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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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
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