Classifieds

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

ACROSS
1 Earth tone
6 Popular speaker
10 Unlike Wabash
College
14 “Voilà!”
15 Over
16 Company with a
Select Guest
loyalty program
17 Ladies’ man with
laryngitis?
19 Ultimately earns
20 Airport NNW of
IND
21 Spicy cuisine
22 A native of
23 Goneril’s
husband
25 Revered sage, in
India
27 Sweeps, e.g.
28 Infant at bath
time?
29 1995 “Live at
Red Rocks”
pianist
30 African scourge
32 Indian silk-
producing region
34 Suffix with ethyl
35 “Same here”
40 Counsel
43 Cheer
44 High schooler
just hanging out?
48 Highest peak in
the Armenian
plateau
50 Armed ocean
dweller?
51 Makes it right
52 Pride parade
letters
53 “Macbeth” spot
descriptor
55 Division of the
Justice Dept.
57 Buffalo’s county
58 Ordinary-looking
fashion VIP?
60 Marketing
opener
61 “What a shame”
62 Really like
63 Aren’t really,
maybe
64 Nasdaq
competitor
65 Like Vikings

DOWN
1 Emperor after
Galba
2 Bach works

3 Word associated
with Sleepy
Hollow
4 Goof
5 Checkout
correction,
perhaps
6 “Point Break” 
co-star
7 Vision: Pref.
8 They’re meant for
each other
9 Makes beloved
10 Informal
discussion
11 Last book of
Puzo’s
“Godfather” trilogy
12 Bury
13 Alarm
18 “Trophy,
Hypertrophied”
artist
24 __ Men: “Who
Let the Dogs
Out” band
26 Follow
27 Rail system that
services 20-
Across
28 Dahomey, since
1975
31 One at a time
33 Actor Damon
36 OPEC founding
member

37 Ring fighter
38 Pop-up items
39 As of 1937, he
was the all-time
N.L. home run
leader until Mays
surpassed him in
1966
41 Like many a
successful poker
player
42 Consumed
44 Keys

45 Unilever
deodorant 
brand
46 Likely to change
47 Regard
49 Serling’s birth
name
51 Ouzo flavoring
54 “Serpico” author
Peter
56 Hightail it
59 “Star Trek: DSN”
changeling

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

02/17/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Friday, February 17, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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HELP WANTED

New Oscar shorts vibrant

Some of the most (tragically) 

overlooked categories in film are 
those of the short film. This year’s 
crop of Oscar contenders for the 
Live Action Short category prove 
feature-length films aren’t the 
only way to make movies. From 
dance comedies to immigration 
dramas, the one 
thing all five films 
have in common is 
that none of them 
are 
in 
English. 

Seen together, they 
paint 
a 
diverse 

picture 
of 
life 

across the European continent. 

“Mindenki 
(Sing)” 
— 

Hungary — 25 minutes

The shorts begin on a high note 

with Kristóf Deák’s endearing 
“Sing.” One of the best portrayals 
of adolescent girlhood this year, 
the short centers on an award-
winning school choir that boasts 
inclusivity and only half practices 
it. The plot sets up an expected, 
though not unappreciated ending. 
But what really solidifies the short 
is the performance of the young 
lead, Dorka Gáspárfalvi. There’s a 
scene early on in which she sings, 
barely above a whisper, alone to 
herself. She looks in the mirror 
at the way her mouth moves, her 
voice so light it comes in and out of 
audibility. That moment and much 
of the rest of the film are some of 

the most genuine portrayals of 
youth in film this year.

“Silent Nights” — Denmark — 

30 minutes

Often, short films feel like 

pitches for longer movies. Such 
is the case with “Silent Nights,” 
a film from Danish director 
Aske Bang. A young woman 
working at the Salvation Army 
begins a relationship with a 
homeless Ghanaian immigrant 

who comes to the 
shelter. 
“Silent 

Nights” packs an 
emotional punch, 
but ultimately tries 
to tackle too much 
— love, addiction, 
death, 
racism, 

pregnancy — for its half-hour 
runtime. The film oozes potential 
and, given a feature length and a 
better script, it could be incredibly 
impactful.

“El corredor (Timecode)” — 

Spain — 15 minutes

Unlike its peers, “Timecode” 

is something wholly unexpected. 
Purely sweet and surprising, it 
doesn’t comment on the state 
of the world except to say that 
everyone is looking for a way to 
be happy. The fifteen-minute film, 
by far the shortest of the selection, 
follows 
two 
security 
guards 

working in a parking garage as 
they find ways to pass time and 
communicate across shifts. To 
say anything more about the 
plot would do a disservice to the 
surprise Juanjo Giménez has 

expertly crafted.

“Ennemis 
intérieurs 

(Enemies Within)” — France — 
27 minutes

The strongest of the lineup 

is 
also 
the 
most 
topical. 

French director Sélim Azazzi’s 
immigration drama is set in the 
’90s, following a French-Algerian 
seeking 
French 
citizenship 

during the Algerian Civil War, but 
it could be set today. “Ennemis 
intérieurs” shines a harsh light 
on the sort of broad-brush blame 
and 
Islamophobia-inflected 

immigration policy across the 
Western world. The best-acted of 
the contenders, the short is also 
the most heart wrenching, asking 
its audience to take a look at what 
the threat to the nation really is.

“La Femme et le TGV (The 

Railroad Lady)” — Switzerland 
— 30 minutes

The brightest and ultimately 

weakest of the lineup comes from 
Swiss director Timo Van Guten. 
Jane Birkin (yes, Jane Birkin) 
plays a lonely woman who, after 
years of waving to the TGV train 
that passes by her home, develops 
an epistolary relationship with 
the driver. A social recluse who 
passionately lives in the past, most 
of her problems are self-inflicted. 
The plot plays out expectedly, 
giving Birkin plenty — probably 
too many — of opportunities 
to flux between perplexed and 
borderline senile. It’s cute and 
almost quirky, and not much 
more.

MADELEINE GAUDIN

Senior Arts Editor

SHORTSHD

Lupe’s latest evades praise

Lupe Fiasco peaked too early, 

and he knows it. In his own 
review of his own album, posted 
on Twitter, he asks what more 
there is to prove, and he has a 
point. His discography paints 
a complicated picture; Food & 
Liquor (2006) broke barriers 
for 
a 
debut 

album, 
mixing 

unprecedented 
sonic 
instrumentation 
with 
uniquely 

pointed 
preaching. The Cool (2007) 
brought 
with 
it 
just 
the 

right amount of aggression, 
maintaining trademark Lupe 
swerve while still harping on 
the same type of local worry 
with which he grew up. And 
then shit went down. Lasers 
(2011), the product of a long 
miscommunication 
between 

Lupe and Atlantic Records, 
was watered down and mostly 
ingenuine, devoid of the soulful 
swagger to which we had 
become accustomed.

Tetsuo & Youth (2015) left 

plenty for us to decode, most of 
which we couldn’t, which was 
perfectly fine. The intellectual 
puzzle revived Lupe’s career 
after his lowest low (2012’s Food 
& Liquor II), and reaffirmed his 
seemingly limitless capacity for 
lyrical development.

It’s 
not 
rocket 
science; 

there legitimately isn’t much 
left to prove. Enter DROGAS 
Light, a release that is, quite 
literally, light on everything: 
substantiality, implication and 
even innovation. It is a light 
version of his better self, a 
diverse compilation of mostly 
bubbly throwaways that are 
more suited for a concert 
setting than a Rap Genius 
seminar. It may not be the Lupe 
we want, but it’s one with which 
we should probably become 
comfortable at this point.

It’s evident as early as the 

second track. If “NGL” is meant 
to be a political statement, 
it’s outdone in substance by 
earlier Lupe, and outdated in 
sound by, well, 2017. A Ty Dolla 
$ign feature can’t save what 
sounds like off-brand Lupe. 
Seemingly one quip away from 
having a much-needed bite, 
that informed aggression never 
comes, instead proving that 

Lupe has settled 
for this. He knows, 
and we know, that 
he is, and has done, 
better. 

“Jump” 
is 
a 

brighter 
note, 

his trademark flow on full 
display 
over 
pulsing 
and 

shifty production. Recklessly 
assertive, it brings with it a 
palpable punch. The substance 
of the song lends itself to the 
smorgasbord of worry (e.g. 
material 
obsession, 
Black 

plight, 
familial 
strength, 

sexual intimacy) Lupe explores 
throughout the album, all nods, 
undoubtedly, to his legacy. It 
becomes clear that he wants to 
be remembered as someone who 
cared. We hear this in “High,” 
which boasts a futuristic sound 
draped in layers of pitchy 
background accompaniment as 
he pleads to be sent to the rap 
heavens.

“Kill” 
is 
Kendrick-esque 

in its effortless cool, which is 
ironic to even claim, as Lupe 
arguably laid the foundation for 
Lamar’s later adapted mastery 
of a vibe-infused political flex. 
Borrowing linguistically from 
To Pimp a Butterfly’s “These 
Walls,” Fiasco shifts thematic 
focus from Lamar — “My n---a, 
if these poles could talk / If the 
stage grew another pole, got up 
and walked / Gotta kill these 
dollars, it can’t be an assault 
/ Need your real love, mama, 
you can’t be in my thoughts” 
— but hits with the sort of 
emotionally-charged 
appeal 

that made us fall in love with 
him in the first place. Reasoning 

with 
the 
seemingly 
more 

ignorant public about women’s 
worth in society (uniquely, in 
this case, through the lens of 
a stripper) is the danger with 
which Lupe should probably 
still be flirting, because he’s 
proven over the course of 
his career that he’s able to 
effectively do so. A provocative 
hook with Ty Dolla $ign and 
Victoria Monét cements the 
track as the album’s best.

A relatively strong initial 

push can’t hide what feels 
like a somewhat half-hearted 
final stretch. “Law” plays as 
a cheap attempt at intimacy; 
“Pick up the Phone” fragments 
itself with an annoying hook; 
“It’s Not Design” showcases 
Lupe’s 
lyrical 
versatility 

and even creativity (“And in 
the futuristic / Love will be 
reduced to physics / Computer 
digits made by robots / That use 
statistics, algorithms, and group 
logistics”), albeit alongside out 
of place production, the same 
issue that plagues “Wild Child” 
one track later. The sincerity 
of “More Than My Heart” 
manages to salvage some of the 
back end’s lost momentum.

Regardless of album-wide 

fluidity 
(or 
lack 
thereof), 

DROGAS 
Light 
cannot 
be 

listened to pretentiously nor 
contextually. 
It 
becomes 

apparent fairly quickly that 
it’s not a release singularly 
intended 
to 
enlighten. 

Compartmentalization 
is 

vital in its listening approach; 
consciously dense Lupe is rarely 
in appearance, and deliberately 
so, eschewed in favor of a 
more carefree aura. After all, 
this Lupe 2.0 (better yet, Lupe 
Light) is all that’s left, and for 
good reason. His legendary 
record speaks for itself. He said 
it best himself when he claimed 
this release as being Lasers, 
refined. Well, Lasers was kind 
of trash, and while DROGAS 
Light deserves more credit than 
trash, it’s certainly nowhere 
close to gold.

JOEY SCHUMAN

Daily Arts Writer

1ST & 15TH

DROGAS Light

Lupe Fiasco

1st & 15th

ComCo’s ‘PMS’ brilliant

Describing 
ComCo, 
the 

University’s oldest student-run 
improv comedy troupe, is an 
impossible task. In three words, 
I’d say: brilliant, 
effulgent 
and 

wacky. As one of 
the undergraduate 
community’s 
favorite 
groups 

on campus, I had 
high expectations 
for ComCo before 
I saw it for the first 
time in September.

When 
Quinn 

O’Connor — a freshman and new 
member — stood up with a straight 
face and said, “I like my man like I 
like my hat: Sitting on my face,” I 
knew I was in the right place. The 
group is currently comprised of 
nine inimitable and contrasting 
members, 
freshman 
through 

senior, who fit together perfectly 
to create this eclectic and quirky 
group.

“I’m in a group with eight 

amazing other people who are 

all so different in what they are 
studying, where they are from, 
and their interests,” O’Connor 
said. 

ComCo shows are a popular, 

once-a-month Friday night event 
in Angell hall. They are always 
packed with friends, fans and 

students who come 
anticipating 
an 

hour-and-a-half of 
hilarious 
improv 

comedy. Many of 
ComCo’s 
shows 

attract over 300 
audience members, 
some of whom are 
willing to sit in 
the aisles if there 
are no seats left 

(something I’ll admit to doing). 
The community that ComCo has 
built at the University, has given 
students an outlet to laugh, be silly, 
have fun and separate themselves 
from 
the 
stressful 
academic 

world in which they spend their 
everyday lives.

The ComCo players never miss 

a beat during a show, getting 
laughs with every bit they play. 
They 
work 
impeccably 
well 

together given the quick speed and 

impromptu nature of the scenes. 
In speaking with members of the 
group, and seeing them perform 
together, it is clear that the key 
to the popularity of ComCo is 
the 
connection 
between 
the 

members. They are undoubtedly 
comfortable with one another and 
have a strong familial bond off the 
stage.

“Overall, ComCo has shown 

me unconditional love (take that, 
mom and dad), taught me how 
to accept others for who they 
are, and how to turn stairs into a 
sexual object,” added freshman 
Zoe Moore.

In a time when negativity 

and antagonism surround us, it 
is important to find an outlet or 
an escape. ComCo is a space that 
keeps the audience laughing non-
stop from the minute they walk 
in the door. That feel-good, belly-
laughing, brings-tears-to-the eyes 
kind of performance that ComCo 
delivers time and time again is just 
the kind of art we all need to be 
going to see.

ELI RALLO

Daily Arts Writer

COMMUNITY CULTURE PREVIEW

Oscar Nominated 
Shorts: Live Action

ShortsHD

Michigan Theater

ComCo presents: 
PMS I Love You

Angell Hall 

Auditorium A 

Friday, February 
18th @ 8 P.M. 

Free

OSCAR ROUND-UP
MUSIC REVIEW

6 — Friday, February 17, 2017
Arts
The Michigan Daily — michigandaily.com

Read more at 
MichiganDaily.com

