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