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Arts
Monday, February 20, 2017 — 5A

Classifieds

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

ACROSS
1 Soothsayer
5 Quick fix for an
elbow hole
10 Underwater
vessel
13 Cuba libre fruit
14 Lorena of LPGA
fame
15 Phony
16 Votes in favor
17 “My mistake”
18 Rice field draft
animals
19 Panama Canal
nickname
22 Robotic maid on
“The Jetsons”
23 Inherently
27 Where to find
Lima and llamas
30 Like farm country
31 Thanksgiving
tuber
34 When baseball
closers usually
shine
38 They’re often big
in showbiz
40 Sparkle
41 “I’m hungry
enough to __
horse!”
42 NYC thoroughfare
that becomes
Amsterdam at
59th Street
45 Vert. counterpart
46 Gandhi’s land
47 Garbage email
49 “Get moving!”
53 Wash or spin
57 When time is
running out
60 Computer image
63 TV signal part
64 “Giant” author
Ferber
65 Four-sided
campus area
66 Extended
families
67 Cincinnati
ballplayers
68 Tennis match
segment
69 Saintly rings
70 “Garfield” pooch

DOWN
1 Not as forthright
2 “Old MacDonald”
letters

3 Webzines
4 Mail again, as a
package
5 Fancy-schmancy
6 Have __: freak
out
7 Pulsate
8 Like grandpa’s
jokes, probably
9 Contemporary of
Mozart
10 Jazz combo horn
11 Don Ho’s
instrument
12 “Gone Girl” 
co-star Affleck
15 Mint of money
20 High school
junior, usually
21 Merit
24 Dickens villain
Heep
25 Totaled, as a bill
26 “Pomp and
Circumstance”
composer
28 Capital of Latvia
29 Sch. near the
Strip
31 “Abominable”
critters
32 Insurance rep
33 Paris newspaper
Le __

35 Golfer’s starting
point
36 __ Christian
Andersen
37 “Still sleeping?”
response
39 Regular payment
43 Precipitation
stones
44 A pop
48 Rescued
damsel’s cry
50 Enlighten

51 Throat dangler
52 Bicycle feature
54 Encrypted
55 Monday, in Le
Mans
56 Use the delete
key, e.g.
58 El __: weather
phenomenon
59 Throw away
60 Mensa nos.
61 Billiards stick
62 Breakfast grain

By Mark McClain
©2017 Tribune Content Agency, LLC
02/20/17

02/20/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Monday, February 20, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

WORK ON MACKINAC Island 
This Summer – Make lifelong friends. 

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Front Desk, Bell Staff, Wait Staff, Sales 
Clerks, Kitchen, Baristas. Dorm Housing, 

bonus, and discounted meals.
(906) 847‑7196. 
www.theislandhouse.com

FALL 2017‑18 Apts @ 1015 Packard
2 Bedroom ‑ $1370 ‑ 2nd floor
3 Bedroom ‑ $1380 ‑ basement

1 parking space avail for $50/m per unit

Deinco 734‑996‑1991

 ARBOR PROPERTIES 

Award‑Winning Rentals in Kerrytown,

Central Campus, Old West Side, 
Burns Park. Now Renting for 2017. 
734‑649‑8637. www.arborprops.com 

COME JOIN A Focus Group about the 
Michigan Daily and receive $40 cash for 
one 75‑minute group discussion. We 

want representation from all of our 

readership ‑ current students, faculty and 
staff, 
other 
community 
members, 
including 
current readers who are former students 
or UM employees. Please contact Lisa 

Call at 734‑647‑6582 if you are 
interested in participation.

1 BEDROOM APTS Near N. Campus
Fall 2017‑18 ‑ $900/m + $25/m Utilities

Each unit has one parking space.
909 & 915 Wall St.
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935 S. DIVISION
3 Bedroom Fall 2017? 
Max Occupancy is 4 ?
2 Parking Spaces Washer/Dryer
$2190 + Utilities
Cappo Mgmt 734‑996‑1991

EFF, 1 & 2 Bdrm Apts Fall 2017‑18
Many locations near campus

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

Most include Heat and Water
www.cappomanagement.com
734‑996‑1991

FOR RENT

HELP WANTED

SUMMER EMPLOYMENT

Happy birthday, mom.
Every 
morning, 
when 

choosing my outfit for that day, I 
try to imagine Rihanna wearing 
whatever I’ve chosen. If I can’t, 
back in the closet it goes.

If I can, however, I will wear 

those clothes. I will wear them 
and I will walk around campus 
and I will feel like I matter more 
than anyone else because I am 
Rihanna, dammit.

She 
may 
be 
turning 
29 

Monday, but Rihanna has been 
making and breaking all of 
fashion’s most ubiquitous rules 
since her debut on pop’s world 
stage in 2005. She could wear 

a paper bag and it would be 
art. From epitomizing every 
clothing trend of the early 2000s 
to reminding us that women 
have nipples, you, me and Anna 
Wintour have badgalriri to 
thank for bringing bravery to 
the forefront of 21st century 
fashion.

She may be the baddest bitch 

in the Western Hemisphere 
(fact-checked), 
but 
Rihanna 

is proof that anyone with guts 
can become a fashion icon in 
their respective community. 
Long since passed are the days 
of “I could never pull that off” 
— where would our sexy pop 
goddess be if she’d relented to 
self-doubt? Not rocking that 15 
thousand-dollar Saint Laurent 
heart cape, that’s for sure.

The Barbadian beauty queen 

carries indisputable clout in 
the world of fashion. She is 
currently the Creative Director 
of 
her 
own 
high-end 
line 

with Puma alongside Design 
Director Melissa Battifarano. 
Yet more transcendent than the 
frilly athleisure of Fenty x Puma 
is Rihanna’s everyday street 
style. A Gucci tracksuit here, 
a Balenciaga stole there. The 
woman can do no wrong; if she 
does, the rules will just change 
and the fashion industry will be 
on its merry way.

Rihanna is my fashion mother. 

If she won’t wear it, neither will 
I. Here’s to 29, badgalriri. Thank 
you for the boundary-breaking, 
the beauty and the courage. Be 
sure to pour it up tonight.

TESS GARCIA
Senior Arts Editor

Happy Birthday, Rih: An 
ode to fashion’s badass

BADGALRIRI

Rihanna, who celebrates her 29th birthday today

Lo Theisen talks The Menzingers, the going and the leaving 

MUSIC COLUMN

Where do we go now?

The Menzingers aren’t the 

first band to make youthful 
music for those who aren’t so 
young anymore, but they’re 
probably the most up front 
about it. The very first chorus 
on their new album, After the 
Party, asks the question that 
looms over all of the next 12 
tracks: “Where are we gonna 
go now that our twenties are 
over?”

Usually, when rock bands 

get older, they get softer. 
Compare the unhinged-comp-
lit-major bellowings on The 
Hold 
Steady’s 
Separation 

Sunday with the tighter, more 
traditional and melodic work 
of that band’s last two albums. 
Look at The Clash recording 
“Should I Stay or Should I 
Go” only a few years after 
“White Riot.” Not only is it 
difficult to keep up youthful 
fury an entire career, but most 
long-standing 
punk 
bands 

also switch up their sounds 
because, eventually, loud and 
fast becomes too tight a box.

The Menzingers have bucked 

this 
seeming 
inevitability. 

After the Party is a clear 
turning point for the band, but 
it doesn’t feel like anything 
was lost in this evolution. 
The band plays a show in 
Detroit next week, and these 
new choruses should get the 
crowd jumping and shouting 
just as much as older beloved 
work. Songs like the title 
track, “Midwestern States,” 
“Bad Catholics” and “Lookers” 
all 
feature 
immediately 

memorable melodies, no-frills 
guitar work and unrelenting 
drumbeats, just like you would 
expect from The Menzingers. 
Meanwhile, 
the 
slight 

structural experimentations of 
“Charlie’s Army” and “House 
on Fire” emerge as standouts 
on later listens.

It’s clear, though, that the 

bandmembers 
have 
learned 

a thing or two since their 
breakthrough album On the 

Impossible Past. While the 
band has been singing about 
the passing of time ever since 
they started making music, the 
nostalgia on old Menzingers 
tracks felt aspirational and 
naïve, as though singer Greg 
Barnett was crafting future 
memories that he anticipated 
looking back on. The images 
on 
classics 
like 
“Gates” 

and “Casey” are almost too 
expertly 
arranged, 
with 

cigarette-smoking waitresses 
flirting 
with 
hackey-sack 

playing stoners in a beautiful 
mural of Midwestern suburbia. 
Barnett seems to know exactly 
which words he needs to sing 
with his unpretty, garage-
band voice to get all his fans 
reminiscing on their fondest 
moments of adolescence.

After the Party’s details feel 

lived in, rougher and truer to 
life. The opening track puts 
us in a clear age, a fixed point 
in time rather than a hazy, 
curated nostalgic landscape. 
And so an early reference 
to 
“On 
the 
Road,” 
that 

cliché symbol of young male 
adventure, 
doesn’t 
prompt 

eyerolls, because it ends up on 
an album next to lines about 
falling asleep to dumb shows on 
Netflix. Lyrics that doubt the 
value of a college diploma hit 
hard with a whole generation. 
A 
violent 
ex-boyfriend 

sparks real menace, because 
we know that in real life, 
we’re not guaranteed safety 
and happy endings. These 
aren’t inspiring narratives of 
romantic Midwest heroism, 
but songs of self-doubt and 
earnest reflection.

But what I’ve been trying to 

decipher most about After the 
Party is how universal it feels 
despite being written from the 
perspective of one definite age. 
Just as The Menzingers have 
crafted more specific songs 
with precise details, they also 
seem to have expanded their 
potential fanbase. Sure, it’s 
understandable that a youthful 
break-up anthem like “Gates” 
may 
only 
inspire 
passion 

among a crowd that spends its 

nights waiting for service at 
Steak ’n Shakes and drinking 
pitchers in bowling alleys, 
but then why would After the 
Party reach anyone who hasn’t 
just turned 30?

More bluntly, how am I, a 

21 year-old senior in college, 
identifying with so much of 
this album? When I hear the 
couplet “Everybody wants to 
get famous/But you just wanna 
dance in a basement” I see the 
most vivid scenes of my friends 
at parties singing along to top-
40 pop. “There’s beer left, 
so I think I’ll stay” is a line 
I’ve definitely heard before. 
“Waiting for your life to start 
then you die/Was your heart 
beating in the first place?” 
feels terrifyingly urgent no 
matter what your age.

The truth, I think, is that The 

Menzingers have managed to 
write an evergreen chorus and 
then sustained it for a whole 
album. In my head, I can easily 
hear Bruce Springsteen singing 
something like that first song: 
“Where am I gonna go now 
that my sixties are over?” Ten 
years from now, it would be 
no surprise if the band’s new 
album leads off with: “Where 
are we gonna go now that our 
thirties are over?” To me, 
when I listen, I actually hear: 
“Where am I gonna go now that 
my college is over?”

What The Menzingers really 

get right is that After the Party 
isn’t any kind of ending any 
more than your thirties and 
beyond are a mere epilogue 
to your twenties. What one 
discovers over the course of 
this record is that it’s almost 
ridiculous to worry so much 
about dividing life into such 
distinct decades. In reality, we 
slowly and unknowingly evolve 
and reinvent ourselves, keeping 
the good stuff and gradually 
shedding 
what 
no 
longer 

feels true. We move from one 
thing to the next, but rarely is 
anything truly “over” until the 
very end. After the party, there 
are usually just a few missed 
alarms and, if you’re lucky, a 
delicious breakfast.

LAUREN THEISEN
Daily Music Columnist

Hayes ponders self-image 
in new poetry collection

Terrance Hayes’s most recent 

poetry collection “How to be 
Drawn” builds upon the idea of the 
word “drawn” in a broad sense. In 
addition to being a poet, Hayes is a 
visual artist, his work pondering 
what it means to sit for a figure 
drawing. In an interview, he posed 
questions such as: “What does it 
mean to sit? What does it mean for 
someone to let me draw them?” 
He also pondered what it is to be 
“withdrawn” as well as how to 
move about the world, and drawn 
as in the sense of a horse-drawn 
carriage, wondering what it is to be 
seen and be engaged.

Terrance Hayes read in the 

apse of the UMMA this past 
Tuesday as part of the Zell Visiting 
Writers Series. Hayes is a former 
MacArthur fellow and recipient of 
2010 National Book Award as well 
as recently appointed Chancellor 
of the American Academy of Poets.

He read from his most recent 

collection of work, “How to be 
Drawn” and additionally shared a 
series of unpublished sonnets, each 
bearing the same title: “America’s 
Sonnet for my Past and Future 
Assassin.”

Hayes opened with a poem 

titled “Gentle Measures,” which 
alludes to an 1871 text that 
instructs parents on strict child 
discipline. In the poem, Hayes 
transcends time and space to 
navigate legacy, abandonment, 
God and love as one generation 
flows into the next. He ends one 
stanza, “Goddamn, I want to be 
as hardcore as my daddy,” and two 
stanzas later writes, “But I will 
not claim to know other people’s 
loneliness.” He mentions children 
growing up all over the globe, from 
Bolivia to Syria, moving seamlessly 
into reverence for things as small 
and tangible as a tongue painted 
inside a doll’s mouth and back 
to 
high-stakes 
statements 
of 

passion such as: “I have said I am 
in love with beauty,/but my heart 
is so mangled, it spills blood on 
everything.”

With this he suggests a love 

that exists within the crossroads 
of inexorable pain and hardship, 
worthy because it is under such 
constant and complicated threat, 
something persistent across racial, 
geographic and theological lines.

He read “American Sonnet for 

Wanda C.” — a sonnet dedicated 
to Wanda Coleman, a poet who 
acknowledged the sonnet as an 
inherently 
exclusionary 
poetic 

form and worked to reclaim it. 
Expressing her experience as 
a Black woman, she titles her 
sonnets “American Sonnets” as a 
way of probing previously accepted 
notions of American identity.

In a tribute to her, Hayes writes: 

“If there is no smoke, there is 
no party. I think of you, Miss 
Calamity/Every 
Sunday.” 
He 

embraces what can be made wild, 
radical or unpredictable within the 
confines of conventional form.

As a reading that took place 

on Valentine’s Day, it seemed 
only fitting for Hayes to read 
sonnets, best known as 14-line 
poems addressed to a lover, yet his 
sonnets are by no means swoony or 
adoring, as they dwell in imagined 
deaths and deep-rooted fear.

He introduced his series of 

unpublished sonnets, each bearing 
the title “America’s Sonnet for 
my Past and Future Assassin,” a 
collection Hayes began the day 
after the election. He described 
the poems as “weird.”

“They’re 
not 
like 
normal 

stories,” Hayes said. “People are 
used to thinking of poems and 
most things that are written as 
narrative.”

He claims that his poems do not 

always contain clear narratives, 
but are often are driven by tone or 
image.

“I 
recognize 
that 
my 

imagination is strange but I’m 
always trying to put people at 
ease,” he said.

The addressees of the sonnets 

range from a stinkbug to President 
Donald Trump to the color white. 
He 
revisits 
the 
omnipresent 

tension between light and dark 
with a line such as “part sanctuary, 
part panic room.” He pulls in 
references to music icons such as 
Prince and Jimi Hendrix (Hayes 
suggested that poetry is indeed 
music, the absence of instruments 
replaced by breath and voice). In 
writing these sonnets he asked 
himself: “Can I write a political 
poem phrased as a love poem?”

In one poem he repeats the 

n-word, 
associating 
it 
with 

different 
body 
parts 
— 
the 

repetition haunts the space and 
the poem ends with the line: 
“you will never assassinate my 
ghost.” Another poem addresses 
Sigmund Freud’s grandson Lucien 
Freud, an artist who encapsulated 
the perverse and strange. The 

poem dwells in the corporeal and 
contemplates the notion of the 
voyeur, using the word “pussy” 
liberally, much to the discomfort 
of the audience and even eliciting 
discomfort in Hayes himself.

However, 
this 
notion 

of 
discomfort 
or 
what 
one 

audience 
member 
identified 

as “provocative” is central to 
Haye’s poetic philosophy. He 
said that he likes to surprise and 
be surprised by his own work, 
exploring uncharted territory as 
far as writing poems that make 
him squirm a little. Hayes said that 
to read a piece of work that might 
make him anxious is a reminder.

“It just means that you’re still in 

the water, that you’re still working, 
that it’s a living breathing thing. 
It’s not even about perfection for 
me, it’s just about working. I like it 
because it makes me more alert,” 
Hayes said.

In another sonnet he addresses 

Donald Trump, invoking the 
color orange with phrases such as 
“goldfish pumpkin,” and a line, “I 
know your stage.” Another poems 
recounts images of whiteness in 
the form of a near-alphabetized 
list — “Aryans, Betty Crocker, 
blowfish, 
bullhorns, 
carcasses, 

etc.”

Hayes’s 
adherence 
to 
the 

traditional sonnet form amplifies 
his contained restlessness, as his 
final sonnet contains the eerily 
comprehensive lines, “You just 
wanted change is all,” and, “May 
your restlessness come to rest.”

This 
constant 
motion, 
a 

pursuit of restlessness and slight 
discomfort 
supports 
Hayes’s 

philosophy as a teacher of poetry.

“It is a practice. It’s not a 

product. It’s a process,” Hayes tells 
his students. “I’m trying to say you 
should always be thinking about 
what you’re making, what the next 
thing is, opposed to letting the dust 
gather on a handful of really great 
poems you’ve written. I don’t think 
that’s what it’s about.”

Hayes concluded the reading 

by sharing “The Rose Has 
Teeth,” a poem resembling a 
lyrical ode to the body and the 
piano and a lover that contains 
moments of music such as “I 
was 
trying/to 
limber 
your 

shuffle, the muscle wired/to 
muscle” and “I wanted to be/a 
ghost because the skull is just 
a few holes/covered in meat,” 
as he ponders bodily motion 
as one observes and exists and 
lives out the poetic process and 
indulges in what Hayes refers to 

MARIA

ROBINS-SOMEVILLE

Daily Arts Writer

COMMUNITY CULTURE REVIEW

