Classifieds Call: #734-418-4115 Email: dailydisplay@gmail.com ACROSS 1 Start of something 4 Know-it-all 9 Sticky roll 13 Title car in a Ronny & the Daytonas hit 14 Michelangelo’s “The Last Judgment,” e.g. 15 Australian export 16 Like Gen. Powell 17 Vito Corleone talking bobblehead? 19 N.T. book before Phil. 20 Denver-to- Wichita dir. 21 Oppressive atmosphere 22 Goal of a holistic chiropractor? 26 Renewal notice feature, briefly 27 Like a well- written mystery 28 Hammer user’s cry 32 Payment in Isfahan 35 Chem. and bio. 37 Drift (off) 38 As a group, emulate Popeye? 41 Singer DiFranco 42 Pop 43 TV oil name 44 “The Good Wife” figs. 46 Fabric rib 48 Its home version debuted at Sears in 1975 50 Maiden aunt mascot? 54 Israeli prime minister after Barak 57 “__ Gotta Be Me” 58 Way to go: Abbr. 59 Enjoying the new car ... or what four puzzle answers are literally doing 62 Great Basin native 63 Saharan 64 Hydrocarbon gas 65 Rx item 66 Inheritance factor 67 Tends 68 Humanities maj. DOWN 1 Way out 2 Mike or Carol on “The Brady Bunch” 3 “I guess the moment has finally arrived” 4 Impetuous 5 Find a new table for 6 Nile slitherer 7 It’s here in Paris 8 Anchored for life, as barnacles 9 Word in morning weather forecasts 10 Mil. mail drops 11 It faces forward in a stop sign 12 Big name in jazz 14 Like IHOP syrup 18 Alabama Slammer liquor 23 Type of tide 24 Troublemakers 25 Often 29 Bridge bid 30 Glasses with handles 31 One working on a bridge: Abbr. 33 Fleur-de-__ 34 What a kid is prone to make in winter? 36 Farm mom 38 Pastoral call 39 Early exile 40 Ones with clout 45 Variable distance measure 47 Hand-held allergy treatment 49 Insatiable 51 Very long time 52 Political columnist Molly 53 Island bird named for its call 54 Doe beau 55 Long-eared critter 56 Similar 60 Snacked 61 __ Na Na By Jeffrey Wechsler ©2016 Tribune Content Agency, LLC 11/04/16 11/04/16 ANSWER TO PREVIOUS PUZZLE: RELEASE DATE– Friday, November 4, 2016 Los Angeles Times Daily Crossword Puzzle Edited by Rich Norris and Joyce Nichols Lewis xwordeditor@aol.com ! 2 RENTALS LEFT ‑ BEST DEAL ! ! 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As The Ramones sped up girl-group and surf- pop sounds and ran them through a darker, New- York-nightclub filter to create bizarre guitar music, Joyce Manor slices up the last few decades of SoCal pop-punk, turning the snotty stylings of Billy Joe Armstrong and Tom DeLonge into breakneck surf-and-skate songs that can barely be contained. The band’s most recent album, Cody, is its most focused and evolved work yet. The band’s longest release to date at 25 minutes, it features full-fledged character sketch- es, more developed (and pop- pier) songwriting and Barry Johnson making references to Kanye that may be ironic or may be completely sincere. While they seem inter- ested in artistic change, Joyce Manor realizes that what you leave out of your work is just as important as what you put in. The band knows exactly what makes a good song, and they won’t add any BS to an already-perfect formula. 2. Car Seat Headrest Will Toledo’s prolific DIY project is pop-punk for grad- school students, delivering wry, introverted observation to those who are wild rulebreak- ers on the inside, even if they wear thick glasses and like Wes Anderson movies. Toledo, only 24 years old, has been self-releasing albums under the name Car Seat Headrest for over five years now, delivering almost a dozen records to a small-but-devoted online following before being signed by indie giant Matador Records and becoming a name to know in the alternative mainstream. His low, mostly monotone voice and sometimes inscrutable, sometimes snarky lyrics call to mind ’90s slacker god Stephen Malkmus, while Car Seat’s simple instrumenta- tion bely an intellectual bent familiar to any anxious person who can’t help but constantly read multiple layers in every sight and situation. “Drunk Drivers/Killer Whales,” off this year’s Teens of Denial, takes a few chords and an old-school loud-quiet- loud dynamic and sets the stage for an intense yet thrill- ing meditation on parties, discomfort and the desire to make destructive decisions. “Here’s that voice in your head / Giving you shit again / But you know he loves you / And he doesn’t mean to cause you pain,” sings Toledo, who somehow manages to turn this subject into the most epic indie-rock anthem of the year. 3. Hop Along Frances Quinlan’s voice is entrancing. The singer of freaky Philadelphian folkers- turned-rockers Hop Along is the star of every track, in full command even when she pushes her voice over the brink. Sometimes, she sounds like a nervous breakdown over a string section. Other times, she’s telling stories with weirdly specific details over post-punk guitars. Every time, you want to strain your ears to make sure you’re hearing every syllable. Even with though they’re just now getting notices from mainstream press, Hop Along have already recorded some perfect, instant-classic songs. The brilliantly crafted build- up and witty lyrics of “Tibetan Pop Stars” make it a flagship song and easy intro point for the Philly rock scene, while “No Good Al Joad” is a chill- ing, disjointed meditation on death in which Quinlan’s has never sounded better or more unhinged. Contemporary alternative rock hasn’t pro- duced many icons of late, but Quinlan has the singular voice to haunt teenage bedrooms for decades to come. 4. Modern Baseball MoBo started as a guilty pleasure band, one that whined about women who didn’t like them in the most annoying yet undeniably infectious ways. Their cho- ruses forced you to sing along even if you disagreed with the underlying message behind lines like, “That girl who’s next to me, she’s friendly and thoughtful and quite awfully pretty / But all she has to say is a meathead-themed mono- logue on why Brad ran away.” But Modern Baseball has grown up. First, it was with 2014’s You’re Gonna Miss It All, which still explored romance and relationships, but did so with a more bal- anced point of view and even more anthemic choruses. Now, MoBo has gone even further with this year’s Holy Ghost, the band’s most complex and thought-out work yet. The most recent chapter of Modern Baseball, a band whose every lyric feels like it was lifted from a private diary, is intertwined with co-singer/ co-songwriter Brendan Luke- ns’s battle with mental illness, which he has talked about at length during the promotional tour for Holy Ghost. These interviews and Luke- ns’s honesty serve as a way to destigmatization of mental illness, and they showcase rock music not just as a venue for escapism and shared emo- tion, as it often is, but also as a tool for social activism and a means for improving the world. 5. Against Me! Against Me! is by far the oldest band on this list, with recordings dating all the way back to the late ’90s, but you could say the band had never existed in its best, most authentic form until its 2013 creative breakthrough Transgender Dysphoria Blues. Between the group’s previous album and TDB, singer Laura Jane Grace, then known pub- licly as Tom Gabel, came out as transgender in a Rolling Stone interview. Since her coming out, Grace has become a prominent LGBTQ activist and written a memoir, and she remains the most widely known and beloved figure in the still-very- underground LGBTQ punk scene. Meanwhile, the band she leads is enjoying some of its greatest success yet, most recently with last month’s Shape Shift With Me. While Against Me! isn’t the most musically adventurous band, Grace’s personal voice adds a new dimension to the old punk canon. Her shouted vocals are a window into pain and perseverance, a lengthy, terrifying journey into her own soul. Her words penetrate deeper than any chord can, and they’ve broken down bar- riers and opened doors that, until very recently and even now in many cases, remain locked shut for a lifetime. Honorable Mention: Japandroids Japandroids were rock’s Frank Ocean, an artist with a cult following who tantalized fans by withholding for years a follow-up to a beloved album. But this week, they finally announced a new record: Near to the Wild Heart of Life, which comes nearly five years after Celebration Rock. Celebration Rock is the most up-front, honest album title in music history, and Japan- droids’ new single — the title track to Wild Heart — delivers more of the exact same. It’s pounding, loud and simple, a song that mixes Springsteen’s highway anthems and Oasis’s fist-pumping, beer-drinking fun with the lo-fi aesthetics of a scrappy, close-knit indie community. These six bands (and the countless more who tour and release records alongside them) aren’t just separate, cool entities — they’re part of a movement that could change the way we think about rock music. What often gets clas- sified as old, white, conserva- tive male music could become a new frontier for energetic change, beauty and experi- mentation. Right now is one of the best times in history for rock fans, and with Japan- droids already lined up for a release in January, the future is just as bright. Theisen is in a mosh pit at the moment. To chat about Brand New, email ajtheis@umich.edu. EPITAPH RECORDS The stars of CBS’s new sitcom lineup. MUSIC COLUMN ADAM THEISEN The 5 rock bands you need to hear now These artists are part of a movement that can change rock ‘n’ roll In 1969, five plucked notes on John Paul Jones’s bass would intro- duce Led Zeppelin to the world as the new hot thing, a group capable of assuming The Beatles’ vacated role as the greatest band on the planet. “Dazed and Confused” encapsulates an entire musical movement and gave birth to a wave of bands trying to copy them. The thumping opening bass line is one of the catchiest and most iconic in rock ‘n’ roll history, a perfect way to introduce the next six minutes and 29 seconds of hard-rock nec- tar. Plant’s shrieking, soulful vocals complement the yearning lyrics, while the shredding solo and pierc- ing guitar twang replay in my ear for hours. It is truly a benchmark for the hard rock genre. In 1993, Richard Linklater (“Boyhood”) used the same name for his ’70s-based high school hang- out movie that included only the best of adolescent debauchery and hormone-fueled self discovery. On paper, the movie sounds lackluster and uninspired: several groups of rising seniors celebrate the start of summer by hazing freshmen, partying and crusin’ around in the suburbs of Austin, Texas. Linklat- er’s movie, however, still proves to be the greatest high school movie since “American Graffiti.” “Dazed and Confused” is a true benchmark of all coming-of-age stories. Using my childhood friend Dylan’s dad as a reference for what high school was like in 1976, “Dazed and Confused” is apparently as accurate as a period piece can be. Obviously, not everyone was hot-boxing in the school parking lot or flirting with teachers, but the overall attitude is replicated well. The main character, Randall “Pink” Floyd (Jason London, “The Man in the Moon”), is some- one everyone knew at this time, a seemingly prototypical high schooler with nonconformist undertones and doubts about his purpose. As he struggles to decide whether or not to give in and sign a contract for the football team claiming his devout abstinence from alcohol and drugs, he ques- tions the meaning of sacrificing individuality for an undeserving cause. It is not so much about the drinking and smoking as it is the forced submission. Like any Linklater movie, the conversations and messages, although always engaging, some- times seem to be vacuous and pseudo-philosophical, but actu- ally reflect many insightful ideas, especially for a group of stoned and drunk 17-year-olds. “Pink” defines what it means to be an independent teen searching for an epiphany of what life is really about without ever coming across as pretentious or preachy. Like any quality coming-of-age movie, “Dazed and Confused” launched the careers of some of the biggest stars today, such as Matthew McConaughey (“Dallas Buyers Club”), Ben Affleck (“Gone Girl”), Parker Posey (“Best in Show”) and Adam Goldberg (“Sav- ing Private Ryan”). The ensemble cast is divided up into different groups just like any typical high school: the football players, the burnouts, the geeks and the ris- ing freshmen. “Pink” meanders between these groups as a media- tor for their vast differences. Particularly, it is Rory Cochrane’s (“A Scanner Darkly”) character Slater that steals most of the laughs, which says a lot. While standing on top of a water tower at night, Slater looks out into the vast, single-family home scattered suburbia and ponders something always on the mind of a promis- cuous teen: how many people out there are currently having sex. All jokes and immaturity aside, this brief scene is so brilliant because it actually sounds like something I heard (or said) at some point dur- ing high school. This will always be engrained in my head as the movie’s finest moment. “Dazed and Confused”’s soundtrack features an arsenal of some of the biggest hits of the time, like Aerosmith’s “Sweet Emotion” and War’s “Low Rider.” But, it is Bob Dylan’s “Hurricane” that car- ries the film the most. The song plays in the local hangout spot for the high schoolers and acts as the perfect soundtrack to this moment. The scene seamlessly flows like it was orchestrated to the song, each development in the song oddly lin- ing up with the characters’ move- ments and gazes. Linklater’s decision to name the movie after the Led Zeppe- lin shred-fest likely was not done in arrogance. However, it only makes sense to me that it was; the song is the best hard rock song of all time and the movie is the best high school movie. You can play the movie during a casual group hangout or watch intently on your computer alone with headphones, staring into the characters’ souls. As “Dazed and Confused” is one of those songs that is always enter- taining, the movie is pure cine- matic bliss, an experience that will always lighten my day from even the most somber of depths. WILL STEWART Daily Arts Writer The pure bliss of ‘Dazed’ GRAMERCY PICTURES That’s what I love about Richard Linklater characters. I get older, they stay the same age. FROM THE VAULT