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