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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