Classifieds

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

ACROSS
1 Blowout victory
5 Airline mentioned
in the first line of
the Beatles’
“Back in the
U.S.S.R.”
9 Taj Mahal city
13 Old Renault
14 Cold, in Cádiz
15 Mark as
important
16 Like most triangle
angles
17 World-class
19 Glass
manufacturing
dioxide
21 Bk. read at Purim
22 Sports doc’s
scan
23 Mantilla material
25 Univ. dorm
overseers
26 “__ the fields we
go ... ”
27 Codebreaking
org.
28 Dream up
30 One inch = one
foot, e.g.
32 Seals, as a deal
33 Program
interruptions
literally
demonstrated by
this puzzle’s four
sets of circles
38 Not quite place
39 California’s San
__ Zoo
40 Rubs elbows
(with)
44 Kids’ recess
game
45 Time of yr. for
new growth
48 She raised Cain
49 It may be shaped
on a wheel
52 Legal thing
53 Thickening agent
54 African desert
55 Sacred lily of
ancient Egypt
58 Allow to pass
59 Architect
Saarinen
60 Composer who
was a CBS
reporter

61 Bay and gray
followers
62 Uno y dos
63 Concerning
64 Spoon’s escape
partner

DOWN
1 Means to an end
2 Pertaining to the
eye
3 Marseille morning
4 Police unit
5 Fave texting bud
6 Projecting
window
7 Respiratory
cavity
8 Bulk-purchase
club
9 Kilimanjaro’s
cont.
10 Genre that
influenced Prince
11 Hectic lifestyles
12 Biased targets of
the Gray
Panthers
13 Rodeo need
18 In that case
20 Extremely,
musically
24 Angelic ring

29 “Later!”
30 Like logs
31 Bitter __
33 Snow remover
34 Without a doubt
35 Tasting menu
portion
36 Brings up
37 Sandwich filling
for a lacto-ovo
vegetarian
38 Frozen dessert

41 Play-of-color gem
42 South American
capital
43 Australian sextet
45 Lists of nominees
46 Persona non grata
47 “__ Hope”: ’70s-
’80s soap
50 Have faith
51 French darling
56 Dawn goddess
57 HBO competitor

By Peg Slay
©2017 Tribune Content Agency, LLC
02/08/17

02/08/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, February 8, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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NOW 
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all 
posi- 

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WINTEK CORP. AUCTION
Wintek Corporation is auctioning over-
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FALL 2017‑18 Apts @ 1015 Packard
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Deinco 734-996-1991

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Rents from $850 (eff) - $1415 (2 bdrm)

Most include Heat and Water
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734-996-1991

HELP WANTED

FOR RENT

FOR SALE

Since 2015, Raf Simons has left 

Dior, Hedi Slimane departed Saint 
Laurent, Alber Elbaz moved on 
from Lanvin and Alexander Wang 
made room for Demna Gvasalia at 
Balenciaga. Most recently, however, 
was Riccardo Tisci’s announcement 
that he will depart from Givenchy 
after over a decade with the fash-
ion house. Admittedly, I was never 
a huge fan of Tisci or his work at 
Givenchy, but I think it would be 
foolish to understate the scope of 
his accomplishments in the twelve 
years spent at the French brand. 
In his time spent at the helm of 
Givenchy, Tisci was able to help 
the label rebound from a period of 
stagnation under John Galliano, 
Alexander McQueen and Julien 
Macdonald. He did this by finding 
a way to create a distinct image that 
could draw in a large audience. The 
house’s success had flatlined under 
a few creative directors because the 
brand’s collections had little-to-no 
cohesion, and Tisci was able to put 
an end to that. Where Hubert de 
Givenchy’s original designs were 
made iconic by Audrey Hepburn, 
Tisci was able to draw in the likes of 
Beyonce, Michelle Obama and Kim 
Kardashian to sport his designs on 
the red carpet and out in the Holly-
wood Hills.

Designer labels are always asso-

ciated with an exorbitant price tag, 
which means that the average con-
sumer of a brand like Givenchy is 

going to be quite wealthy. That said, 
there are some items, often popu-
larized by celebrities, that can tran-
scend this price-gap to the point 
where both middle-class and upper-
class people wear the garment as 
a badge of honor. Those currently 
unable to buy the piece will spend 
a month saving every cent possible 
from their paycheck in order to 
subsidize the purchase. Givenchy’s 
Rottweiler print has been a staple in 
designer fashion since 2011. These 

shirts will still sell for upwards of 
$500 on secondhand sites. In fact, I 
would argue that someone would be 
hard-pressed to find a more iconic 
graphic print at any other designer 
house.

Building on his ability to reach 

the streetwear demographic with 
his graphic tees, Tisci collaborated 
with Nike starting in 2014 on his 
NikeLab x RT collection, which 
features both apparel and footwear 
(some pretty cool and some not 
so much). While there’s no reason 
to imagine that his collaborations 
with Nike will not continue, the 
benefits of the symbiotic relation-
ship between Givenchy and the 
NikeLab x RT are hard to ignore. 
He was both able to draw the sneak-
erheads into his work at Given-
chy for consumers who aspired 
to dress like celebrities, and 
draw Givenchy consumers into 
purchasing highly sought-after 
Nike sneakers.

Not only was Tisci’s time 

at Givenchy good for building 
brand exposure, but it also was 
great for commercial success. 
According to WWD, Givenchy’s 
revenue has increased more 
than sixfold and the number of 
employees has increased over 
threefold since taking the reins 
in 2005, an incredible feat for a 
designer.

While it’s unclear who will 

succeed Tisci at Givenchy (Vir-
gil Abloh? I hope not, but it cer-
tainly isn’t improbable), it’s also 
unclear what Tisci’s next move 
will be. Maybe he will con-
tinue designing for NikeLab, 
or maybe he will move to Ver-
sace. Regardless of his choice, 
it’s obvious that Tisci’s next 
post will have expectations for 
him that are just as large as the 
shoes he has left to fill at Given-
chy.

NARESH IYENGAR

Daily Arts Writer

COURTESY OF RICCARDO TISCI

Fashion’s musical chairs

Not only was 
Tisci’s time at 
Givenchy good 

for building brand 

exposure, but it 
also was great 
for commercial 

success

NATIONAL FOOTBALL LEAGUE

“Watching Gaga?!” I texted 

my 62-year-old father on Sun-
day evening.

“Fantastic,” he replied.
That pretty much sums it up. 

Lady Gaga kept me in awe for 
the 13 minutes of flying, fire and 
fierceness that was her Super 
Bowl 
halftime 
performance. 

Gaga has been quite outward 
about her political opinions in 
the past, but refrained from 
directly 
addressing 
politics 

despite the immense visibility 
of the Super Bowl platform. She 
noted in an interview with an 
Atlanta radio station that she 
wanted to refrain from “saying 
anything divisive.” By doing so, 
Gaga managed to unite viewers 
in her electric performance and 
let the mantras of her music do 
the talking. 

Atop the upper edge of Hous-

ton’s NRG stadium, Gaga began 
sentimentally, crooning a mash-
up of “God Bless America” and 
“This Land is Your Land.” She 
then dropped into her speak-
ing voice to recite a segment of 
the Pledge of Allegiance. “One 
nation, under God, indivisible, 
with liberty and justice,” she 
paused briefly, cocked her head 
a little, and finished the phrase, 
“for all” with a little lift in her 
voice. Her slight tone change 
seemed to say, “Remember? the 
core of our country is really that 
simple — liberty and justice (and 
football) for everyone.”

Gaga managed to keep herself 

remarkably cool and collected 
during this patriotic intro — all 
while knowing she was about 
to launch herself head-first off 
of the 260-foot-high roof the 

stadium. In hindsight, her com-
posure was stunning. I bun-
gee jumped off a 360 foot high 
bridge last summer, and could 
not even form words leading up 
to the jump because I was shak-
ing so aggressively. But I digress. 
After this intro, Gaga flung her-
self off of the stadium’s edge 
in a squirmy, spider-woman-
like sprawl. She landed cleanly 
on a platform, clearly high on 
adrenaline, and belted “I’m on 
the edge!” before breaking into 
a fierce, metallic shoulder bop 
during the intro of “Poker Face.”

A few airborne maneuvers 

later, a harnessed Lady Gaga 
planted firmly on the stage for 
an energetic rendition of “Born 
This Way.” Iconic for its cel-
ebration of diversity, the ballad 
was accompanied by troupe of 
multiracial dancers who sur-
rounded Gaga as she sang, “No 
matter black, white or beige…
I was born to be brave.” This 
ode 
to 
self-acceptance 
and 

love is inherently political, and 
the artist let the lyrics ring as 
the instrumentation silenced 
when she sang, “No matter gay, 
straight or bi, lesbian, transgen-
dered life, I’m on the right track 
baby I was born to survive” 
while the crowd clapped along. 
The combination of the chore-
ography and the anthem was 
electric, collective and intoxi-
cating. How could you not clap 
(or excitedly hip-shake) along?

Lady Gaga literally did not 

skip a beat while transitioning 
into “Telephone.” The pop mon-
ster’s captivating weirdness sur-
faced here and flowed into “Just 
Dance.” Some of the highlights 
included: An oversized star 
spear, Gaga convulsing sideways 
in a random man’s arms, a male 
dance squad doing *NSYNC-
like moves while wearing spiky 

puffer coats and Gaga using a 
dancer as a human mic stand 
while playing a keytar. Need-
less to say, she kept me in a jaw-
dropped trance for what was 
then a seven minute mashup of 
my middle school jams.

By this point, my roommate 

and I had our money on a Joanne 
reveal — specifically “Perfect 
Illusion” ’s notorious key change 
— but instead Gaga simmered 
down into a candlelit “Million 
Reasons.” She utilized this mel-
low piano ballad to put things in 
perspective. She asked “Amer-
ica — world — how you doing 
tonight?” While undoubtedly 
aware of the huge scope of her 
performance, Gaga seemed gen-
uinely grounded — she juxta-
posingly shouted out, “Hey dad, 
hi mom,” after the first chorus. 
The singer even ventured into 
the audience to hug one of her 
starstruck fans before vamp-
ing it up for the “Bad Romance” 
finale.

By the end of what may have 

been the quickest 13 minutes of 
my life, Lady Gaga reminded me 
of what true dedication to art of 
live entertainment looks like. 
She reminded me of what it feels 
like to be moved into movement, 
to dance along to a song about 
diversity and inclusivity (“Born 
This Way”), as well one that 
simply celebrates dancing (“Just 
Dance”). While Gaga neglected 
to capitalize on the Super Bowl’s 
111.3 million viewers to voice her 
opinion of the current political 
climate, her values rang clear-
ly, accessibly and attractively 
through her music. Lady Gaga 
reaffirmed the power of the arts 
to bridging gaps: She used the 
spirit of music not only to voice 
her beliefs, but to inspire people 
(even 62-year-old dads) to sing 
along with her. 

AVERY FRIEDMAN

Daily Arts Writer

Ooh-GaGa: SBLI halftime

A visit to Jenkins’s past

FILM NOTEBOOK

With “Moonlight” racking up 

eight Academy Award nomina-
tions, director Barry Jenkins 
is one of the year’s most loved 
critic’s darling. But once upon 
a time, he was a scrappy young 
filmmaker trying to make it like 
everyone else. His first student 
film, “My Josephine” is a peek 
into that era. 

He tweeted that sharing the 

film was “a reminder to myself 
to channel this energy, to cre-
ate.”

Written and directed shortly 

after 9/11, the film follows two 
Arab immigrants, Aadid and 
Adela, working in a laundro-
mat, cleaning US flags for free 
in the wake of the attack.

In a contemplative Arabic 

voiceover, Aadid recalls the 
story of Napolean Bonaparte’s 
first wife Josaphine, the one 
he married for love. Adela is 
his Josephine. With the rever-
ence he gives to the American 
flags, it seems that his country 
is, too.

Aadid’s words take shape 

with the film’s lyrical cinema-
tography. In woozy green-blue 
hues, the camera alternates 
between blurriness and focus. 
A moving screen filled entirely 
with light or darkness sharp-
ens into focus, revealing Adela, 
the laundromat, the American 
flag – the pillars around which 

Aadid’s life is built.

Like with “Moonlight,” Jen-

kins prioritizes the personal 
over the political, and in doing 
so, achieves both. He zeroes in 
on the lives of his characters, 
drawing out empathic details 
from ordinary Americans living 
ordinary lives.

At a time where their loyalty 

to the country is questioned, 
Aadid and Adela exhibit the 
fundamental 
guiding 
prin-

ciples of the American Dream. 
That despite discrimination, 
their patriotic love for America 
endures. Work hard. Build a 
new life. Fall in love.

Aadid and Adela sit on fold-

ing chairs outside the laun-
dromat talking for hours, they 
dance late in the night. He out-
lines the care they take when 
washing the flags, to protect 
and preserve the dignity inher-
ent in the stars and stripes. A 
murky underwater shot shows 
arms reaching out to softly 
brush their fingers against the 
American flag, to grasp the 
American Dream in their own 
hands.

Jenkins’s body of work is 

a welcome addition to main-
stream media. “Moonlight” ‘s 
overwhelming critical popu-
larity represents a shift in the 
way the general public receives 
films featuring black charac-
ters. In the past, most of the 
Black Oscar winners have come 
from roles as slaves or domestic 
maids, like “12 Years a Slave” 

or “The Help.” This reveals a 
critical fact about viewer pro-
clivities: The majority white 
Oscar voters are more likely to 
appreciate storylines featur-
ing minority characters if they 
support their vision of what a 
“minority life” entails.

The missing step is to encour-

age more than just diversity 
— a numbers game, increasing 
the number of minority faces 
on screen and in high-level 
roles behind the scene — but 
also inclusion, which involves 
understanding all facets of 
people’s lives. Inclusion means 
engaging with stories about 
racial oppression and discrimi-
nation, but at the same time, 
also taking care to hear the 
other parts of people of color’s 
lives, too. Both of these compo-
nents are critical to improving 
media representation.

Jenkins is one of many tal-

ented filmmakers of color who 
tell honest stories about ordi-
nary characters. Most of them 
go unnoticed by mainstream 
audiences not because they 
are objectively better or worse 
than films about the history of 
oppression, but simply because 
they feature themes that the 
general public is not as inter-
ested in. Jenkins’s success in 
this year’s Oscar nominations 
signals that audiences may 
finally begin to appreciate a 
wider variety of storylines, and 
take early steps in the direction 
of inclusion.

VANESSA WONG

Daily Arts Writer

STYLE NOTEBOOK
MUSIC REVIEW

6A — Wednesday, February 8, 2017
Arts
The Michigan Daily — michigandaily.com

