Classifieds Call: #734-418-4115 Email: dailydisplay@gmail.com ACROSS 1 Oldest U.S. capital 8 Spade creator 15 Melodic movements 16 Ancient region now part of France 17 Is serious 18 Impulse conductors 19 Much toothpaste 20 U.S. neighbor 21 “Picnic” dramatist 22 Letter between November and Papa 25 Singer’s warm-up syllables 26 Indy-winning family name 27 Swears by 29 66, e.g.: Abbr. 30 Metaphor for jobs 31 Lav, in London 32 Singer Kitt 36 “... __ quit!” 37 Kind of bath 39 “Just like that!” 40 Sign-off words 42 Director Lupino 43 Corny state? 44 MSN, for one 45 “I’m good” 47 Jazzy Jones 50 Miracle Mets manager Hodges 51 Frozen fruit- flavored drinks 52 Slanted piece 53 Sounds at spas 54 2017 Rock and Roll Hall of Fame inductee 55 Enchant 57 Blog comment format usually interpreted as the word spelled by eight aptly circled puzzle letters 61 Norse explorer 62 Daughter of Agamemnon 63 End of a baseball game, usually 64 Like siblings DOWN 1 __ Adams 2 “Who __ you kidding?” 3 Actress Vardalos 4 Polynesian archipelago natives 5 State as fact 6 Impede, as a plot 7 Guinness suffix 8 __ Her Way 9 “A Clockwork Orange” narrator 10 2015 Big Ten champs: Abbr. 11 Siren’s victim 12 Waist-length jackets 13 Faint trace 14 Trademarked weapon 20 One-piece beachwear 22 Former #1 golfer Lorena who hosts an annual Guadalajara LPGA event 23 Heads up 24 Adorable one 25 Screen __ 26 Four Corners state 28 Openly enjoy, as soup 29 Convened again 33 Rib eye alternative 34 Ethan of “Boyhood” 35 Gather up 37 John who composed the “NBA on NBC” theme song 38 Much-followed star 41 Gorge crosser 43 Former Chrysler head 46 Early Jewish scholar 47 116-year-old prize 48 Philip Glass’ “Einstein on the Beach,” e.g. 49 Kelly’s ex-partner 50 Belgian treaty city 53 Jesus of baseball 54 She, in Cherbourg 56 Bar opening? 57 __ Lingus 58 DIRECTV parent 59 Ante- kin 60 Bummed out By Don Gagliardo and C.C. Burnikel ©2017 Tribune Content Agency, LLC 02/23/17 02/23/17 ANSWER TO PREVIOUS PUZZLE: RELEASE DATE– Thursday, February 23, 2017 Los Angeles Times Daily Crossword Puzzle Edited by Rich Norris and Joyce Nichols Lewis xwordeditor@aol.com ARBOR PROPERTIES Award‑Winning Rentals in Kerrytown, Central Campus, Old West Side, Burns Park. Now Renting for 2017. 734‑649‑8637. www.arborprops.com 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 1 BEDROOM APTS Near N. Campus Fall 2017‑18 ‑ $900/m + $25/m Utilities Each unit has one parking space. 909 & 915 Wall St. Deinco Properties 734‑996‑1991 4 BEDROOM HOUSE May 2017 New Kitchen & Study Wood Floors Throughout Washer/Dryer, Parking $2800 + Utilities 1010 Cedar Bend Dr. 734‑996‑1991 935 S. DIVISION 2 Bedroom + Study Fall 2017? 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Over the past few days, the band slowly, unexpectedly put six tracks out through YouTube — utilizing the channel for Angelakos’s new company The Wishart Group. According to their new Twitter “moment,” the band seems primed for their newest release, Tremendous Sea of Love. From these tracks, Passion Pit’s brand of indie-pop is as stunning as ever. The six songs traverse unique soundscapes, some instrumental and some brightly painted with Angelakos’s beautiful falsetto. The band tones down their sound with “You Have the Right” — reminiscent of “Dancing on the Grave” and “Constant Conversations” from previous albums — but they pick the tempo back up to their usual brand on “I’m Perfect,” with the resounding chorus, “Tell me I’m so damn perfect.” On instrumental “Inner Dialogue,” the band plays with a vibrant array of sounds, the melody focusing on shrill synth and punctuated with otherworldly bass undertones, pushing the band toward the highly produced end of their talents. With this new music, we find Passion Pit spanning familiar atmospheres from their previous releases, while still pushing their sound slightly further. The most profound quality of Passion Pit’s music is the cohesion of their albums. Each offers a distinct vibe and subtle motif that drive the record from front to back, a streak that started with Angelakos’s first EP Chunk of Change. There’s the explosive pop of Manners and the hazy undertones of Gossamer, each of which display strong differentiation between records. That being said, this collection — if it can even be called a collection — lacks the usual assuredness once granted by their enigmatic nature. All we have left is the mantra on “Hey K”: “Love is the answer and the one design / such a simple design, holy architecture.” It’s also newly added to the band’s Twitter bio. Angelakos’s increased social media presence shows his disdain for pervasive capitalism in the music industry (especially in regard to large festivals) and hints at a rebranding on his part and the band’s. They want to change the way music is available to fans. Two days ago, Angelakos tweeted from the band’s account: “artist randomly calls out promoter regarding an injustice. promoter spews bs as a ‘statement’ framing artist as liar. artist rolls eyes.” He followed that up with a stream of tweets about lack of artist autonomy in the music industry. In his sarcasm and indignation, it seems the band purposefully avoided capitalistic involvement in the crafty delivery of the new tunes coupled into a Twitter moment. This cryptic activity begs one question — what does the band have planned? With a sampling of new music and social media activism, but few concrete details on their future, we’re left in anticipation. What is the meaning behind Tremendous Sea of Love? If Angelakos’s online statements are any indication, he has some big plans up his sleeve: “Artists are powerful, they’re taught the opposite. this is going to be an interesting few years. support artists and watch what happens.” DOMINIC POLSINELLI Daily Arts Writer COURTESY OF PASSION PIT NETFLIX ‘Chef’ enters third season I fucking love watching other people’s food. Other people making it, other people eating it, Gordon Ramsay throwing it across the kitchen — whatever I’m watching, I’m here for it. There’s something elemental, visceral, almost primal about a high-definition camera capturing a knife mid- chiffonade, or the crackling sear of a steak laid down (away from you) into a hot skillet, or even the professionally trained hand trivially beating a few eggs in a glass bowl. At this point, though, the current wave of “food porn” programming is the easiest possible target for satire. (It’s a wonder it took so long for “Documentary Now!” to produce its famous “Juan Likes Rice and Chicken” episode.) Indeed, some of the videos you can find on YouTube of celebrity chefs veer into outright self-parody. But whatever the current cultural backlash to foodie culture is — and, believe me, I’m here for that, too — “Chef’s Table” remains a staunchly engaging program, often interested less in actual content than a purely aesthetic overwhelming of the senses. And how overwhelming it is! Artful lighting, slow-motion shots, raucously overbearing classical scores, heartfelt testimonials from “food scholars” — it’s all still there, and it’s all still eye-rollingly pretentious, depending on who you ask. But as pure sensory experience, “Chef’s Table” is unmatched, inimitable. Even in its third season (“Chef’s Table: France” is technically considered a spin-off), creator David Gelb’s (“Jiro Dreams of Sushi”) series stirs something in the soul, some deeply buried desire to create. It’s enough to suck you deep into your 13-inch Macbook Pro’s full screen, only to be taken out moments later by earnestly delivered lines like: “Soy sauce is eternal. It is life itself.” Of course, none of these profiled chefs are particularly accessible for the average Netflix consumer. Jeong Kwan, profiled in the third season premiere, is a Buddhist nun at a hermitage in South Korea whose life’s purpose, it seems, is to cook “temple food;” the second episode focuses on Vladimir Mukhin, a Russian chef whose Moscow restaurant White Rabbit is at the vanguard of the country’s culinary renaissance; the famous and highly influential Nancy Silverton is featured, too, with particular focus given to her borderline manic obsession with bread. But the show’s new season should be commended, if not for a diversity of pricing, then for a wider scope of global cuisines. Kwan’s manipulation of ingredients is utterly fascinating and beautifully rendered, and all the more impressive considering her diet eschews all meat and dairy. Mukhin’s episode doubles as an illuminating bit of cultural anthropology, as his growth as a chef is intertwined with a modern history of Soviet Russia and some of its lesser known effects. Yet these narratives ultimately play second fiddle to what is, at a base level, “Chef’s Table” ’s peerless visual mastery. Blessed with Netflix’s generously high production values, Gelb has perfected the art form—and, truly, food television deserves its own categorization now. What seemed fresh and energizing in “Jiro Dreams of Sushi” has come to the logical end of its aesthetic evolution: The way we capture food on screen has been irrevocably altered, and for the better. It’s a niche and somewhat culturally elitist sphere, to be sure, but taken solely at its artful merits, “Chef’s Table” has become the paragon of America’s obsession with food. One can quibble, as I often do, that other programs provide a more enriching experience (see: Anthony Bourdain’s “Parts Unknown”), but for what it is and what it has become, “Chef’s Table” is without an equal. NABEEL CHOLLAMPAT Senior Arts Editor “Chef’s Table” Netflix Episodes 1-3 Misc. single release Passion Pit Self-released Gucci finds new territory What praise can I award Alessandro Michele, Creative Director of Gucci, that has not already already been given? The label’s FW 2017 collection, The Alchemist Garden, features a medley of characteristically flamboyant pieces for both women and men (Michele would probably scoff if he read this; gender- based clothing is so Tom Ford- era). But this time around, something new arose among the feathers and florals: Gucci found its political voice in the argument that our world is reverting to its occasionally romantic, though generally problematic, roots. From the minute this season’s invitations leaked, it was evident that Gucci had something especially intense up its sleeve. Guests were summoned via fully- functioning vinyl records whose covers read, “What are we going to do with all this future?” in the trademark trembly lettering of artist Coco Capitán. Should they find the nerve to place it on a turntable, those lucky few would hear musician Florence Welch reciting the works of William Blake, followed by an excerpt of Jane Austen’s Persuasion read by rapper A$AP Rocky. The invites’ juxtaposition of the old-fashioned with the contemporary functioned as a preliminary warning to showgoers, reminding them that no matter how far we advance, history is bound to repeat itself. I cannot forget myself: A fashion show, particularly a Gucci fashion show, is about the clothes. This time around, models paraded through a glass tube donning the typical pattern clashes along with a spray of logo-heavy accessories (Gucci sweatband, anyone?). Futuristic mesh masks, ’80s pop star sunnies and nostalgic knit earflap hats reinforced the collision of the past and future. All appeared well and good and apolitical until model number 69 strode down the runway, sporting a cut-up vintage tee featuring some incoherent combination of words written Capitán’s shaky script. A similar shirt reappeared several looks later, this time clearly donning the phrase: “Common sense is not that common.” The remainder of the collection went about business as usual, but one could not view it without wondering about that second tee. Of the 120 luxurious looks Michele sent down the runway, what will be remembered most are the invitation and one tattered, defaced scrap of cotton, an artifact inscribed with modern wisdom. This season, Gucci pleased its regulars, while unabashedly diving into new, yet necessary, territory. “Can’t repeat the past?” Alessandro chuckles from the indoor greenhouse of his Milan penthouse, “Why of course you can!” TESS GARCIA Senior Arts Editor COURTESY OF GUCCI MUSIC REVIEW TV REVIEW FASHION WEEK REVIEW 6 — Thursday, February 23, 2017 Arts The Michigan Daily — michigandaily.com