ACROSS
1 New England
NFLers
5 Workforce
10 __ salad
14 Cornell who
founded Cornell
15 Actress Tierney
16 Passionate god
17 Nerd’s moniker
19 Unexciting
20 Actress Gabor
21 Blends
22 Destination for
the last flight?
23 In the cellar
25 Detective’s
moniker
27 Speak to
30 Michelle who was
the youngest
female to play in
a PGA Tour
event
31 Bubbles up
32 Didn’t like leaving
38 Ending for marion
39 Traitor’s moniker
40 Gung-ho
41 Lawn-trimming
tool
43 Anti-inflammatory
brand
44 Sixth sense,
initially
45 Coming to a point
47 Genius’ moniker
52 Bonny one
53 Captain Kirk’s
“final frontier”
54 Young zebras
56 “Gross!”
59 __ avail: fruitless
60 Old-timer’s
moniker
62 Skunk cabbage
feature
63 More flimsy, as
an excuse
64 Ballet move
65 Attention getter
66 Krispy __
67 Man, but not
woman

DOWN
1 First name in
skunks
2 Sea of __: Black
Sea arm

3 Court calendar
entry
4 __ Diego
5 Silvery food fish
6 Airport waiter
7 Dealership lot
array
8 At risk of being
slapped
9 A long way
10 Rats
11 Former New
York senator Al
D’__
12 Word with book
or opera
13 “Clean Made
Easy” vacuum
brand
18 Pill amounts
22 Like Death Valley
24 Bodyguard,
typically
26 Lambs’ moms
27 Not many
28 Indulge, with “on”
29 Sealed tight
33 Summer cooler
34 Bakery offering
35 Presents too
aggressively
36 Cave in

37 Pigged out (on),
briefly
39 Taunting remark
42 Italian noble family
43 Take __: decline
to participate
46 Enticement
47 Prevent, in
legalese
48 Apple players
49 Compact 48-
Down

50 “My concern 
is ... ”
51 “You’ve got the
wrong person!”
55 Attention getter
57 Cry out loud
58 “Look ma, no
hands!”
60 March on
Washington
monogram
61 Prefix with gram

By Bruce Haight
©2016 Tribune Content Agency, LLC
11/16/16

11/16/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, November 16, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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HELP WANTED

T

wo weeks ago, when I 
had to choose a poem 
to memorize and recite 

for an English class, I chose W. 
H. Auden’s “Stop all the clocks” 
because I thought it was beautiful. 
It captured the frustrated grief I 
had felt after breakups and other 
mundane tragedies.

When I had to 

recite the poem in 
class on Nov. 9, it 
captured something 
similar, 
but 
much 

more 
intense. 

Tuesday night was 
really hard for me. 
Watching the election 
play out on CNN 
felt 
like 
someone 

was telling me that 
everyone who had 
told me I could do anything was 
lying. As a white woman, I know it 
was exponentially more difficult 
for many others. A crushing 
sadness and a mobilizing anger 
were fighting for space in my 
brain.

The poem captured something 

that I was struggling to put into 
words. It was anger at the world 
for continuing to go on and be 
a thing of beauty despite the 
ugliness of its inhabitants. I’ve 
never wanted to “pack up the 
moon and dismantle the sun” 
more than I did when I woke 
up on Wednesday morning to 
brilliant sunshine, golden trees 
and a cloudless sky.

On my walk to class I put on 

LCD Soundsystem’s “Someone 
Great” in search of some joy and 
a eulogy to the president that 
could have been. And then James 
Murphy sang: “The worst is all 
the lovely weather / I’m stunned, 
it’s not raining.” And I felt it 
again: anger at the audacity of 
beauty and guilt for taking time to 
indulge in it.

Art felt trivial. It felt small 

and unimportant against the 
nightmare that was unfolding 
around me. How can I go to the 
movies when people are painting 
swastikas on storefronts? What 

album do I listen to while a girl 
on my campus is forced to remove 
her hijab? How can beauty live 
among so much ugliness? Is it fair 
to make time for it?

I wanted to “cut off the 

telephone.” I wanted a moment 
of complete silence and stillness. 

But the world does 
not wait for a broken 
heart.

But 
then, 
on 

Friday, 
I 
saw 

“Moonlight” — and 
I encourage you all 
to do the same. Not 
only 
because 
it’s 

the best movie I’ve 
seen (and probably 
will see) this year. 
But 
because 
the 

experience of seeing 

a beautiful movie in a theater 
full of people was the most 
reaffirming experience I’ve had 
since last Tuesday.

It was the most diverse crowd 

— in terms of race, age and gender 
— that I’ve ever been in at the 
Michigan Theater. It was also the 
largest crowd I’ve seen there. It 
felt good to sit next to someone 
I didn’t know. It felt good to be 
forced to be in community with 
people I did not know. It felt good 
to know that we could be brought 
together through art.

“Moonlight” would have been 

breathtaking on any day of any 
year. But on the Friday after the 
2016 election, it was even more 
so. Because it told the story 
— with beauty, honesty and 
humanity — of the exact type 
of person who does not belong 
in “Trump’s America.” A poor, 
gay Black man. No one in the 
movie fit Trump’s definition of 
beautiful.

Film is, at its best (and it’s often 

not at its best), a vessel for voices 
that are not easily heard. I’m 
sure that in the coming months 
and years many more voices will 
be silenced. That’s all the more 
reason to use art as a microphone 
for the silenced.

It takes a thousand — maybe 

even a million — voices to create 
change. And what I’m realizing 
is that those voices don’t need to 
speak through the same medium. 
We need filmmakers and singers 
and politicians and poets and 
scientists.

I still don’t know what to do or 

what I should do. Part of me still 
feels an odd guilt about the time 
I spend consuming rather than 
creating, watching rather than 
fighting.

But what our country seems 

to be in desperate need of is a big 
dose of empathy. And I can’t think 
of a better syringe to deliver that 
than art. Nothing forces you to 
inhabit the headspace of another 
human the way art does. In some 
ways, art is the closest we ever 
get to really understanding each 
other.

I think we still have an 

obligation to make and consume 
art. But that can’t be it anymore. 
You can’t just fight and you can’t 
just go to the movies. Those two 
things are going to have to find 
a way to shape and spark each 
other. Art has the power to ignite 
change, but only if we make art 
that wants to ignite change and 
consume art that wants to change 
us.

This is how empathy and 

giving voice to the voiceless meet 
each other. It’s going to become 
more and more important (and it’s 
already pretty damn important) 
to read books, watch movies and 
listen to music created by people 
that are not like me — that do not 
look like me or think like me.

Togetherness 
begins 
with 

empathy and I believe that all the 
parenting magazine thinkpieces 
are right when they say art is one 
of the best (if not only) ways to 
teach empathy.

So get angry. And then make 

something beautiful out of that 
anger. Teach something, learn 
something. The time to “silence 
the piano” has not yet come.

Is the sun a planet? Send your 

answers to mdgaudin@umich.edu

‘Pack up the moon and 

dismantle the sun’

FILM COLUMN

In post-election wake, we need media more than ever

MADELEINE 

GAUDIN 

ROLLING STONES RECORDS

The cast of ‘The Walking Dead.’

Few bands captivate the soul 

of rock ‘n’ roll like The Rolling 
Stones do. For over half a century, 
they’ve been playing their tunes 
to millions of fans 
across the globe. 
On March 25, The 
Rolling 
Stones 

made music history 
by being the first 
international band 
to 
perform 
in 

Havana, the capital 
of Cuba, since the 
United States first 
lifted its embargo sanctions on 
the country, marking a cultural 
milestone in bringing large-scale 
performances back to the people 
of Cuba. The Rolling Stones felt 
the show was so important that 
they recorded yet another live 
album and film to add to their 
repertoire — an already massive 
list of 12 — with impressive sonic 
flair, but lackluster filler for what’s 
expected of a live album.

With a length of two hours, 

Havana Moon is truly only for the 
most diehard fans without the 
accompanying video recording 
of the performance. Banter is 

kept to a minimum, and when it 
is included, it’s almost entirely 
spoken in Spanish, remaining true 
to the language of the country 
hosting the band. My minimal 
skills with the Spanish language 
created a hiccup in the personal 
connection that’s typically created 

by the banter in a 
live album, one I’m 
sure is felt by many 
attempting to enjoy 
the album to its 
fullest. 

Despite 
the 

disconnected 
banter for English 
speakers, the music 
itself remains true 

to the spiritedness of rock ‘n’ roll, 
the unflinching desire to bang 
your head and sing along. At 73, 
it’s pretty damn incredible that 
Mick Jagger doesn’t fall flat in 
performance. With classics like 
“Jumpin’ Jack Flash,” “Honky 
Tonk Woman” and “You Can’t 
Always Get What You Want,” the 
setlist was primed for the essential 
electricity 
and 
nostalgia 
that 

Jagger delivers on all fronts.

A particularly well executed 

moment in the set is the transition 
from “Angie” to “Paint It Black.” 
The move from a light-hearted 
anthem to the dynamic guitar 

hooks of the iconic song perfectly 
display why The Rolling Stones 
have remained relevant all these 
years. They deliver what fans of 
rock ‘n’ roll want and need out of 
a concert, while maintaining the 
stage presence necessary to satisfy 
thousands of fans per show.

Outside of the music itself, 

Havana Moon offers little for a live 
album, and considering its length, 
it 
becomes 
an 
unnecessarily 

winded 18-track Stones playlist 
due to the cheering in between 
each song. It’s understandable 
that The Rolling Stones wanted to 
capture the historic concert, but 
as a standalone album without the 
visual performance, it simply lacks 
any compelling reason to pay much 
attention to it.

Havana Moon does a great job 

capturing the sonic energy of a 
Rolling Stones performance, but it 
lacks a reason for existence outside 
of being a soundtrack to the DVD 
recording. It’s just more efficient to 
copy the setlist onto a playlist than 
sit through two hours of an album 
with minimal additions to the flair 
that accompanies a rock ‘n’ roll 
concert. The historic prevalence 
has natural importance, but other 
than this context, Havana Moon 
lacks many facets that can make a 
live album great.

DOMINIC POLSINELLI

Daily Arts Writer

Stones are boring on ‘Havana Moon’

Live album from Cuba offers little for the English-speaking listener

At the end of what felt like 

a bleak week for many, “SNL” 
provided its usual comedic relief 
with a dramatically different tone. 
 

This week’s show, hosted by 

Dave Chappelle (“The Chappelle 
Show”) took an 
inevitably more 
serious 
note 

in 
the 
wake 

of what was a 
shocking 
and 

devastating 
election result 
for many. Both 
the show and 
Chappelle 
took 
the 

opportunity 
to 
express 
a 

hopeful sentiment regarding the 
country’s future and pause for 
reflection about how the nation 
got to where it is now. The cold 
open was scrapped in favor of 
a heartfelt rendition of the late 
Leonard Cohen’s “Hallelujah,” 
performed by Kate McKinnon 
(“Ghostbusters”) 
dressed 
as 

Hillary Clinton. Rather than 
parodying Clinton as she usually 
does, McKinnon embodied her 
spirit and quoted her concession 
speech, “I’m not going to give 
up, and neither should you” in an 
appropriately poignant opening.

Despite this message of hope, 

the show went on to mock the 
election results and the country’s 
responses to it with its trademark 
satire, some unexpected new 
sketch formats and Chappelle 
at the helm. With an edge of 
cynicism, 
the 
first-time 
host 

discussed the week’s events in his 
opening monologue, touching on 
the Black Lives Matter movement 
and pointing to President-elect 
Donald Trump’s most grating 
flaws.

However, Chappelle may have 

surprised audiences by claiming 
he himself wasn’t surprised by 
the election results, stating “You 
know, I didn’t know that Donald 
Trump was going to win the 
election. I did suspect it. It seemed 

like Hillary was doing well in the 
polls and yet — I know the whites. 
You guys aren’t as full of surprises 
as you used to be.”

Following up his response to 

the election, Chappelle reminded 
audiences that other important 
issues still deserve our attention. 
In the best line of his opening 
monologue, 
Chappelle 
jokes, 

“Why do we have 
to say that Black 
lives matter? Now 
I admit that is not 
the 
best 
slogan, 

but 
McDonald’s 

already 
took, 

‘You 
deserve 
a 

break 
today.’ 
” 

Chappelle’s candid 
humor and ability 
to 
deliver 
frank 

comedy that gets the point across 
makes his monologue a linchpin of 
this week’s show.

Though 
his 
monologue 

perfectly 
encapsulates 
the 

sentiment following the election 
with practiced humor, he also 
appeals to audiences with a 
more serious undertone in a 
mic-dropping line, “I’m going 
to give Donald Trump a chance 
and I hope that he’ll give us, the 
historically disenfranchised, a 
chance too.”

This 
powerful 
opening 

monologue perfectly transitions 
into the first and funniest sketch 
of the evening — poking fun at 
liberals who were dumbfounded 
by Trump’s upset victory on 
election night. Chappelle plays 
the skeptical attendee deriding 
the 
others’ 
confidence 
in 

Hillary’s prospects. Audience 
members may have heard many 
of the lines they themselves 
uttered during election night, 
which turned frantic as Trump 
claimed more and more electoral 
college votes. But the overall 
message delivered in this honest 
depiction was that people who 
were confident in the results 
were blinded by the drastic 
partisan gap that determined the 
election. Chris Rock (“Grown 
Ups”) even made an appearance 
supporting this, bursting into 

laughter 
alongside 
Chappelle 

when SNL cast member Beck 
Bennett sadly notes, “This is the 
most shameful thing America 
has ever done.” Their laughter 
says it all.

Colin Jost and Michael Che 

tackle the election on “Weekend 
Update,” with Jost comparing 
Trump’s presidency to the plot of 
“The Intern,” and a barely second-
long sequence listing the names 
of the record-breaking number 
of 
female 
minorities 
elected 

to the Senate set to the tune of 
Rachel Platten’s “Fight Song.” 
The song barely finishes the first 
line of lyrics before the clip ends. 
Though the nature of the segment 
is mostly to blame for an excessive 
amount of election material, most 
of it falls flat (especially following 
Chappelle’s monologue and the 
first sketch). However, Jost and 
Che pull through with some 
amusing lines and are ultimately 
saved 
by 
McKinnon’s 
best 

appearance as Supreme Court 
justice 
Ruth 
Bader 
Ginsburg 

appearance 
yet. 
McKinnon 

downs a huge bag of Emergen-C 
and claims she has “horcruxes” 
hidden, refusing to let her old age 
get in the way of her job now that 
Trump’s president.

Having addressed just about 

every aspect of the election 
throughout 
the 
show, 
“SNL” 

turns to analyzing itself. Though 
not one of the strongest sketches, 
“Inside 
SNL” 
is 
delightfully 

surprising in contrast to the 
cynical tone taken by most of the 
previous coverage of the election. 
Cleverly using the post-game 
analysis format, “Inside SNL” 
takes a look at what doesn’t work 
in a sketch, with members of the 
cast delivering cliché lines about 
their performance. The smart 
framing and pure silliness of the 
sketch makes it a refreshing break 
from all the political satire.

Despite one of the toughest 

weeks the United States has had 
in recent history, “SNL” pulls 
through with a standout episode, 
reassuring audiences that it will 
be there to make us laugh as 
always.

SHIR AVINADAV

Daily Arts Writer

SNL shines with host Dave Chapelle

Seasoned comic provides a light in the dark after the U.S. election

C+

Havana Moon

The Rolling Stones

Universal Music

A

“Saturday Night Live”

Season 42, Episode 6

Saturdays at 10 p.m.

NBC

TV REVIEW

ALBUM REVIEW

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

