FALL 2018 HOUSES
# Beds Location Rent
11 1014 Vaughn $7700
9 1015 Packard $6525
7 1129 White St $5250
6 415 N. Thayer $4350
6 511 Linden $4800
6 605 Hoover $4500
6 708 E. Kingsley $4800
6 722 E. Kingsley $4650
6 1119 S. Forest $4350
6 1207 Prospect $4900
6 1355 Wilmot Ct. $5075
5 515 S. Fourth $3700
5 935 S. Division $4000
5 1016 S. Forest $5400
5 1024 Packard $3700
4 809 Sybil $3200
4 827 Brookwood $3000
4 852 Brookwood $3000
4 927 S. Division $3100
4 1117 S. Forest $3200
4 1210 Cambridge $3400
Tenants pay all utilities. Leasing
starts Nov. 10th. Reservations
Accepted till 11/8.
CAPPO/DEINCO 734‑996‑1991
MAY 2018 – 6 BDRMS HOUSES
417 N. Thayer ‑ $4500
811 Sybil ‑ $4400
Tenants pay all utilities.
Showings Scheduled M‑F 10‑3
24 hour noticed required
DEINCO PROPERTIES
734‑996‑1991
FOR RENT
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 eBay sale
condition
5 Nasal spray, e.g.
9 Guiding values of
a group
14 Funnyman Jay
15 Actress Falco of
“Law & Order
True Crime: The
Menendez
Murders”
16 Bench-clearing
fight
17 Indonesian resort
island
18 Big commotion
20 Assists with a
felony
22 River near the
Egyptian
pyramids
23 Podcast
interruptions
24 Taxable profit
26 Julep ingredient
28 It has only two
possible answers
33 Enjoy a pizza,
say
34 Summer shades
35 Hosp. diagnostic
chamber
36 Performs like
Drake
39 Have a bug
40 Pedal pushers
41 Lifeboat mover
42 Like cellars,
typically
44 “The Blacklist”
government agcy.
46 Start of a
teaching moment
from grandpa
52 Australian isl.
state
53 Chose from a
menu
54 Refuse to share
55 Imitated
58 Hindu sage
59 Showing
embarrassment
... or what the
circles in three
puzzle answers
are literally doing
62 Not much
63 Thorny plant
64 Like eyesores
65 Snippet of poetry
66 Platform for a
play
67 Get ready for a
selfie
68 __-back: relaxed
DOWN
1 Hudson River
capital
2 Naval construction
worker
3 Shoreline
recesses
4 “C’est la vie”
5 “I’m not
impressed”
6 “Beats me”
7 iPad voice-
activated app
8 Reveal
9 Fade away
10 One playing
hooky
11 Difficulty, with “a”
12 Birds that can
rotate their heads
about 270
degrees
13 Sneaky
19 Red Sea republic
21 Lee of desserts
25 QB’s flub
27 Magazine unit:
Abbr.
29 Ear cleaners
30 Carrier whose
largest hub is
O’Hare: Abbr.
31 Mine extraction
32 Petty peeve
36 Information on a
Broadway ticket
37 Satisfied sigh
38 University of
South Africa city
39 Org. for docs
40 Computer network
security system
42 Bad-mouth
43 “Oh, drat!”
44 Word on a gift tag
45 Future blossoms
47 “Get off my back!”
48 Alpine songs
49 “Lawrence of __”
50 The Twins of the
Zodiac
51 Worked on text
54 Injured
56 PC key used for
scrolling
57 “Logically, ... ”
59 Channel formerly
called
“Superstation”
60 Fury
61 Just For Men
product
By C.C. Burnikel
©2017 Tribune Content Agency, LLC
10/24/17
10/24/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, October 24, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
COMEDY CENTRAL
What ‘Broad City’ gets
right about depression
“Broad City” has been back for
its fourth season for a little over a
month, and the season might be its
best yet. Creators and stars Abbi
Jacobson (“Portlandia”) and Ilana
Glazer (“Rough Night”) know their
show’s past well, often winking
to moments in previous seasons,
but they don’t let their characters
remain stagnant.
Abbi was working as an assistant
to an ad executive (hilariously
played by Wanda Sykes (“Bad
Moms”))
before
getting
fired
in a shrooms-related incident.
Ilana gets a job in an upscale
sushi restaurant, managed by
Marcel (Ru Paul, “Ru Paul’s Drag
Race”), where she is making the
most money she’s ever had. Each
character also loses some baggage
from
previous
seasons:
Ilana
reached closure with Lincoln in
a bathroom after shitting herself;
Abbi left things on a positive note
with Trey after training Shania
Twain (yet another amazing guest
star) and breaking his penis. And
even though the show isn’t saying
Trump’s name audibly, this season
— the first to take place in winter,
and under Trump’s administration
— doesn’t shy away from the
current state of affairs. In one
episode, the pair escorts women in
and out of a Planned Parenthood,
eventually blowing a vape cloud
into the face of an angry protester,
thus changing his view on the
topic (obviously). In another, Ilana
complains about the decreasing
quality of cell reception and
subway service since “becoming a
fascist state.”
None of this is especially new
for the show as it has leaned
into the woke, white-girl stoner
sitcom we know it as today, but
“Broad City” took its approach
to new levels last week, devoting
almost
an
entire
episode
to
Ilana’s struggle with depression.
Titled “Abbi’s Mom,” the episode
opens with Abbi preparing for
a visit from her mother while
Ilana struggles to overcome her
mounting depression, made worse
by Seasonal Affective Disorder.
Ilana is struggling to give Abbi
her attention, sitting quiet and
distant before turning on her SAD
lamp and popping back into her
signature boisterous style. She has
been steadily lowering her dosage
of antidepressants (a goal she set
in the second season’s finale) and is
relying on the SAD lamp to make it
through the winter.
The remainder of the episode
plays out while Abbi and her mom
(Peri Gilpin, “Fraiser”) dine at
Sushi Mambeaux, where Marcel
has cancelled the evening’s tips
pool and promises to fire the server
who earns the least and give all the
tips to the server who earns the
most. Emphasizing how depression
doesn’t care about or stop for life,
even when your job is on the line,
Ilana spends half of her shift in a
storage closet hugging her SAD
lamp and the other half struggling
to make it through customer
interactions.
The show’s approach conveys
the
experience
of
crippling
depression so well by taking the
internal symptoms and placing
them in plain view. Through
special effects, scenes where Ilana
is struggling to do her duties play
out the overwhelming feeling of a
depressive episode — that feeling
of being slightly removed from
your present — shown by slight
slow-mo and the echoing of her
customer’s requests. My therapist
uses the metaphor of walking
through peanut butter to visualize
the struggle of everyday life
with depression, but this episode
acknowledges that sometimes you
aren’t only walking through peanut
butter,
but
sometimes
you’re
swimming through it, using all of
your mental will power to move,
breathe and exist.
As her shift progresses, Ilana
has to up the intensity of her SAD
lamp, lining the closet with tin foil,
bringing in the kitchen’s meat lamp
and finally switching to a higher
wattage bulb. When Abbi swaps the
bulb, Ilana slowly rises out of a fetal
position, relishing in the lamp’s
sweet relief. But as is with most
ineffective coping mechanisms,
all the time and energy put into it
is a waste, as they blow one of the
restaurant’s fuses. Band-Aid fixes
to depression — or any mental
health problem — feel good in the
moment but won’t change your
situation, as exemplified by Ilana’s
lamp.
CHRISTIAN KENNEDY
Online Arts Editor
LOMA VISTA
St. Vincent straddles the
coasts in her latest record
St. Vincent is a fabrication.
It’s a creation slowly built
and carved by Annie Clark, a
project that came to resemble
a human but wasn’t entirely
meant to be. The name itself
suggests the unreal, like the
abstraction taken from an icon,
a wistful sense
of the holy that
never was and
isn’t still. That
it’s Annie’s face
which
graces
the cover of over
half St. Vincent’s
studio albums is beside the
point: They share the same face,
but St. Vincent is the image,
Annie the person. Clark likes
to play with that line between
the persona and the person,
but no matter how sweetly
she has danced between the
two, she still makes it known
that it’s a performance. That
creation has been her appeal
to universality, and her Chloes
and Johnnys, her “You”s and
“I”s are all characters in this
world building.
On
MASSEDUCTION,
her fifth album, the tension
between
Annie
and
St.
Vincent dominates. It means
everything and still it’s more
unclear
than
ever
before.
That’s St. Vincent on stage
bemoaning the seduction of
the masses. There’s the created
image fearing the future. And
yet, when we move beyond the
plastic surgery she both mocks
coyly and wears herself, there’s
an unflagging clarity that feels
new.
Never
has
she
made
a
song like “New York.” Never
has she felt so naked; never
has
her
songwriting
been
so simply beautiful, so free
of alien metaphor, straight-
talking yet poetic all the same.
Here, she sings to a friend
about definitions, about what
a
city
means
when
those
who made it everything are
gone. Loss is consuming on
MASSEDUCTION.
“New York” is the heart of
this album, and so is the city.
This is an album of love within
a disease — within powerful
addictions
and
temptations
that rip people apart. And when
she’s talking about love, she’s
talking about New York. Her
relationships mold that city,
and when she walks through
Time Square with her friend in
“Happy Birthday, Johnny,” the
loss she feels in the tear of that
friendship is inexorably tied to
those buildings. She sings him
happy New Year and the ball
drops for them both, far apart
as they may be.
When she’s on the other
coast,
she’s
singing
about
longing too, but it’s more
lustful there, and
a bit cheeky. On
“Los
Ageless,”
she’s grinning at
the
superficial
desires of that
city. It’s a story
of
wants
in
Hollywood, this dying yearn for
youthful perfection that will
forever remain unattainable:
“How can anybody have you?
/ How can anybody have you
and lose you?” That song and
that city are a degree separated
from
reality.
Los
Ageless
isn’t a place, and whoever or
whatever you take the “you”
as, it’s gone regardless. Like
that illusion, the song itself
is overly concocted, complete
with the ’80s drum pattern
and synths signature of pop
producer Jack Antonoff, who
co-produced this album. This
formula appears all throughout
MASSEDUCTION, and it can
be relentless in its forced smile.
Of course that’s the point, but
it can make for a less than
gratifying listen. “Los Ageless”
never really goes anywhere. It
hardly wavers from the straight
line laid out by its chorus.
We can read the tension
between St. Vincent and Annie
Clark
through
the
tension
between
the
two
coasts,
and this album rides these
two
modes:
She
alternates
between the plastic of San
Bernardino and the wrought
confessional of the concrete
jungle. Loneliness and loss
move between these coasts,
certainly, but the separation
between the cities defines how
she processes these feelings. In
New York she looks inwards; in
Los Angeles she looks outwards
(and
isn’t
too
impressed).
MASSEDUCTION is very much
about flying between them.
The stretch from “Pills”
to “Los Ageless” is that West
coast concern for the outward.
The seductions she tackles
are broader and more of the
masses, as the album title
suggests.
There
aren’t
the
hyper-specific moments we get
on the tracks about New York,
like that hotel room where
Johnny lights up his Bic lighter
in “Happy Birthday, Johnny.”
Instead we have abstractions;
in the title track she sings of
“A punk rock romantic” and
“Nuns in stress position.” On
“Pills,” she dances to a chipper
club beat while describing a
pill-induced haze that could
be anyone’s. She sounds almost
celebratory, and she gets away
with it because she’s right
there in it too, seduced by the
drugs and technology herself.
She avoids what easily could
have been a gratingly haughty
tone.
This slew of songs is the
most upbeat on the album,
and St. Vincent hardly lets up
the guise. They’re interesting
thought experiments, but they
can grow a bit tiresome as they
push farther in the album,
almost
monotonous.
When
that sound reappears as late as
“Fear the Future,” it’s nearly
exhausting. It’s what makes
those New York tracks so
stunning, such breaths of fresh
air among all the sickness.
For a while we’re not sure
whether the two sides of this
album will ever truly meet:
drug- and sex- fueled nights
lead into confessionals without
a clear sense of narrative. It’s
not until the end that we see
MASSEDUCTION as a single
story, on the closing track,
“Smoking Section.” The song
is an absolute triumph. It
brings the unresolved ends
to light, and the apparent
contradictions are explained.
St. Vincent draws a sketch of
someone on the edge, someone
who sees how easily it could
all burst into flames and kind
of likes it, maybe wants it to
happen. “Let it happen,” she
sings. And yet she doesn’t.
By the end she decides, “It’s
not the end,” though it very
well could have been. The
track moves slowly, explodes,
recoils and does it all over, like
the turns this album makes
track by track. It’s a glam
rock ballad about pop suicide,
which she contemplates like
a dark game on her stage,
waiting for someone to light
her up. But she doesn’t want to
step over that edge. She stays
behind it, toying with her own
destruction, reveling in the
seduction all the same.
MATT GALLATIN
Daily Music Editor
Read more at MichiganDaily.com
MASSEDUCTION
ST. Vincent
Loma Vista
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ALBUM REVIEW
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Arts
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