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ACROSS
1 Bindle-toting
migrants
6 “Oliver!” no-
goodnik
11 Bygone intl.
carrier
14 Face in the
crowd, in film
15 With no help
16 A, in Aachen
17 Crude early
version of a work
of art
19 Bottom-row PC
key
20 Natural salve
additive
21 Slightly
23 Financial claim
26 Coin-in-a-fountain
thought
28 Pakistani
language
29 “The Lord of the
Rings” beast
30 Computer
programming
glitch
33 What
marathoners load
up on
35 WWII conference
site
36 Like swimming
competitions
39 Getting by
43 Rants and raves
45 Bold
46 New York City
zoo locale
51 Slithery fish
52 Et __: and others
53 Harp constellation
54 Daly of “Cagney
& Lacey”
55 Sun protection for
kissers?
58 Former Russian
ruler
60 “__ no use!”
61 Lakeside
launching aid ...
and, literally, each
set of circled
letters
66 Pot pie veggie
67 When Macbeth
kills Duncan
68 French-speaking
Caribbean
country
69 FDR successor
70 2000s TV series
set in California
71 Snooze

DOWN
1 Seagoing pronoun
2 Good Grips
kitchenware
brand
3 A/C capacity
meas.
4 Church
instrument
5 Satirist Mort
6 Secret agent’s
passport, say
7 Some craft beer
8 Advanced in
one’s career
9 At no addl. cost
10 Grape soda
brand
11 Italian playhouse
12 “I’m on it, boss”
13 Pre-poker deal
demand
18 Planted, as seed
22 New Orleans
university
23 “Livin’ La Vida
__”: Ricky Martin
hit
24 Baghdad’s land
25 Beige shade
27 Crafty
30 To be, in
Barcelona
31 __-mo replay
32 Perform
miserably

34 Bill for drinks
37 “Hometown
Proud”
supermarket
chain
38 Roomie in prison
40 Earl __ tea
41 Pizza cooker
42 Actor Chandler of
“Bloodline”
44 CIA operative
46 Muslim bigwig
47 Upper crust
groups

48 Attacks, puppy-
style
49 Super cold
50 Motorola phone
54 __ by jury
56 Blind as __
57 Ness, for one
59 Massage
reactions
62 Padre’s brother
63 Whopper
64 Summer, in 68-
Across
65 Fabric mishap

By Mark McClain
©2017 Tribune Content Agency, LLC
02/14/17

02/14/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, February 14, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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6 — Tuesday, February 14, 2017
Arts
The Michigan Daily — michigandaily.com

“Mannequin 
Pussy” 
— 
a 

seriously provocative name for 
a four-piece band with serious 
talent. When the name first 
crossed my computer screen 
on Twitter, my first thought 
was, “I need this band in my 
life,” and I could not have been 
more correct. It’s no secret that 
the Daily is a fan of the band’s 
work. So when I sat down with 
them last Saturday before their 
set in Toledo and asked them 
why I couldn’t find anything 
about their tantalizing name, I 
couldn’t have been more startled 
by the response: “That’s because 
we don’t answer that question.”

The reply came from lead 

vocalist/guitarist 
Marisa 

Dabice, who followed up with: 
“Well, we have, but it’s just 
there’s no good story. Truly, I 
promise you.”

Thus began my ten minutes 

with the band, as we chatted 
about their phenomenal new 
LP Romantic, making music 
and touring with Joyce Manor 
and AJJ, some of punk’s most 
popular bands at the moment.

The most striking aspect of 

Mannequin Pussy’s music is 
its 
effortless 
differentiation 

and 
impressive 
blending 
of 

hardcore 
with 
poppy, 
even 

shoegazey tones. Each track is 
so wonderfully distinct, yet fits 
so comfortably into the rhythm 
of the record. Throughout its 
17-minute run time, emotional 
intensity, vocal style and verse 
structure 
are 
produced 
in 

incredibly varied forms.

“We all have like a really 

diverse 
appreciation 
for 

different styles of music, and I 
think that easily kind of seeps 
into our writing style,” Dabice 
said.

Between 
structured 
pop 

anthems like “Emotional High” 

and paratactical heavy-hitter 
“Ten,” it’s astounding that the 
band was able to consolidate 
their different influences into 
a cohesive album. Dabice also 
gave some interesting insight on 
the writing of individual tracks.

“The lyrics usually come the 

very, very last. Sometimes when 
I’m recording them is when I 
finally figure out the flow that 
I want to be saying something,” 
Dabice said. There’s some things 
where it’s like you know exactly 
that this is what you want to say, 
and this is how you want to say 
it.”

“And then sometimes when 

you allow yourself to just listen 
to a demo again and again and 
again, you find yourself going at 
it different ways until you find 
the thing that really feels right.”

Even with the lyrics filing 

in last, they’re still poignant 
and emotionally charged. Most 
notably is Dabice’s declaration 
“And I am not ashamed to be 
lonely / but I’m afraid to feel 
it so deeply” on opening track 
“Kiss.”

Dabice 
discussed 
with 

Bandcamp 
how 
the 
title 

Romantic refers to the idea 
of Romanticism, and dealing 
with human emotion. In our 
interview, Dabice expanded on 
how Romanticism applies to the 
title track.

“I’d say for me [“Romantic” 

is] probably the most personal 
song on the record. It was 
written maybe just a few weeks 
before we started recording 
the album,” Dsbice said. “It’s 
definitely a very personal song, 
and so much of the Romantic Era 
is understanding your emotions 
and accepting them and seeing 
yourself through things … Is 
there a girl licking the window 
outside?”

“Yeah, 
she 
licked 
the 

window,” replied lead guitarist 
Thanasi Paul.

“This show is going to be 

wild,” Dabice said.

Mannequin 
Pussy 
are 

seasoned 
veterans 
of 
the 

wildness and unpredictability of 
the punk scene. In describing an 
incident where Joyce Manor’s 
drummer broke a pedal, Colins 
“Bear” 
Regisford 
said: 
“I 

was like, ‘Oh my god!’ And I 
immediately was like, ‘Kaleen, 
we need your kick pedal!’ But 
I forget that there’s a team of 
people who are just like ‘don’t 
worry’ and they just did it. 
It’s like, ohhh, this isn’t DIY 
anymore.”

Mannequin 
Pussy 
are 

embracing 
the 
comforts 
of 

touring beyond the DIY scene 
while still playing with the zeal 
of a DIY band in a basement.

“Things have a tendency to 

write themselves and to fall into 
place the way that they have 
to. And I think that things are 
definitely really starting to for 
us which is exciting,” Dabice 
said.

In gaining popularity, the 

band has found stability and 
deserved 
confidence, 
which 

was shown in their blistering 
performance.

Reflecting 
on 
this 
fierce 

performance, it’s clear that 
emotionality 
is 
what 
has 

brought the band so much 
attention. All of the sonic rage 
heard in the band’s work was 
fully unleashed in one beautiful, 
romantic 
performance. 
I 

recalled a particular statement 
from Dabice:

“I think there’s something 

very 
romantic 
about 

understanding the way that 
you feel and kind of allowing 
yourself to struggle through 
things as well. And to like be 
really open and honest about 
that.”

Provocative, mysterious band 

name aside, Mannequin Pussy’s 
most 
attention-demanding 

quality 
is 
their 
emotional 

honesty.

DOMINIC POLSINELLI

Daily Arts Writer

Mannequin Pussy more 
than a provocative name

ARTIST PROFILE

In an interview with the punk-rock band, members talk 
creative process and their larger-than-life tour experiences

FX

Dan Brown in FX’s ‘Legion’
‘Legion’ forges alt-reality

In new FX and Marvel collab, perceptions of reality are tested

“Is this real?” David Haller 

(Dan Stevens, “Downton Abbey”) 
asks at the end of the head-
spinning premiere of “Legion.” 
A collaboration between FX and 
Marvel Studios, “Legion” is as 
untraditional a superhero show 
as they come. Some of this can 
probably be attributed to its creator, 
Noah Hawley (“Fargo”). But even 
by Hawley’s standards, “Legion” 
is a risky endeavor, as it dives into 
a world where reality and the mind 
continuously clash.

Diagnosed 
with 
paranoid 

schizophrenia, David has spent 
the last six years of his life in 
the 
Clockworks 
Psychiatric 

Hospital, living on a daily regime 
of medication and routine with no 
end in sight.

“I tell them I’m sane, they think 

I’m crazy. And if I say, ‘you’re 
right, I am crazy,’ then they up my 
dosage,” David says, explaining his 
catch-22 to his sister Amy (Katie 
Aselton, “The League”). He goes on 
warning, “Something new needs to 
happen soon.”

That “something new” comes in 

the form of Sydney Barrett (Rachel 
Fuller, “Fargo”), a new patient with 
a mysterious aversion to touch, 
who immediately captures David’s 
attention. “What if your problems 
aren’t in your head? What if they 
aren’t your problems?” Syd wonders 
out loud in a therapy session, and 
so the world of “Legion” begins to 
open its doors.

The truth (or so it seems) is 

that David is a mutant, one with 
incredible power and very little 
control over it. But this revelation 
only opens up more questions as the 
pilot moves forward. Figures who 
lurk in the shadows of David’s mind 
become even more mysterious and 
complex. What were once thought 
to be hallucinations or non-existent 
voices become something perhaps 
even more sinister and threatening. 
All the while, the true nature of 
David’s mind and memories remain 

elusive, with each unraveling plot 
thread twisting and obscuring 
another aspect of the larger 
tapestry.

The 
premiere, 
directed 
by 

Hawley, uses as many tricks 
as it can to help construct the 
headspace that is David’s mind. 
From 
point-of-view 
shots 
to 

wide-angle lenses warping the 
edges of the screen, Hawley and 
cinematographer (Dana Gonzales, 
“Criminal”) continually shift the 
viewing experience into something 
new as David’s mind is tossed 
and thrown around. A noticeably 
adjusting aspect ratio in one scene 
signals paranoia as threats, both 
real and perceived, 
close 
in 
around 

David. Meanwhile, 
the entire screen 
turns 
upside-

down 
after 
one 

particularly world-
shaking 
action. 

Accompanying this 
visual flare is a tense 
score by Jeff Russo (“The Night 
Of”) that walks the line between 
emotional and foreboding while a 
soundtrack that includes The Who, 
The Rolling Stones and Jane’s 
Addiction serves to punctuate 
David’s restless existence. All of 
this is aided by Steven’s energetic 
portrayal of David, which jumps 
from 
desperate 
confusion 
to 

twitchy anxiety as he constantly 
tries to wrap his head around his 
reality. It also helps that Stevens 
is surrounded by a particularly 
strong cast, including Aubrey Plaza 
(“Parks and Recreation”) and Jean 
Smart (another “Fargo” alum).

Twisting and turning through 

its 90-minute premiere, “Legion” 
continuously 
throws 
new 

information and subversions at 
the audience, making the viewer 
constantly question what they’re 
seeingand 
whether 
it’s 
even 

happening at all. It rarely gives 
the audience any firm ground 
to anchor themselves to, as our 
perception and understanding of 
what is on screen is interrupted 
and reconsidered. The closest it 

seems to delivering something 
concrete comes in the form of 
David’s 
interview 
with 
The 

Interrogator (Hamish Linklater, 
“The Big Short”), which serves to 
deliver some necessary backstory. 
But even that reality is defined by 
shady motives and untold secrets 
as David struggles to unearth what 
his captors really want with him 
behind closed doors.

Hawley is most effective when 

he digs into the dimensions of his 
characters, thrusting them into 
situations that are far bigger and 
complicated than they can possibly 
imagine. 
Whether 
it’s 
brutal 

violence, 
unexpected 
disasters 

or 
unimaginable 

superhuman 
abilities, 
Hawley 

uses these events to 
truly test the metal 
of his characters. 
Some, like (“Fargo” 
’s) Lester Nygaard, 
react 
despicably. 

Others, like Scott 

Burroughs 
of 
Hawley’s 
novel 

“Before the Fall,” maintain their 
decency against all odds. And 
some act perplexingly, responding 
to irrational circumstances in 
increasingly unpredictable ways. 
And it’s only near the end of the 
premiere, when the pieces start to 
come together and the structure 
of David’s mind and the show itself 
begins to take hold that we’re truly 
able to ascertain much of the events 
we’ve seen and the characters 
that have taken part in them. If 
anything, “Legion” ’s premiere 
serves to firmly establish that the 
audience and characters won’t 
know what will happen next.

However, the effectiveness of 

“Legion” ’s form and dispersal of 
information comes with how much 
the viewer trusts the series to fulfill 
its potential. Like all other shows 
that rely on continually subverting 
audience expectations and turning 
reality on its head (just look at 
“Mr. Robot” or “Westworld”), 
the development of “Legion” and 
whether it can payoff, will truly 
determine its staying power.

MATT BARNAUSKAS

Daily Arts Writer

MUSIC NOTEBOOK

The purpose of Valentine’s Day 

never made much sense to me, but 
it’s on our national calendar for 
some reason — futile, I think — 
and that gives the day some sort 
of powerful validity. But love is 
nonetheless a concept that flows 
through many people’s minds on 
a daily basis. I exercise my own 
love by frequently listening to jazz, 
specifically Billie Holiday. It’s safe 
to say that Billie Holiday is and 
maybe always will be my valentine.

What many don’t know about 

Holiday though, is that her tender, 
romantic voice did not match her 
reality. Holiday grappled with 
severe relationships, drugs and 
abuse.

Before she became one of the 

most famous female jazz artists, 
Holiday moved to New York where 
she worked as a prostitute. Soon 
enough, she was discovered at 
night clubs and speakeasies in the 
1930s.

Holiday dated often, mostly 

musicians, 
but 
she 
married 

James Monroe in the early ’40s. 
This marriage led to her heavy 
involvement 
with 
drugs 
and 

alcohol.

What breaks my heart is that 

most 
won’t 
notice 
Holiday’s 

struggles, but only her voice. At 
least maybe not until they hear 
her Lady in Satin album, on which 
nearly every song is gloomy with 
sluggish melodies. Her smooth, but 
powerful voice strikes harmonic 
chords that don’t feel all that sad, 
regardless of her struggles. 

That dichotomy is unhappily 

fascinating. For a woman who 
sang much about romance and 
men — my favorites include “These 
Foolish Things (Remind Me Of 
You),” “I’ll Be Seeing You” and “My 
Man” — much of her music also 
includes songs about solitude and 
crushing romance.

Her music encompasses the 

raw aspects of this thing so called 
“love.” Even in the power of her 
voice, lyrics and song titles, Billie 
Holiday is a taste for anybody: the 
lonely one, the couples in love, the 
ones suffering from a bad break up, 
the one’s enjoying their single life.

She understands the truth of it 

— that love is really fucking hard 
and messy. But almost everyone 
craves it in some way.

Love is compiled of ridiculous 

facets, where one moment you’re 
in the “All of Me” stage, meeting 

someone and wanting them to love 
you for all you are; the next, your 
heart is broken, relating to “I’m 
a Fool to Want You.” Along the 
way, you might meet that special 
someone, where your lovey-dovey 
heart is feeling something like “I’ll 
Get By (As Long As I Have You).” 
You find yourself in this cycle 
of romantic positions, the ones 
represented by Holiday.

I do not know which is more 

intense: my unconditional love 
for her voice and her impact, or 
the tremendous heartbreak I feel 
for her and her battles.

If Billie Holiday were here, 

alive and well, I’d hear her 
stories, the good and the bad 
ones. In this fantasy, I’d make 
her a romantic, candlelit dinner, 
and we’d listen to jazz and 
discuss our favorites.

Mostly, I would thank her 

for being there for me, in all 
of my moments. The moments 
of romance, the moments of 
heartbreak, the moments of high 
stress or Friday-night relaxation. 
I would thank her for always 
being my therapy and my muse.

And 
Billie, 
even 
though 

you’re not here any longer, I’ll 
be looking at the moon this 
Valentine’s Day, seeing you. 

A very Happy Valentine’s 
Day to you, Billie Holiday

ERIKA SHEVCHEK

Daily Community Culture Editor

“Legion”

Series Premiere

Wednesdays at 10 

P.M.

FX

TV REVIEW

