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
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