Classifieds

Call: #734-418-4115
Email: dailydisplay@gmail.com

FOR RENT

ARBOR PROPERTIES 

Award‑Winning Rentals in 

Kerrytown 
Central Campus, Old West 

Side, Burns Park. 

Now Renting for 2018. 

734‑649‑8637 | www.arborprops.com 

FALL 2018 HOUSES

# Beds Location Rent

 11 1014 Vaughn $7700

 9 1015 Packard $6525

 6 511 Linden $4800

 6 1016 S. Forest $5400

 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 1024 Packard $3700

 4 412 E. William $3200

 4 507 Sauer Ct $3600

 4 509 Sauer Ct $3600

Tenants pay all utilities.

Leasing starts Nov. 10th

Reservations Accepted till 11/8.

CAPPO/DEINCO

734‑996‑1991

MAY 2018 – 6 BDRMS HOUSES

811 Sybil ‑ $4400 

Tenants pay all utilities.

Showings Scheduled M‑F 10‑3

24 hour noticed required

DEINCO PROPERTIES

734‑996‑1991

ACROSS
1 Apples on a desk
6 Unattached
10 Ruler meas.
13 Two-sport
Sanders
14 Texas city
15 Leave work
16 Braugher of
“Brooklyn Nine-
Nine”
17 Maker of Swift
laptops
18 Waiter at a stand
19 Watch a music-
streaming app?
22 Garden State city
24 “__ be the judge
of that”
25 Make the call
26 Organize circus
performers?
30 Afflicts
31 Where Spike Lee
earned his MFA
32 Louisville Slugger
wood
33 Answered
counterpart
35 Little devil
37 Brazilian music
genre
41 Up to, for short
43 Blanc with “That’s
all folks” on his
gravestone
45 Punch or file
46 Rationalize one’s
need for duel
assistance?
50 Actress Aniston,
in tabloids
51 Afternoon social
52 “Mean Girls”
actress Seyfried
53 Worship at the
altar of
buttercream?
57 Declare openly
58 Streaming on
Facebook
59 Tantalus’
daughter
62 Manage
63 Over
64 Further out there
65 Start of
something?
66 Gets some sun
67 Sparkling wine
choices

DOWN
1 Mont. neighbor
2 “White __ Can’t
Jump”

3 Charity fundraiser
since 1985
4 Vital business
holdings
5 Villainous
visages
6 Exchange
7 Folded Mexican
fare
8 Vinegary, as acid
9 Brute
10 Oscar-winning
“Gravity” director
Alfonso
11 Mistakes
12 Stretch on the job
15 Invoice abbr.
20 Parchment source
21 Dental visit
freebie
22 Org. that fills
bowls?
23 Bulldog fans
27 “Just an update”
letters
28 Delish
29 “Need my help?”
34 Catchy tune
36 Edible orb
38 Selene and Luna
39 No foe
40 Only actor to
appear in every
episode of
“M*A*S*H”

42 Become
prostrate
44 Future atty.’s
exam
46 Valet in
Wodehouse
stories
47 Labor parties?
48 Oatmeal
alternative
49 Key of Dvorák’s
New World
Symphony

50 Singles network
logo with a partly
outlined Star of
David
54 Chain email
abbr.
55 It may be self-
cleaning
56 Works with
threads
60 Pollen carrier
61 Hectic hosp.
zones

By Andy Kravis and Erik Agard
©2017 Tribune Content Agency, LLC
10/27/17

10/27/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Friday, October 27, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

The Michigan Daily — michigandaily.com
Arts
Friday, October 27, 2017 — 5A

XL RECORDINGS
BLEECKER STREET

King Krule sinks further 
into ‘The OOZ’ with style

London 
is 
a 
melting 

pot, sure, but Peckham is 
something else. There are 
Nigerian 
fashion 
retailers 

mixed with Jamaican chicken 
shacks; down the road there 
are cult-like gatherings where 
British 
youth 
reminisce 

about the days 
before 
CCTV 

monitored 
the 

top 
deck 
of 

buses. 
It’s 
a 

bizarre 
place, 

and 
a 
fitting 

home for Archy 
Marshall — a scraggly white 
kid with red hair, who cites J 
Dilla and Fela Kuti with equal 
reverence. 

Archy’s 
broad 
range 

of 
influences 
lends 
itself 

naturally 
to 
his 
scattered 

musical identity. His most 
acclaimed work is as King 
Krule, the enigmatic guitarist 
we haven’t seen since 2013, but 
he’s also Edgar The Beatmaker 
(Soundcloud producer), DJ JD 
Sports (Macbook rapper), Zoo 
Kid (depressed high schooler) 
and of course Archy Marshall 
(so far, a lo-fi cloud rapper).

His latest effort as King 

Krule, The OOZ, is largely 
characterized by the radio 
silence 
that 
preceded 
it. 

Since we’ve last seen him, 
he’s aged, fallen in and out of 
love, rapped with rappers and 
smoked in his ever-changing 
native Peckham. On “A Slide 
(In New Drugs)” he quips 
“The cityscape, bourgeoisie 
change to replicate / How can 
I be feeling the same as you?”

It’s been four years, but 

he’s by and large the same 
as he once was. Where on 6 
Feet Beneath The Moon Archy 
would yell at the sky, The OOZ 
sees him kick rocks through 
a cloud of smoke. While the 
years have certainly eroded 
the more explosive musical 
tendencies 
of 
his 
youth, 

the album features some of 
his 
clearest 
and 
sharpest 

songwriting to date.

At 17 he already had the 

perspective 
of 
a 
twice-

divorced man, but now at 
23, the pool of experience 
he draws from has grown 
even more burdensome. The 
album is his best attempt 
at letting it out, or perhaps 
letting us in, and while it’s not 
exactly a “happy place,” the 
incessant “ooz” of day-to-day 
life presents a challenge you 
simply learn to get on with.

On album-opener “Biscuit 

Town,” 
he 

rhymes 
“Gianfranco 
Zola” 
with 
“I 

think she thinks 
I’m 
bipolar”; 

his 
thoughts 

dart 
through 

his South London upbringing 
on 
inhale 
and 
move 
to 

relationships on exhale.

At times it’s hard to tell if his 

intense ruminations are really 
just melodramatic grouses. On 
“Vidual” he grumbles “I put 
my trust in many things but 
now I know that’s dumb / So 
I don’t trust anyone, only get 
along with some / Saw that 
girl again one time and now I 
know it’s done”. It’s all just a 
bit passé for a 23 year old.

There are a lot of these soft 

murmurs on this album, but 
for the first time, there’s some 
absolute belting too, as we’d 
seen earlier this year on Mount 
Kimbie’s “Blue Train Lines.” At 
first pass it’s difficult to make 
sense of him screaming “I wish 
I was people!” on “Locomotive,” 
but honestly, when shit goes 
pear-shaped, wouldn’t you love 
to be “people,” too? Other brash 
instances, like his “Half man 
with a body of a shark” chant 
(16 times over), are slightly more 
bewildering.

Archy front-loads most of the 

album’s flashpoints, like a guitar 
solo on “Dum Surfer” that 
sounds like you’re hearing it for 
the first time, every time. Later 
in the song he conjures imagery 
of him puking on the sidewalk 
before getting in a cab with a 
Slovakian girl.

Though “Dum Surfer” is his 

only “night out” on the album, 
most of the songs take place on 
nights where the darkness just 
swallows him whole. It’s less 
lad culture debauchery and 

more anxious rambling about 
relationships, family and self-
doubt.

“Logos” for example, would 

not have been so out of place 
on 
Frank 
Ocean’s 
Endless 

(it’s similar in that way to his 
fantastic EP, A New Place 2 
Drown). “I call my mum / She 
stumbles home / Through open 
ground / Back to broken homes” 
sounds like it’s being recited 
while sinking into his couch. 
Sonically, the song deviates 
from his traditional synth and 
guitar 
composition, 
adding 

elements of jazz he’s cited but 
never quite recreated until now.

That sinking feeling never 

leaves The OOZ, and the only 
thing that oscillates over the 
course of the album is his 
willingness to reach for others. 
Much of the album is about 
finding out if what you need is 
time alone or more time with 
someone else.

The drunk keys of “Czech 

One” bring with them the 
centerpiece of the album — a 
woozy song of lust, isolation and 
directionless passing of time. 
“She asked me why I’m here / 
But I come here every night / Do 
you need to tell her something? 
/ No, I need a place to write”. 
In one verse, he “drown[s] too 
quick,” “fade[s] out of sight” 
and yet, “he still search[es] for 
warmth.”

In 
the 
music 
video, 
for 

a 
moment, 
he 
actually 

levitates over the pavement of 
Bermondsey; in a way, that’s 
what he’s been doing for the 
past five years. He’s always 
been floating in the middle, 
somewhere in-between. He’s 
five aliases at once. He’s “half 
man half shark,” half where he 
wants to be and half crumbling, 
physically present but mentally 
disintegrating.

The OOZ makes you question 

if it’s even worth getting up. 
It obscures what you think 
you know, because sometimes 
those downward spirals are 
just harsh realities you’d rather 
not believe. Sometimes it isn’t 
too bad to be true though — 
it’s just plain true. The OOZ is 
what lures you further into the 
couch. Sometimes that’s just 
where you need to be.

SHAYAN SHAFII

Daily Arts Writer

The OOZ

King Krule

XL Recordings

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.

Bleak stories about rich White 

people with too much time on 
their hands can only do so much. 
Personally, 
my 
tolerance 
for 

watching wealthy has-beens and 
artists lament about life — mind 
you, while sitting in a multi million-
dollar brownstone — is shrinking 
every day. There’s a plethora of other 
stories waiting to be told, those that 
show a more realistic depiction of 
the everyday lives of Americans. 

And yet, Noah Baumbach (“The 

Meyerowitz 
Stories”) 
chooses 

to rewrite the same movie about 
wealthy, dysfunctional, New York 
families led by an insufferable, 
arrogant patriarch who gets joy 
from dismissing “A Tale of Two 
Cities” as a “minor work” and 
brainwashing his kids into being 
clones. “The Squid and the Whale,” 
released 12 years ago, fulfills his 
prerequisites: 
A 
once-famous 

author struggles through a divorce 
as his teenage children suffer the 
consequences of family turmoil 
and his selfish behavior. The movie, 
with sharp dialogue and developed 
younger characters, is the director’s 
crowning achievement.

This year, Baumbach wrote and 

directed “The Meyerowitz Stories,” 
a replication of “The Squid and 
the Whale” except starring adults 
instead of teenagers as the damaged 
children of a has-been egotist. 
Like its predecessor, it’s a terrific 
depiction of a shattered family 
and doesn’t veer into melodrama 
territory. But he has essentially told 
this story before, except better. And 
at this point, we really don’t need 

more of the same.

I 
don’t 
blame 
Baumbach, 

a director I admire, for my 
intolerance for these movies –– it’s 
systemic. Hollywood constantly 
looks beyond stories about regular 
folk, especially in flyover country, 
in favor of ritzier, more glamorous 
stories with attractive people. How 
can two versions of “Squid and 
the Whale” be made and yet there 
are few movies about ordinary, 
unglamorous Midwesterners living 
in a blue-collar suburb?

“Logan Lucky,” a favorite from 

this year, was a feat for representing 
working-class 
Americans. 

With 
knockout 
performances 

from Channing Tatum (“Magic 
Mike XXL”) and Adam Driver 
(“Paterson”), we grew to love the 
characters, and not in an ironic, 
mocking way. The movie showed 
a completely different world than 
California or New York City. Some 
criticized the movie for depicting 
the characters like some sort of 
freak show, or a circus for elites to 
gather around to point and laugh at 
the oh-so unsophisticated “hillbilly” 
class. But the Logan family isn’t so 
different: They have dreams and 
feel pain like everyone else, it’s just 
that their goals consist of robbing a 
NASCAR track.

Horror movies tend to represent 

regular people, but more as a 
tactic to cause lingering fright. If a 
typical suburban family is haunted 
by a ghost, the prospect of other 
families getting haunted grows, 
making the movie even scarier. If 
elites in Beverly Hills are haunted, 
it seems a lot less believable and 
more forgettable in the long run. 
Horror movies are only relatable if 
the people in them are too. Thanks 

to this scheme, the walk from my 
car to my front door at night in my 
quaint Detroit suburb is usually 
a dead sprint filled with fears of 
ghouls and goblins ready to pounce 
from the trees. Probably unlikely, 
but definitely spooky nonetheless.

In a divided political climate, 

Hollywood 
is 
deepening 
the 

separation between classes. It 
sometimes feels more like an “us 
vs them” scenario than something 
all Americans can share together. 
Television has a better track record, 
with ABC sitcoms leading the way at 
depicting a diverse array of families, 
but there are still shows like HBO’s 
recently concluded “Girls” that 
show trust fund babies in Brooklyn 
with ample free time and little 
relatability for most Americans. 
And even my favorite, “Master 
of None,” one of today’s sincerest 
and funniest shows, falls into this 
trap: Dev, the main character (Aziz 
Ansari, “Parks and Recreation”), 
spends a lot of his time eating and 
drinking at the finest New York 
establishments, something a Texan 
or Iowan probably can’t relate to.

But once again, Lena Dunham 

(“Girls”) and Aziz Ansari aren’t to 
blame; their shows are well-written 
and portray contemporary New 
Yorkers with honesty. It’s that for 
every 10 movies or television shows 
like this, there’s only one “Logan 
Lucky.” Baumbach deserves to be 
able to retell the “Squid and the 
Whale” ’s story to his liking, but we 
need to see more movies about lower-
income families on the marquee, as 
well. Hollywood isn’t doing its part 
to counter the destructive, growing 
divide in America today; it’s time to 
show regular Americans and their 
struggles. 

WILL STEWART

Daily Arts Writer

A case for improving on 
Hollywood’s income rep

FILM NOTEBOOK

ALBUM REVIEW

