unit w/ carpet
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SUMMER EMPLOYMENT

FOR RENT

SERVICES

6A — Wednesday, March 16, 2016
Arts
The Michigan Daily — michigandaily.com

‘Shebabs’ shines 
light on refugees

Emotional honesty 
drives film set in 

Syrian camp

By LAUREN WOOD

Daily Arts Writer

Chronicling 
the 
day-to-day 

worries, laughter, struggles and 
friendship 
between a close 
group of friends 
living in the Syr-
ian Palestinian 
refugee 
camp 

Yarmouk, “The 
Shebabs of Yar-
mouk” provides 
a candid look 
into the life of a 
refugee. 
Com-

pleted in 2011, 
the film documents the camp as it 
was before the current rise in con-
flict in Syria, focusing not on the 
factual reasons behind the camp’s 
existence or how external conflicts 
affect it, but on how these con-
ditions emotionally touch those 
growing up within the camp’s 
walls. To these young people, Yar-
mouk is both their beloved home 
and a symbol of their repression, 
something to be escaped from but 
also missed deeply, with these 
conflicting reactions reaching into 
every corner of their daily lives.

The film is told in a mixture of 

straightforward conversation and 
poetic cataloguing of the camp. 
In many instances, the camera is 
shaky, the audio distant and the 
lighting harsh. The friends, all part 
of a group they dubbed “Les She-
babs” as teenagers, sit around on 
cushions and mattresses, smoking 
and discussing their plans for get-
ting passports to leave for Europe-
an countries, current love affairs 
or music they are interested in. It is 
a strange mix of scripted dialogue 
and shaky cinematography — both 
things that would normally point 
toward a film’s failure. But here, in 
Yarmouk, this combination pulls 
its audience in without any false 
pretense. We are given a glimpse 
into the filmmaking process of 
these young people attempting to 
document their liminal lives, and 
the final product succeeds for it.

This amateur honesty that roots 

the friends’ lives in reality is aug-
mented through the film’s focus 
on dialogue as opposed to action. 
Rarely do we witness any active 
moments of the group’s lives; while 
they search for ways out of the 
country, fall in love, attend work 
and school, or complete their com-
pulsory military service, the cam-
era is markedly absent. Only later, 
while reconvening at the end of 
their days do we learn about what 
they have accomplished, and then, 
only through words instead of 
visuals. The direct focus on story-
telling pulls the viewer in as one of 

the group, being told frankly what 
the characters are feeling instead 
of experiencing it alongside them. 
There is no pretense that we could 
understand what they are going 
through or their emotions sur-
rounding the place they know as 
home. We are invited to learn from 
them about their lives, but not to 
live with them in communion.

Interspersed within this upfront 

structure of storytelling are doz-
ens of shots of the camp as seen 
from the rooftops, windows and 
homes of the inhabitants. We never 
see the city from its streets, and 
again are asked to only observe, 
not to live this reality. But, it is in 
these moments that we are able to 
experience most closely the emo-
tions fueling the Shebab’s desire to 
both leave this place behind and to 
treasure their home in the camp. 
The buildings are crumbling, 
rusted satellite dishes spring up 
from every rooftop, tattered sheets 
hang across the open windows. 
But in the lights of dawn and twi-
light, the landscape is transformed 
into one of melancholy beauty. By 
night, thousands of lights twinkle 
through the city of Damascus on 
the horizon. By morning, moun-
tains are seen encroaching on the 
vast sky. We get the same shot of 
the city’s rooftops in every pos-
sible time of day, and through this 
we come to understand how this 
small, tired city can make up an 
entire world for its inhabitants.

ANDANA FILMS

Those shorts are $500 Yeezy Season 2s.

FILM REVIEW

Harvard prof. to talk 
U.S. eviction process

By ERIKA SCHEVEK

For the Daily

The couch where the fam-

ily sat and watched movies. The 
dresser where many clothes 
were once fold-
ed, 
and 
the 

kitchen 
table 

where 
laughs 

and memories 
were 
shared. 

They are now 
a mound on the 
sidewalk, like a 
pile of logs sit-
ting in a fire-
place.

This is a realistic slice of the 

eviction process; it’s more than 
just having furniture tossed out 
on the street.

“Rent eats first,” said a Har-

vard University associate profes-
sor of social sciences, Matthew 
Desmond in a phone interview 
when describing his upcoming 
and raw book “Evicted.” Des-
mond will be reading sections 
of his recently published book 
Wednesday at Literati.

The book follows eight unique 

families: 
two 
single 
moth-

ers (Arleen, Vanetta) an 18 
year-old (Crystal), a disabled, 
single father (Lamar), a small 
family with a newborn (Doreen), 
a drug-addicted nurse (Scott), a 

grandmother (Lorraine) and a 
couple (Pam and Ned). Desmond 
discovers their struggle of fac-
ing eviction in the impoverished 
areas of Milwaukee. However, 
he dives into more than just the 
perspective of the families: he 
also peers into the viewpoints 
of the landlords, who make the 
ultimate decision whether or 
not an eviction occurs. Their 
behavior ranges from empa-
thetic to utterly ruthless. These 
juxtaposed vantage points come 
across as shocking and harsh to 
the reader.

Desmond said a desire to learn 

more about the issue was his 
main inspiration for the book. 
“America is a mess,” Desmond 
answered. “I wanted to under-
stand it more, so I felt that evic-
tion was a good frame to study. It 
allowed me to get new insights.”

“Evicted” also has an authen-

tic and rigid feel to it 
 — Desmond 

himself lived beside these fami-
lies and unraveled the cutthroat 
truth about not only poverty, but 
eviction specifically.

“The hardest part was seeing 

this level of suffering in our city,” 
he said. “[Eviction] is not just a 
condition of poverty. It’s a cause 
of it. It’s making things worse.” 
Poverty seems to go untouched, 
meanwhile eviction seems to go 
completely unnoticed.

The 
New 
York 
Times 

said it was “an exhaustively 
researched, vividly realized and 
above all, unignorable book — 
after “Evicted,” it will no lon-
ger be possible to have a serious 
discussion about poverty with-
out having a serious discussion 
about housing.”

Desmond explained that most 

of these families were choosing 
whether to stock the fridge or 
pay the rent. It’s an issue that 
hasn’t been brought to the sur-
face, but clearly needs to be, he 
said.

“There is a massive amount of 

suffering in this rich land, and 
there are hundreds and thou-
sands of questions that remain 
unanswered 
about 
poverty 

and inequality in America,” he 
added.

He finished the interview 

with some advice to wannabe 
writers, journalists, social sci-
entists, or really anybody who 
wants to make a difference: 
“They cannot be afraid to give 
a little bit of their life to it.” In 
other words, it will take extreme 
devotion and an eagerness to 
act in order to amend these 
issues in this country. “Evicted” 
vicariously exposes the reality 
of eviction and the importance 
of handling this hidden problem 
soon, before it is too late. 

COMMUNITY CULTURE PREVIEW

Matthew 
Desmond: 
‘Evicted’

Wed. 7 p.m. 

Free

Literati

Shonda Rhimes and 
normalizing diversity

By DANIELLE YACOBSON

Daily Arts Writer

Shonda Rhimes has made it. 

She rules over Thursday nights 
on ABC, gets shout outs during 
Emmy acceptance speeches and 
loves to use the term “vajayjay.” 
As the creator and writer of 

“Grey’s Anatomy” and “Scandal” 
and producer of “How To Get 
Away With Murder,” Rhimes has 
the attention of over 22.5 million 
people each week. Needless to 
say, she’s influential. But in the 
glamorous, exclusive and power-
hungry world of Hollywood, 
influence is easily exploited, and 
just as easily lost. In “Year of Yes,” 
Rhimes’s self-help book detailing 
a transformative year of her life, 
she explores the intense pressure 
she felt as an African-American 
woman in a white man’s industry. 
Her experience has developed 
a unique perspective, which 
she 
showcases 
through 
her 

enthralling 
storytelling. 
She 

has a lesson to teach and a 
point to prove, so when she has 
the simultaneous attention of 
22.5 million people, Rhimes 
unapologetically 
takes 

advantage of it. Her gift of 
storytelling has changed the 
landscape of modern television 
by depicting what the real world 
looks like on screen, featuring 
diverse casts and plot lines 
that break free from overused, 
monochromatic clichés.

Rhimes calls herself, and 

others 
who 
have 
exceeded 

societal expectations set by 
their minority label, a F.O.D. 
– a First. Only. Different. The 
title comes with the weighty 
responsibility of representing an 
entire population, with the risk 
of projecting her failure onto 
others. “You can’t be raised black 
in America and not know,” she 
writes, describing the incredibly 
high stakes that accompanied 
her F.O.D.-ness when creating 
“Scandal,” the first network 
drama in 37 years to feature a 
Black leading lady. If “Scandal” 
failed, the network would have 
evidence against breaking their 
risk-free structure of a non-Black 
successful female protagonist, 
and arguably invalidate her own 
accomplishments as an African-
American 
showrunner 
with 

her previous hit series, “Grey’s 
Anatomy.” “Scandal” ’s success 
not only spurred discussion 
of 
race 
representation 
on 

television, but also gave Rhimes 
the opportunity to continue her 
mission to normalize what and 
who people see on the screen.

One of the greatest obstacles 

that stands in the way of success 
is lack of opportunity. “How To 
Get Away With Murder” star 
Viola Davis said in her 2015 
Emmy acceptance speech for 

Outstanding Lead Actress in 
a Drama Series, “You cannot 
win an Emmy for roles that are 
simply not there.” Davis, the 
first African-American woman 
in history to win best drama 
actress, demonstrates just how 
significant opportunity is in 
reshaping 
the 
demographic 

of network television. Shonda 
Rhimes has been an instrumental 
force in Hollywood, not only 
by creating deep and complex 
roles for minorities, but by 
redefining 
what 
a 
strong 

woman, of any color, is capable 
of accomplishing. Olivia Pope 
(Kerry 
Washington, 
“Django 

Unchained”) 
and 
Annalise 

Keating (Davis), her two leading 
ladies of color, prove that a Black 
actress should not be restricted 
to the role of a sassy sidekick 
when, instead, they can run 
the White House or kick ass in 
court still raw and reeling from 
a bullet to the gut.

While many shows boast their 

cast’s diversity by featuring 
a 
“token 
gay 
character,” 

Rhimes’s explore the spectrum 
of human sexuality without 
using “gayness” as a marker 
of 
progressiveness. 
Instead, 

all three of her Thank God It’s 
Thursday 
hit 
series 
feature 

regular 
cast 
members 
that 

span a wide range of gender 
and sexual identities, and bring 
pressing issues in the media 
and popular culture to the 
forefront. For example, season 11 
of “Grey’s Anatomy” chronicled 
the coming out and transition 
of 
a 
transgender 
character, 

humanizing 
the 
transgender 

awareness movement that swept 
social media platforms in 2015. 
In an interview with NPR, 
Rhimes spoke to her approach 
towards same-sex love scenes, 
saying 
even 
scenes 
created 

following an identical shot-for-
shot sequence as a heterosexual 
couple’s sex scenes were met 
with a heavy dose of censorship. 
This censorship she started 
was something she had to push 
past to show that, no matter the 
gender of the couples, a double 
standard should not exist.

Through 
the 
art 
of 

storytelling, Rhimes is able to 
separate her fictional people 
from politics, prejudices and 
stereotypes. 
Her 
television 

worlds represent what reality 
actually looks like. Simply put, 
Shonda Rhimes is normalizing 
diversity.

TV NOTEBOOK

A-

The 
Shebabs of 
Yarmouk

Andana Films

State Theater

