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# Beds Location Rent
11 1014 Vaughn $7700
9 1015 Packard $6525
6 511 Linden $4800
6 1016 S. Forest $5400
6 1207 Prospect $4900
6 1355 Wilmot Ct $5075
5 935 S. Division $4000
4 412 E. William $3200
4 507 Sauer Ct $3000
4 509 Sauer Ct $3000
4 827 Brookwood $3000
4 852 Brookwood $3000
4 927 S. Division $3100
4 1210 Cambridge $3400
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ACROSS
1 Position at work
4 Busy as __
8 India neighbor
13 “You __ here”:
mall map words
14 Banquet, e.g.
15 Top-quality
16 With 36-Across,
Polo Grounds
great
17 Saber-rattling
19 Ravel classic
21 Car dealer’s no.
22 Bro’s sib
23 Carry on wildly
25 Regatta
propellers
27 Shed a few
pounds
32 California’s San
__ Obispo
34 Disco __: “The
Simpsons”
character
35 More up-to-date
36 See 16-Across
37 Shed purpose
40 Dismantled Brit.
music
conglomerate
41 Truckee River’s
lake
43 Crude __
44 Small cut
45 Romantic triangle
figure
49 Continuous
change
50 “__ le roi!”:
French
Revolution cry
51 Relaxing retreat
54 Drop from a list
56 Rose garden
pests
60 End up just fine
63 After-tax
64 What a
password
provides
65 Not working
66 Rocks in a bar
67 Giggly sound
68 Little dog breeds
69 Highway
breakdown need
... or, initially,
feature of 17-,
27-, 45- and 60-
Across
DOWN
1 Vertical door part
2 Two-toned
cookie
3 Inventor
associated with
telephones
4 California Zephyr
operator
5 “Tell it like it is”
6 Sensory organ
7 Sch. before junior
high
8 Wetsuit material
9 North Pole
assistant
10 Seats for the
flock
11 Palm tree berry
12 Acronym parts:
Abbr.
15 McDonald’s
freebie
18 Starting on
20 Important periods
24 Dorothy’s dog
26 “Sprechen __
Deutsch?”
27 Ten percent
donation
28 Public commotion
29 Edmund who
played Kris
Kringle
30 Prefix with sphere
31 __ odometer
32 Ronnie in the Pro
Football Hall of
Fame
33 Beehive State
37 Let free
38 Old Sony brand
39 “Think __, act
locally”
42 Cartoon fight
sound
44 Merit badge holder
46 Garden fertilizer
47 Red sign over a
door
48 Syrup trees
51 ASAP, to an MD
52 Brownish purple
53 Foot part
55 Silly goose
57 Not yet
eliminated
58 Art __
59 Hearty bowlful
61 Word seen
between married
and maiden
names
62 Old name for
Tokyo
By Mark McClain
©2017 Tribune Content Agency, LLC
11/13/17
11/13/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Monday, November 13, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
FOLLOW US ON TWITTER
@michigandaily
NOW.
5 — Monday, November 13, 2017
Arts
The Michigan Daily — michigandaily.com
AMAZON STUDIOS
Julianne Moore and Michelle Williams star in “Wonderstruck”
‘Wonderstruck’ ultimately
is redeemed by innovation
Haynes’s latest release struggles to escape its formulaic plot
This
review
was
first
published during our coverage
of
the
2017
Cannes
Film
Festival. We are re-printing a
slightly edited version in honor
of the film’s release this past
weekend.
Todd Haynes’s new film
“Wonderstruck” is a playful if
somewhat contrived view on
children, the deaf experience
and the magic of history
museums. While stuffed with
acclaimed
American
actors
including
Julianne
Moore
and
Michelle
Williams,
“Wonderstruck” fails to inspire
but sufficiently entertains.
“Wonderstruck”
oscillates
between
stories
that
are
parallel in theme but separated
by
time.
The
film’s
main
story takes place in 1979 and
follows Ben (Oakes Fegley,
“Pete’s Dragon”), a young boy
plagued by the recent death of
his mother and his continuous
nightmares of wolves, who
longs to find the identity of
his father and understand his
past. Ben loses his hearing
permanently shortly into the
film after being struck by
lightning. The other story, set in
1929, follows Rose (first-timer
Millicent Simmonds), a young
deaf girl trapped in a loveless
household and obsessed with
the silent movies of the era.
The stories follow a parallel
trajectory: Both protagonists
escape their unhappy homes
and embark on a journey to
New York City, where they
search for and find compassion
and companionship.
Furthermore, both stories
highlight the deaf experience
and
challenge
the
notion
of
communication;
as
neither
character
speaks
sign
language,
they
must
communicate through pen and
paper, creating a lagging time
between question and answer
and subsequently generating
suspense
and
frustration.
The film does a great job of
spotlighting an often-forgotten
disability by celebrating and
destigmatizing
deafness,
reversely
constructing
a
whimsical story of two lost
souls who happen to be deaf.
Beyond its characterizations,
the film explores deafness
through form. Todd Haynes
brilliantly tells the cinematic
tale of two deaf kids through
the form of a silent movie,
playing with the conventions
of the genre to create multiple
layers
through
which
to
explore the deaf experience.
Rose’s story is told through
the satirized silent film, with
exaggerated gestures, sounds
effects and musical cues to
mimic the format of the classic
silent picture. Furthermore,
the shots in Rose’s storyline
are
in
black-and-white,
contributing to the overall Old
Hollywood feel. Ben’s story
is similarly crafted with the
tropes of a silent film, but with
a modern twist; his scenes are
characterized by jazz and rock
music instead of sound effects,
with a heightened emphasis on
cinematography and lighting
to create a more stylized feel.
Ultimately,
the
silent
film
format creates multiple layers
through
which
to
portray
the deaf experience, while
simultaneously paying respect
to an era of cinema equally
accessible to the hearing and
the hearing-impaired.
Museums
also
play
an
important
role
in
“Wonderstruck”,
both
as
settings
and
plot-drivers.
Museums act as the stage
on which characters meet,
cultivate friendships, discover
passions and work through
issues. While the parallel story
segments seem disjointed and
unrelated for a large portion
of the film, the end reveals
that
the
two
protagonists
are united by the Natural
History Museum, both the
place where Rose’s and Ben’s
fathers worked, and where Ben
discovered his father’s identity.
The
film’s
preoccupation
with museums extends to its
form as well; the origin story
of Ben’s father, a diorama
maker for the museum, is told
through a complex diorama
format reminiscent of Laika
Entertainment
claymation.
Again, Haynes exhibits his
ability to play with form and
construct multiple, self-aware
layers of storytelling.
As a whole, “Wonderstruck”
is a charming but formulaic
story,
with
uninspired
acting
and
cheesy
clichés.
The plot escalates suddenly
and without warning, with
betrayal
or
revelations
happening too quickly and
conveniently to feel genuine.
However, Haynes’s innovative
use of form saves this film
from mediocrity, effectively
revealing unexplored themes
in a playful and subtle way.
SINGLE REVIEW
In case you missed it, Dis-
ney-bred pop duo Aly & AJ
is making music again after
a decade-long hiatus. Now
operating under their own
record label, the sisters are
putting out incredible West
Coast-inspired synthpop.
We got the first taste with
mid-August release “Take
Me” and another dose this
past week with shiny single
“I Know.”
Both songs present some
of the most intricate pop
production heard in recent
years. “Take Me” lacks
predictability even after
multiple listens, leading into
each refrain differently and
scattering the multiple lay-
ers of backtracks to create
a song that sounds coherent
against all odds. “I Know” is
similar in that it plays with
syncopation, but relies heav-
ily on vocal distortion to cre-
ate ear-catching production.
One of the finest examples
occurs post-bridge with
a crescendoing autotune-
enhanced delivery of the
title lyrics, “I know / you
know who’s going to pick you
up / who’s going to take you
home” that culminates in an
ornate drum sequence and
leads into the final refrain.
From many angles, “I Know”
is a pick-me-up song. The
lyrics resemble the average
pep talk given to a friend
going through a rough patch,
reassuring them with, “it’s
going to be fine” and plead-
ing, “tell me what will get
you out.” Besides the raw
lyric content, the delivery
and its surrounding atmo-
sphere add to the comfort-
ing spirit of the track. The
vocals transition from des-
perate and sympathetic to
motivating; the glittery and
airy synth production ulti-
mately induces a soothing
quality.
With the release of “I
Know,” Aly & AJ also
announced that their new
EP, aptly-named Ten Years,
will be out Nov. 17. The
released singles place a huge
amount of potential into the
forthcoming work, proving
that these sisters are back
and better than ever.
— JESS ZEISLOFT
DAILY LITERATURE COLUMN
June Jordan, a poet for
the people
Poetry
has
long
held
the reins as a conduit for
conscious
revolution.
In
recent years particularly this
notion has blossomed, as poets
like Claudia Rankine have
gained traction due in part to
their work with social protest
poems. Their poems are not
only intelligently crafted, but
are also deeply heartfelt and
socially conscientious.
There are probably few who
embody this balance more
thoroughly than June Jordan.
Alive for two-thirds of the
twentieth century, Jordan’s
work
not
only
influenced
the
always-evolving
craft
of literature; it also came to
represent many of the issues at
the forefront of her own time.
She wrote about race, class,
sexuality, LGBTQ experiences
and a great deal more, often
anchoring her work in specific
historical events and figures.
Her nickname was literally
“the Poet of the People,” and it
isn’t very hard to see why.
The only child of Jamaican
immigrant
parents,
Jordan
was raised in Harlem during
the 1940s. She developed very
distinctive ideas about race
and identity from a young
age, due in part to her father
— who also shared with her
his love of literature — and
in part to her experiences
attending
a
predominantly
white high school. She later
attended
Barnard
College,
but dropped out following
her extreme dissatisfaction
with the curriculum, which
focused almost exclusively on
white men.
One
of
Jordan’s
most
remarkable
facets
is
her
versatility. She engaged in a
number of different writing
styles, including playwriting,
children’s
literature
and
journalism as a columnist for
The Progressive. Even within
her poetry alone, one can
detect an amazing tendency
to explore and to experiment.
Her range of skills extends
from beautiful descriptions
(“It’s Hard to Keep a Clean
Shirt Clean”) to modernesque
freeform
(“In
Memoriam:
Martin Luther King, Jr.”) to
almost prose-like storytelling
(“A Poem about Intelligence
for My Brothers and Sisters”).
The emotions in her poems
are
deeply
rendered,
and
accessible even to strangers
reading her work from half
a century away. She often
draws from the well of her
own
personal
experience
with familiar issues, even
when she’s attaching those
experiences
to
well-known
instances and figures, such as
in “1977: Poem for Mrs. Fannie
Lou Hamer.”
Jordan
isn’t
afraid
to
venture into the realm of the
confessional. Her beautiful
poem
“Apologies
to
All
the
People
in
Lebanon,”
probably my favorite of the
ones
mentioned
here,
is
a personal apology to the
people of Lebanon, on behalf
of herself and all of the
American people, for their
lack of aid or interference in
the South Lebanon conflict.
Jordan shows no reservation
here in claiming her own
culpability in the matter, with
straightforward
lines
such
as: “Yes, I did know it was
the money I earned as a poet
that / paid / for the bombs
and the planes and the tanks
/ that they used to massacre
your family.” This is strikingly
honest, and speaks volumes as
to the genuine quality of her
poetry.
Jordan’s literary impacts
are
undeniable,
from
her
approaches to the complex
topic
of
privilege
to
her
contributions
to
feminist
theory. Equally remarkable is
the fact that while she often
writes about specific moments
or aspects of history, her work
is no less relevant today than
it would have been thirty or
fifty years ago. She is not only
a poet for the people, but for
America and for the ages.
LAURA
DZUBAY
Her work is
absolutely no less
relevant today
than it would
have been thirty
or fifty years ago
Literature Columnist Laura Dzubay examines the
everlasting effect of Jordan’s 20th century poetry
“I Know”
Aly & AJ
Aly & AJ Music
FILM REVIEW
SYDNEY COHEN
Daily Arts Writer
“Wonderstruck”
Amazon Studios
Michigan Theater