ACROSS
1 One in a bad
mood
5 Diplomat’s asset
9 Vatican-related
14 Memorization
method
15 Patron saint of
Norway
16 Nimble
17 High-tech
bookmark
20 African language
group
21 Winter bug
22 Cupid’s
counterpart
23 Safari beast
26 Mystery writer
whose Baltimore
home is
preserved as a
museum
28 Office gossip
35 Moved quickly,
old-style
36 Meat inspector’s
org.
37 “Awesome!”
38 Office coffee
holder, perhaps
39 Hard-rock link
40 “O Sole __”
42 1965 march
state: Abbr.
43 Gold or silver
45 Rainbow flag
initialism
47 Gillette’s __ II
razor
48 Right granted in
the First
Amendment
51 Bubbly prefix
52 Clapton classic
53 Gem from
Australia
56 Private eye
58 Go around in
circles?
62 “Et tu, Brute?,” e.g.
66 Pat down
67 Inbox clogger
68 Pamplona parlor
69 Sight or hearing
70 Wine city near
Turin
71 River of central
Germany

DOWN
1 Bed with sliding
sides
2 Author Jaffe

3 Mail-routing abbr.
4 Obviously
embarrassed
5 Weigh station unit
6 Pub offering
7 Science Diet
product
8 Nonstick kitchen
brand
9 Sketching tablet
10 Shake hands on
11 Harbor strolling
spot
12 “One more 
thing ... ”
13 Not as much
18 Industrial area of
western Germany
19 Play for a sucker
24 Post-op areas,
briefly
25 Margarita option
27 Ricelike pasta
28 Sound of a tree
falling, say
29 Broadcaster
30 __-one: long
odds
31 Kappa follower
32 Informed (of)
33 Pale purple
34 Stacy who
played Mike
Hammer

39 Out of the wind
41 “The __-bitsy
spider ... ”
44 Completely
flummoxed
46 Easy-to-swallow
meds
47 Flowering 
hybrid with 
thorns
49 Phased-out PC
screens
50 Farm machine

53 Does in, mob-
style
54 Whittle (down)
55 Idi of Uganda
57 Big cat of film
59 Actor Pitt
60 Vegging out
61 Many an Ivan, in
old Russia
63 Lute kin
64 Gained a lap?
65 “No more 
deets!”

By Bruce Venzke and Gail Grabowski
©2017 Tribune Content Agency, LLC
02/21/17

02/21/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, February 21, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

Classifieds

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

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6 — Tuesday, February 21, 2017
Arts
The Michigan Daily — michigandaily.com

With 
an 
impressive 

repertoire of work, including 
the infamous alternative cover 
of Taylor Swift’s 1989, 15 solo 
albums and a stint as member 
of alternative country band 
Whiskeytown, 
Ryan 
Adams 

is perhaps one of the most 
overlooked solo artists of 2017.

Following his 2016 divorce 

from “This Is Us” actress 
Mandy Moore, Adams released 
a statement saying he had over 
80 songs influenced by his 
divorce, ultimately selecting 12 
tracks to comprise Prisoner. 

Influenced by folk, country 

and rock, Adams brings the best 
elements of each to his work. The 
harmonica unique to folk, the 
twang that nods to country and 
the grit that is rock intertwine 
in each track, making his music 
both stylistically distinct and 
coherent.

But 
while 
his 
music 
is 

enjoyable 
and 
the 
album 

is 
emotionally 
felt, 
Adams 

ultimately falls prey to what 
most singer-songwriters are 
victim to: redundancy.

Although each isolated track 

is lyrically and instrumentally 
superior to most music that 
infiltrates 
the 
mainstream, 

when 
pieced 
together 
and 

listened to as a whole, it 
becomes hard to notice what 
precisely is that great about it.

Three songs are undoubtedly 

great whether listened to stand-
alone or on the 
album as a whole; 
the two opening 
tracks, “Do You 
Still Love Me?” 
and 
“Prisoner,” 

as well as one of the final songs, 
“Broken Away.”

“Do You Still Love Me?” 

opens with an ethereal organ 
solo and is abruptly stabbed 
with an 80s-esque guitar riff. 
Adams comes in with raw, 
gritty, angry vocals, beautifully 
juxtaposing the demure organ 
moment with sudden passion 
— perhaps a metaphor for 
his failed relationship with 
Moore. 
The 
unique 
vocals 

and instrumentation are met 
with equally as realized lyrics: 
“Another year will pass / I will 
count the days / Another sun 
goes down / And I’ll never see 
the rays / What can I say? / I 
didn’t want it to change / Is 
my heart blind and our love so 

strange? / Do you still love me, 
babe?”

Moving into the title track, 

“Prisoner,” Adams takes a less 
angry and passionate approach 
in favor of slowing down the 
tempo, utilizing softer lyrics and 
vocals to convey his message 
of lost love. Similarly, “Broken 

Away” 
begins 

instrumentally 
stripped, 
showcasing 
Adams’ 
lyrics 

and quiet vocals, 

gradually 
building 
with 

increased instrumentation and 
a more powerful sound on his 
end. Despite the blending of 
each track, Prisoner remains 
an enjoyable listen. It paints 
vignettes of love and loss, 
marriage 
and 
divorce 
and 

the trials and tribulations of 
moving on. Sometimes it can be 
easy to get caught up in finding 
the perfect album with songs 
unlike any other, but at the 
end of the day, it’s more than 
that. This album is about a man 
telling his side of heartbreak 
— whether or not each track 
is Grammy-worthy is almost 
irrelevant — what’s relevant 
is the lyrics; the sound is just 
extra. 

DANIELLE IMMERMAN

Daily Arts Writer

From the cusp of divorce, Ryan Adams brings familiar feelings

Adams’ ‘Prisoner’ isn’t 
unique, but it still works

PAX AM

Musician Ryan Adams with his cat

Prisoner

Ryan Adams 

PAX AM/Blue Note

From Herrera to Yeezy: 
NYFW 2017 at a glance

Style writer Tess Tobin analyzes and critiques the various 
clothing lines brought to us by NYFW prominent designers

“I think the strongest message 

[of this week] was looking at 
the American woman in a very 
universal way, and looking at 
fashion in a very inclusive way. 
It was really a celebration of 
women from all walks of life and 
from all backgrounds.” – Anna 
Wintour, to Vogue.com

New York Fashion Week 

houses the most diversified 
assortment of shows. While 
reoccurring trends surfaced, 
it 
is 
nearly 
impossible 
to 

categorize the conglomeration 
of designers that showcase 
their 
work 
in 
New 
York. 

Each of the 180 shows of this 
season demonstrated a distinct 
interpretation of “The New 
York woman,” and American 
fashion.

Below are reviews from four 

shows scattered on opposite 
ends the spectrum of NYFW.

Carolina Herrera:
Beautiful but bland. Crisp 

nice silhouettes, but nothing 
particularly enthusing. Herrera 
is not a designer that typically 
aims to push boundaries or 

break new ground, and that 
bears no inherent wrongdoing. 
Instead 
she 
strives 
for 

predictable 
excellence. 

However, this collection fell 
a little short. It was not bad 
so much as it was not as good 
as her usual. That being said, 
I would not be surprised if 
the penultimate look, a navy 
tulle and sequin gown with 
a Victorian collar, makes an 
appearance on a red carpet 
sometime soon.

Proenza Schouler:
With 
a 
bang. 
Proenza 

Schouler’s Ready to Wear Fall 
2017 collection was their final 
NYFW show, as they have 
announced they are making the 
move to Paris. This collection 
was marked by many different 
reoccurring style motifs, such 
as cut-outs, wrap effect and 
oversized outerwear. And in 
all, served as an excellent final 
bow, with each look destined to 
be worn by New York’s coolest.

Delpozo:
For 
a 
ready 
to 
wear 

collection, Delpozo is fairly 
unwearable. The clothes are 
immensely 
architectural, 

to the point where jackets 
resemble sculptures. But they 

are as brilliant as they are 
batty. Delpozo’s collection was 
vibrant, fun and meticulously 
executed. Every silhouette was 
obviously carefully planned. 
What’s more, the collection 
was rich both in terms of 
ornate fabric and indulgent 
colors. You’ll have to forgive 
my alliteration, but frankly, it 
was festive, fancy and fabulous. 
A wonderful respite from this 
season’s prevalent grayscale.

Yeezy:
Definitely better, still not 

good. I must applaud Kanye 
what was truly an intelligent 
decision: toning himself down. 
Fashion loves a spectacle, but 
it does not love Kanye. A fact 
made very clear after editors 
absolutely lampooned him post 
Yeezy Season 4 fiasco. This 
collection was genuinely low 
key, devoid of Kanye’s fanfare. 
The relaxed setting allowed 
for New York’s fashion elite 
to focus on the clothes, except 
there was not a whole lot to 
appreciate. Some looks were 
strong, particularly those with 
outwear. However, it seemed 
like Kanye styled clothes one 
could find elsewhere as opposed 
to designing anything novel. 

TESS TOBIN
Daily Arts Writer

Pathé

A still from Almodóvar’s “Julieta” 
‘Julieta’ does everything 
right, but still goes wrong

Almodóvar’s emotional film fails to captivate the entire heart

“Julieta,” a Spanish-language 

movie 
directed 
by 
Pedro 

Almodóvar, is a bit of a paradox. It’s 
an emotionally rich and satisfying 
story encompassing a lifetime’s 
worth of pain, grief, love and 
longing, and yet, it’s not exactly 
a “feelings” movie. It doesn’t 
connect with viewers at their 
core; it doesn’t leave its audience 
thinking and pondering over it 
after it’s done.

All the building blocks of a 

beautiful story are technically 
there. “Julieta” is told largely 
in flashback. The older Julieta 
writes the story of her life as a 
young woman when she met the 
love of her life, Xoan, on a train. 
The older Julieta chronicles their 
early days, their joy at the birth 
of their daughter and the tragedy 
that struck their lives when Xoan 
drowned in a boating accident. 
Julieta fell into a deep depression, 
leaving only her daughter, Antía, to 
take care of her. The older, present 
day Julieta is estranged from her 
daughter, leaving her wracked 
with guilt and grief. 

Actresses Emma Suárez (“¿Para 

qué sirve un oso?”) and Adriana 
Ugarte (“Palm Trees in the Snow”) 
play the older and younger Julieta, 
respectively, and both turn in 
gorgeous performances. Suárez 

can break your heart with the 
tiniest movements around her 
eyes, the smallest uptick in the 
pitch of her voice. When we meet 
Julieta at the start of the film, she is 
almost entirely alone in the world, 
and this is communicated almost 
entirely through the visual style 
of the filmmaking and through 
Suárez’s performance. But Ugarte 
might have the more difficult task, 
in regard to acting. She takes us 
through 
Julieta’s 

transformation 
from 
the 
most 

charismatic person 
in any given room 
into a deeply sad 
and broken woman. Together, the 
two actresses paint a portrait of a 
complete and complex character, 
one who holds a sort of fragile 
inner strength that’s as delicate as 
it is powerful.

Almodóvar creates a striking 

visual world for Julieta to live 
in — primary colors stand out, 
richly 
saturated 
against 
the 

Spanish seas and mountains. It’s 
all accompanied with a lush and 
graceful score by Alberto Iglesias 
(“Exodus: 
Gods 
and 
Kings”). 

The movie is rich with detail and 
lovingly made, all with the intent 
of submerging the viewer into 
the emotional world of Julieta, to 
empathize with her as fully as we 
possibly can.

It works, for the most part. 

Julieta is a character that many 

other stories would villainize or 
cast aside as pathetic and spineless 
— the depressed, absent mother 
unable to be there for her children. 
In “Julieta,” we’re forced into her 
head to really understand her, 
flaws and all. But even with its 
beautiful performances, stunning 
cinematography and emotionally 
dense subject matter, “Julieta” 
leaves the viewer feeling cold.

Maybe 
it’s 
the 
flashback 

structure that holds 
us at a distance. 
Maybe it’s the rapid 
pace that doesn’t 
give us enough time 
to 
be 
immersed 

in what’s happening beyond the 
surface 
level 
plot 
mechanics. 

Maybe it’s both. Either way, there’s 
something embedded in the film’s 
core construction that doesn’t 
leave enough room for the feelings 
it so desperately wants to explore to 
resonate with the audience. To wit: 
In my showing of “Julieta,” the end 
of the film was not accompanied by 
a stunned silence or a roomful of 
crying people, but of a widespread 
muttering of “wait, that’s it?” and 
“oh, okay, it’s over.”

It’s not a bad movie, not even 

close. I would say it’s actually a 
lovely movie, wonderful to look at, 
and made by incredibly talented 
people. Everything on the surface 
is just right — beautiful and soulful 
and engaging. Beneath the glossy 
surface, though, is a hollow core. 

ASIF BECHER
Daily Arts Writer

“Julieta”

Michigan Theater

Pathé

STYLE REVIEW

MUSIC REVIEW

FILM REVIEW

