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

DO YOU THINK VIRGIL 

ABLOH IS MAKING A FARCE 

OF HAUTE COUTURE?

If so, our Style beat is looking for additional writers! Interest-

ed? Email arts@michigandaily.com for an application.

ALBUM REVIEW
TV NOTEBOOK

6 — Tuesday, October 24, 2017
Arts
The Michigan Daily — michigandaily.com

