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