FOR RENT

3 & 4 Bedroom Apartments
$2100‑$2800 plus gas and 
water contribution.
Tenants pay electric to DTE
Showings scheduled M‑F 10‑3
w/ 24 hour notice required.
1015 Packard
734‑996‑1991

5 & 6 Bedroom Apartments
1014 Vaughn
$3250 ‑ $3900 plus utilities
Showings scheduled M‑F 10‑3
w/ 24 hour notice required
734‑996‑1991

 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
 6 1016 S. Forest $5400
 4 827 Brookwood $3000
 4 852 Brookwood $3000
 4 1210 Cambridge $3400
Tenants pay all utilities.
Showings scheduled M‑F 10‑3 
w/ 24 hr notice required
734‑996‑1991

URL’S FOR SALE
PureMichiganWater.com,.net,.org
BestFreakin.com, FreakinBest.com
FreakCapital.com,Link420.com
Contact: d@d00g.com

FOR SALE

SOUTH LYON HORSE farm. 
Feed, turnout, stalls. 2‑3 hour shifts, 
AM/PM. Experience needed. Text 
734‑218‑1314.

HELP WANTED

Classifieds

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

ACROSS
1 Like most cookies
6 Director of the
final episode of
“M*A*S*H”
10 Food inspector’s
concern
15 Jazz singer O’Day
16 Osso buco meat
17 Swerved at sea
18 Math teacher’s
favorite sport?
21 Diplomatic bldg.
22 Flying off the
shelves
23 Praise to the
heavens
24 Rock’s Grateful __
26 Fiat fuel
28 Perspire
nervously, say
31 Math teacher’s
favorite brew?
36 Arrowhead
Stadium NFL
team
38 Mark for deletion
39 Sellout sign
letters
40 Very confident
41 Chanel
competitor
42 Museum worker
44 1869-’77 pres.
monogram
45 Place for private
dining?
46 New York hockey
team
47 Math teacher’s
favorite hat?
51 Bathtub outlet
52 Product prefix
suggesting winter
53 Activist Parks
56 Minds someone
else’s business
59 Slice of history
61 Old conductance
unit
62 Math teacher’s
favorite cut of
beef?
67 As scripted
68 World Golf Hall of
Famer Isao
69 Cosmic
comeuppance
70 Gives a hand, in
a way
71 Editorial override
72 Hog caller’s call

DOWN
1 With __ breath
2 Japanese art
genre

3 “L.A.
Confidential”
Best Supporting
Actress Oscar
winner
4 Bastille Day time
5 Short run
6 Gamer’s game
face
7 Syr. neighbor
8 Half a chipmunk
team
9 “Roots” author
Haley
10 Shoelace hole
11 Cambridge
student, informally
12 Have title to
13 Luau loop
14 TSA requests
19 Roman robes
20 Major Arcana
deck
25 Kicked out of the
game, informally
27 Gender-specific,
to some
29 The Joker
portrayer on TV
30 __ Haute
32 Many a tabloid
pic
33 Fowl poles?
34 Possessive word
35 Fishing gear
36 Lingerie size

37 Member of a
strict Jewish sect
41 Article written by
Marx and
Engels?
42 Break
43 App offering fare
estimates
45 Wildly excited
46 Future fern
48 Downy amount
49 New faces
around the water
cooler

50 In the slightest
54 Disgrace
55 Fine
57 Flight sked data
58 Many a 
bagpiper
60 Wants to know
62 Sci-fi escape
vehicle
63 St. Louis-to-
Indianapolis dir.
64 Label for Elvis
65 Hula strings
66 Lao Tzu ideal

By David Poole
©2018 Tribune Content Agency, LLC
01/17/18

01/17/18

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, January 17, 2018

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

‘Jane’ paints a sumptuous 
portrait of a living legend

“Jane,” 
the 
latest 
documentary 
from 
director 
Brett Morgen (“Kurt Cobain: 
Montage of Heck”), is nothing 
short of a small miracle. First, 
there’s the fact that the film is 
the product of a hundred hours 
of prime footage once thought to 
be lost before being discovered 
in 2014. Second, the subject of 
the footage, the conservation 
biologist and chimp researcher 
Jane Goodall, whom everyone 
knows 
but 
no 
one 
knows 
really anything about, is a 

mesmerizing figure with a story 
long-worthy of telling.
But let’s start with the 
logistics. 
In 
her 
mid-20s, 
Goodall, fascinated by nature 
but not tinged by academic 
orthodoxy, was directed by her 
employer to travel to Africa to 
conduct observational research 
on primates. She went to the 
Gombe in 1960, which sits at 
the western edge of Tanzania 
(it has since become a national 
park). Accompanied by her 
mother, Goodall began a study 
of the chimpanzees in the park, 
at first keeping her distance but 
then over time moving closer 
and closer. 
The 
footage, 
captured 
mostly by Hugo van Lawick, 
a 
Dutch 
photographer 
for 

National 
Geographic 
who 
himself becomes a character 
in Goodall’s life, is stunning. 
There’s a reason van Lawick 
got his coveted job, and the 
film is at its best when it lets 
the footage speak for itself. 
Extreme 
close-ups 
on 
the 
insects creeping and crawling 
among the grass, dusk shots 
of Goodall sitting against the 
darkening sky, chimps slipping 
somewhat 
lackadaisically 
through towering trees. Not 
to mention the color, which 
is rich as the finest works of 
Fauvism. When the color fades 
into gruesomely edited black-
and-white 
sequences, 
which 
are thankfully rare in the film’s 
brisk 90-minute running time, 
“Jane” loses most of its luster. 
That’s not to say that the 
film offers nothing by way of 
the 
traditional 
biographical 
documentary. The 83-year-old 
Goodall’s eloquent narration, 
constructed 
partly 
from 
interviews with Morgen and 
partly from her own writing, 
allows us to exist inside her 
wonder-filled 
young 
mind. 
Morgen’s interview questions 
verge on unimaginative, but 
Goodall’s responses are ever-
enlightening peeks into one 
of the 20th century’s most 
revered 
figures. 
Overlaying 
Goodall’s writings, read aloud 
by the woman herself, over 
actual footage of her young self 
is magical. A freak accident of 
discovery and timing, sure, but 
it’s a treasure nonetheless.
The score by famed composer 
Philip 
Glass 
(“Visitors”) 
is 
gorgeous, if overpowering at 
times. Often, it can tie in a 
sense of tragedy where it does 
not seem to exist, a complaint 
I’ve had about numerous Glass 
scores, but here, it’s a minor 

quibble. The score contains at 
its core a sense of wondrous 
fascination and discovery, or 
perhaps nearing it. It’s elegant 
and though I wonder what the 
film would be like with zero 
score, with scored only by the 
sounds of nature, my hunch is 
that van Lawick’s cameras were 
not designed to capture noise. 
Glass is a nice consolation.
Far 
from 
conventional, 
“Jane” transmutes a simple 

biographical tale into a fully 
immersive 
and 
sensory 
experience. In fact, the film’s 
allegiance 
to 
completing 
her biography can come at 
the expense of experiencing 
Jane’s life. Those moments 
of truth — not biography but 
documentary at its core — are 
so fundamentally moving that 
to turn away from the chimps 
crawling around each other, or 
Goodall raising her son Grub 
in Gombe, or Goodall laughing 
with van Lawick, just feels 
wrong. 
Fortunately, 
Morgen 
chooses to stick with the footage 
much of the time. Lucky us.

DANNY HENSEL
Daily Arts Writer

National Geographic

“Jane ”

National 
Geographic

Michigan Theater

FILM REVIEW

“This is the first time I’ve 
written to you / and I know 
now why they call me little 
witch.”
In “Solve for Desire,” a slim 
collection of poems, Caitlin 
Bailey imagines and explores 
the lives of Georg Trakl and 
his younger sister Grete, to 
whom Bailey dedicates the 
work. Georg Trakl was a late 
19th-century 
Austrian 
poet 
who struggled with addiction, 
served in the army, attempted 
suicide and died of a drug 
overdose that may have been 
intentional. Grete committed 
suicide at a party a few years 
later. The extent of their 
relationship is unknown.
The poems in “Solve for 
Desire” are consumed with 
the wells of wanting that lie 
underneath our more innocent, 
more 
easily 
articulated 
wishes. She examines both 
savage desire and raw grief, 
wondering how memories of 
ourselves exist in words on 
both sides. “Pigeons” considers 
the jarring dissonance between 

literal anatomy, emotional pain 
and the instability of them 
both. “Poem About Desire,” 
a slight 22 words, captures 
the fiercely inconsequential 
beauty of small things, of 
runaway moments crystallized 
in amber. The final few lines 
of “The Heart is to a Pleasant 
Thing,” 
without 
directly 
referencing 
its 
subject 
matter, 
reproduces 
the 
moment 
that 
uncertainty 
hardens 
into 
determination in 
someone’s 
eyes. 
“Right 
Light” 
finds the hint of 
hope found in the 
circumlocution of 
a prophecy. More than a few 
poems feel eerily reminiscent 
of the language of incantations, 
echoing cadences that have 
slipped through our memories.
The poems do not wander; 
they stay intensely focused on 
their subjects. A few images are 
woven throughout the whole 
collection. Palms, wrists and 
necks are referenced several 
times; snake imagery lies coiled 
throughout. Occasionally, the 

unpredictability of a phrase 
verges on a lack of clarity, 
and 
the 
introduction 
of 
enjambment in later poems is 
startling. But eventually, they 
coalesce into a communication 
of the visceral ache of loving 
someone 
who 
wishes 
for 
deliverance; the misery of 
wanting to tell them about it 
when they aren’t 
there to listen; 
the 
struggle 
to 
translate 
wounds 
into 
words.
Desire 
can 
dwindle and it 
can die. That’s 
not 
Bailey’s 
concern. Rather, 
she focuses on 
how desire can consume like a 
flame held to a piece of paper 
dipped in oil, leaving nothing 
but a trace of smoke. She’s 
painting the oily gradient of 
darker desires, the eroticism 
of an inappropriate possession 
that verges on a question more 
weighted than being ready to 
die for someone: being ready 
to live for them. It’s a question 
that will never — and maybe 
shouldn’t — be solved. 

‘Solve for Desire’ looks for 
answers, finds questions

SOFIA KAUFMAN
Daily Arts Writer

“Solve for 
Desire”

Caitlin Bailey

Milkweed Editions

Dec. 2017

Young Thug is the king

Yaaah-ahoooo! 
Inewanewanewanev 
like. 
Inewaevery single girl, betcha. 
Inewasmoke-daddywholeword 
nada. Yaaah-ahoooo!
The gibberish above is my 
interpretation of a melody in the 
song “Feel It” by Young Thug. 
On paper, the hodgepodge of 
vowels and consonants reads 
like absolute nonsense, but on 
the track, Thug is able to string 
these 
relatively 
nonsensical 
sounds together to develop a 
melody so interesting that his 
voice essentially becomes an 
instrument. Young Thug is the 
melody master of mumble rap, 
but also much more; he is the 
saving grace of the fledgling 
genre.
Today’s mainstream rap is 
dominated by warbling and 
mumbling. Stars like 21 Savage 
and Lil Yachty have made names 
for themselves by ditching 
lyricism for a more laid-back 
sound. The difference between 
these 
rappers 
and 
Young 
Thug, however, is that Thug 
supplements his lack of lyricism 
with 
artistic 
substance, 
whereas 21 and Yachty leave 
their listeners with a lackluster 
and chordless beat void of any 
creative inspiration. Listen to 
his track “Kanye West” and 
you can hear the difference: 
Thug incorporates a dynamic, 
syncopated beat into a song 
with real chord progressions 
and engaging instrumentation. 
The track is not your typical 
trap rap, and Young Thug is not 
your typical trap rapper.
Thug’s defining quality is 
his voice. No one can mistake 
the blend of pleasantly strained 
falsetto and eerily warbled 

baritone for any other rapper. 
Some love it, some hate it, but 
regardless, it’s unmistakable. 
The sounds he can produce are 
certainly unique, but Thug’s 
real talent lies in what he can 
do with those sounds. The 
Atlanta mumbler has the power 
to make his listeners feel, so 
much so that his 
words 
become 
irrelevant. 
Grantland 
contributor 
Shea 
Serrano 
describes 
this 
ability 
perfectly: “In a 
lot of instances, 
Young Thug isn’t 
making 
music 
that you have to 
unravel in terms 
of meaning. His 
whole 
thing 
is 
how 
do 
I 
feel? 
How 
am 
I connected to 
this verse? He’s just trying to 
generate this feeling, and the 
feeling is the meaning. It’s that 
simple.” Comprehensible lyrics 
or not, Young Thug elicits 
emotion in his music, a feat 
that 21 and Yachty simply can’t 
pull off with their unrefined 
deliveries.
Not only is Young Thug a cut 
above other mumble rappers 
with his high-quality beats and 
captivating melodies, but he is 
also transforming mumble rap 
into a creative and progressive 
genre. Similar to The Beatles’s 
introduction of art to rock ‘n’ 
roll with their inventive and 
all-encompassing 
production 
of Sgt. Pepper’s Lonely Hearts 
Club Band brought listeners 
a 
creative 
experience 
that 
revealed the artistic potential 
of their genre. Young Thug is 

introducing a new art to the 
world of wordless rap. The 
JEFFERY album cover says it 
all: Posing in a blue and purple 
pastel 
colored, 
Victorian-
era dress, Thug signals to 
his listeners that his music is 
more than a shallow glimpse at 
urban life in Atlanta. Mumble 
rap has become 
an 
artistic 
experience 
that 
aims 
to 
challenge 
rap 
entirely. 
How 
many 
Atlanta 
rappers will you 
find 
sporting 
dresses?
Thug’s 
genre-bending 
is 
especially 
evident 
in 
his 
newest 
album, 
Beautiful 
Thugger 
Girls. 
With the LP’s 
first 
track, 
“Family Don’t Matter,” Thug 
surprises his listeners with 
acoustic guitar and ethereal 
vocals that one might find 
on a Lumineers track. Then, 
a 
classic 
and 
tight 
Thug 
beat 
drops, 
accompanied 
by a melody with country 
undertones 
and 
the 
rare 
decipherable 
line, 
“Country 
Bill made a couple milly.” The 
best part: The song retains 
the “feel good” quality Thug’s 
music is known for.
This eclectic mix of sounds 
and genres is exactly why 
Young Thug is the untouchable 
king of mumble rap. Would Lil 
Yachty be able to pull off such a 
foreign yet incredibly engaging 
sound? I seriously doubt it — 
the man doesn’t even know the 
difference between a clarinet 
and a cello.

MIKE WATKINS
Daily Arts Writer

Would Lil Yachty 
be able to pull off 
such a foreign 
yet incredibly 
engaging sound? I 
seriously doubt it

MUSIC NOTEBOOK

The genre-bending rapper is going to be mumble rap’s savior

BOOK REVIEW

“Jane” transmutes 
a simple 
biographical 
tale into a fully 
immersive 
and sensory 
experience.

6A — Wednesday, January 17, 2018
Arts
The Michigan Daily — michigandaily.com

