The Michigan Daily — michigandaily.com
Arts
Monday, March 5, 2018 — 5A
FOR RENT
2 & 4 Bedroom Apartments
$1400‑$2800 plus utilities.
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
$3000 ‑ $3600 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 $4500
4 827 Brookwood $3000
4 852 Brookwood $3000
4 1210 Cambridge $3000
Tenants pay all utilities.
Showings scheduled M‑F 10‑3
w/ 24 hr notice required
734‑996‑1991
SUMMER EMPLOYMENT
WORK ON MACKINAC Island
This Summer – Make lifelong
friends. The Island House Hotel and
Ryba’s Fudge Shops are seeking help
in all areas: Front Desk, Bell Staff,
Wait Staff, Sales Clerks, Kitchen,
Baristas. Dorm Housing, bonus, and
discounted meals.
(906) 847‑7196.
www.theislandhouse.com
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 The Bounty, e.g.
5 Remote control
targets
8 Landowner’s
document
12 Subtle glow
13 Spruce oneself up
15 Addresses with
forward slashes
16 *Kaput
19 *Life in a
breakfast bowl,
say
20 Move like a crab
23 Often-stubbed
digit
24 Black Russian
liquor
28 Nivea competitor
30 Invalidate, as a
law
31 Rapper __
Wayne
32 Disney’s title
lamp rubber
36 Sailor’s
agreement
37 Stage designs
39 Emulate flowers
on a hot day
40 Source of linen
41 “Dilbert” creator
Scott
43 “Little Women”
woman
44 Spongy cake
laced with rum
45 Scammer’s
targets
47 Step in a flight
49 West Coast state
51 Everglades
waders
54 Layer of eggs
55 Target practice
props
59 “__ you awake?”
60 Software test
version
62 “M*A*S*H” actor
Elliott
63 Body covering
64 Racetrack shape
65 Homer
Simpson’s wife
66 Four-legged
companions
67 Give a holler
68 In the future
69 Gratis
DOWN
1 Pathetic
2 Tint
3 Nest egg
acronym
4 Ping-Pong need
5 Piece of land
6 Instagram upload
7 Messy campfire
snack
8 Firestone
competitor
9 Pitching stat with
a decimal point
10 Inventor Whitney
11 Broadband
option, for short
13 Maj. for a future
shrink
14 “The 18-Down”
poet
17 Structure with
skyboxes
18 “Nevermore”
speaker
20 Dip for chips
21 Like the outfield
walls at Wrigley
Field
22 *Oral health care
network
25 Negotiations killer
... or, in a way,
what each
answer to a
starred clue is
26 Whitewater craft
27 Amazon Echo
Dot’s voice
service
29 Well-worn
30 Harshly criticize
33 Octopus’ eight
34 Deer mom
35 Dalmatians, e.g.
38 Far from self-
effacing
40 Inside the foul
line
42 Dalmatian
marking
44 Hefty supplies?
46 Hard puzzle
48 Watched over
49 “This could be a
problem”
50 Christopher of
“Superman”
52 Done to death
53 Sight or smell
56 First matchmaker?
57 Make better
58 Tiny pond growth
61 “__ in favor, say
’aye’”
63 Coppertone
letters
By C.C. Burnikel
©2018 Tribune Content Agency, LLC
03/05/18
03/05/18
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Monday, March 5, 2018
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
Soccer Mommy’s ‘Clean’
is great, simple indie rock
Covering herself in blood,
dancing around her room in front
of her dead boyfriend’s corpse,
Soccer Mommy finds serenity.
Or at least what appears serene.
As she pours out red liquid
from a coffee mug leaning over
the edge of a rooftop, her face
— bearing a nose ring, piercing
hazel eyes and a stoic expression
— is hard to read. Her mouth
looks equally ready to break into
a grimace or a smile. By killing
her boyfriend, she’s released
from the emotional abuse, no
longer his dog to lick his feet,
and she basks in this freedom.
Freedom to defile him, play
videogames and waltz alone.
Finally, she has the space she
wanted to breathe and the room
he never gave her. But at the
end of this macabre party, after
dragging the deceased around
for the three minutes of single
“Your Dog,” Soccer Mommy
rubs his arm tenderly, and looks
a little sad. Her face still doesn’t
betray her precise feelings, but
in her fingers is longing.
Soccer Mommy cites punk and
grunge as musical inspirations,
and the influence shows in the
“Your Dog” music video. The
video for Nirvana’s “Heart-
Shaped Box” comes to mind
when she draws a black cross on
the dead boyfriend’s forehead,
and lyrically the two songs
tackle the same theme. They feel
trapped in a bad relationship.
Bad relationships are the
running concern on the DIY
indie rocker’s effective debut
album Clean. Over alternatively
soft and subtly vicious chord
progressions, she sings about
unfollowed
desires,
self-
doubt and disappointment. On
“Cool,” the grittiest she gets
instrumentally,
she
wishes
she could have the cold, casual
aesthetic of the romanticized
“cool-girl,” the kind of girl who
will never love back and who
will never care. The kind of girl
the guy she wants would want.
That desire comes back again
and again. It’s on “Last Girl,” a
jumpy and upbeat track where
she wishes she was her lover’s
last girl. “I want to be like your
last girl / ’Cause she’s got looks
that drive you all down / Loved
the way she wears her makeup,”
she sings, thinking that things
might go differently if only
she was different, if only she
was cool like the last girl. On
“Scorpio Rising,” she watches as
a guy she likes looks over a girl
“bubbly and sweet like a Coca-
Cola.”
She’s not alone here. Soccer
Mommy
—
the
project
of
Nashville-based Sophie Allison
— fits nicely alongside the
talented class of female indie
rockers who are leading the
genre’s resurgence, artists like
Mitksi,
Julien
Baker,
Adult
Mom, Ian Sweet and Phoebe
Bridgers
(whom
Allison
is
currently on tour with). Women
armed with stunning guitar
riffs, catchy melodies in minor
keys, a tint of grunge and, often,
a biting malaise. Each of these
artists have played with this idea
of wanting different skin, often
the skin they think their lovers
want. Mitski considers shedding
her ethnicity for a boy on “Your
Best American Girl”; Julien
Baker misses a former self on
“Appointments.”
Soccer Mommy falls on the
quieter end of this group, not as
strapping as Mitski or as grand as
Julien Baker. Her arrangements
are sparse, almost always as
simple as a stripped guitar and
her clear, intimate vocals. Clean
finds her experimenting with
newer, heavier sounds while
still honing her eye for the
simplistic. Much of the album
is built around the sound of
breakthrough singles “Allison”
and “Out Worn,” which gained
traction
on
Bandcamp
and
through
social
media
sites
like Tumblr and Twitter. At
times Clean can suffer from
the apprehension that follows
such a breakout, as if she never
intended to make it in the first
place and is still figuring out
what kind of star she might want
to be.
Mostly she avoids this though,
and the best moments on Clean,
like “Your Dog” and closer
“Wildflowers,” suggest a more
confident woman behind the
guitar than we’ve heard from
her before, and as her first foray
into producing something as
large as an album, she hits the
mark not by attempting the high
dive, but rather by perfecting her
form in shallower water.
MATT GALLATIN
Daily Arts Writer
ALBUM REVIEW
FAT POSSUM RECORDS
Clean
Soccer Mommy
Fat Possum Records
Soccer Mommy
— the project of
Nashville-based
Sophie Allison
— fits nicely
alongside the
talented class
of female indie
rockers who are
leading the genre’s
resurgence
‘Seven Seconds’ is timely
but is ultimately lacking
When it comes to developing
a
narrative
that
can
be
sustained over a season, the
television crime drama has
a few options: the classic
whodunnit,
the
compelling
whydunnit,
the
less
conventional unto-whom-was-
it-done (see “How to Get Away
with Murder” season 3) or even
some “Big Little Lies”-esque
combination of the three.
“Seven
Seconds,”
a
new
10-episode Netflix series from
showrunner Veena Sud (“The
Killing”), quickly lets us know
it won’t be concerning itself
with any of those questions;
they’re all answered about
three minutes into the first
episode. In a rush to meet his
pregnant wife at the hospital,
off-duty Jersey City cop Pete
Jablonski (Beau Knapp, “Sand
Castle”)
speeds
through
Liberty State Park and hits
Brenton Butler, an African-
American 15-year-old riding
his bike.
It’s
not
what
it
looks
like. It was an accident. But
Jablonski’s supervisor in the
narcotics unit, Mike DiAngelo
(David Lyons, “ER”), is quick
to remind the rookie cop that
to a fraught American public,
everything is what it looks like.
Jablonski is a white cop and
Brenton a Black boy. “They’re
gonna crucify you for this,”
DiAngelo snarls. So Brenton
Butler is left to die in the snow
and a cover-up ensues.
Assistant District Attorney
K.J.
Harper
(Clare
Hope-
Ashitey, “Suspects”) and her
partner Detective Fish Renaldi
(Michael
Mosley,
“Sirens”)
are tasked with investigating
Brenton’s killing, a journey that
leads them right back to the
Jersey City Police Department.
The fundamental question that
propels “Seven Seconds,” then,
is this: How deep is the moral
rot of the institutions designed
to govern and protect us? And
is it possible to find even a
semblance of justice in them?
These aren’t particularly easy
concepts
to
navigate,
and
at times, the show seems to
crumble under their sheer
weight.
Literally,
yes,
the
hit-
and-run takes place in the
middle of winter. But there’s
also an excessive coldness
and gloom to the writing
and
cinematography
of
“Seven Seconds” that make
it exhausting to watch. The
show is littered with lingering
stone-faced
stares
and
troubled characters haunted
by vaguely-alluded-to pasts,
as if to say, “Don’t forget, this
show is prestige television!”
K.J.
is
a
self-destructive
alcoholic, and Jablonski is
perpetually frowning. When
nearly
every
character
is
broken and dysfunctional for
no reason, “Seven Seconds”
becomes sluggish and devoid
of feeling.
The exception that proves
the rule is the fantastic Regina
King
(“American
Crime”),
who gives a rich, layered
performance as Latrice Butler,
a grieving, untethered mother
whose faith has been shaken
by the death of her son. The
circumstances
of
Brenton’s
death are admittedly different
than those of Trayvon Martin
or Tamir Rice, but Latrice’s
suffering still feels real and
resonant.
Given the extensive time
the show also spends focused
on Jablonski and his agony,
it would be easy for “Seven
Seconds” to veer into what we
might call “Three Billboards”
territory — where Black pain
exists only as an accessory to
a story of white redemption,
and forgiveness is doled out
to brutal, hateful people who
haven’t necessarily earned it.
But to her credit, Sud has a
remarkably light directorial
touch, and there’s never any
sense that viewers should be
feeling one way or another.
The other side of that coin
is a story that’s often aimless
and meandering — in desperate
need of tighter editing and
fewer
subplots.
“Seven
Seconds”
is
occasionally
rewarding, but much like the
justice system itself, too slow-
moving and unfulfilling to
pack a punch.
MAITREYI ANANTHARAMAN
Daily Arts Writer
TV REVIEW
NETFLIX
The show is
littered with
lingering stone-
faced stares
and troubled
characters
haunted by
vaguely-alluded-
to pasts, as if
to say, “Don’t
forget, this
show is prestige
television!”
“Seven
Seconds”
Netflix
When nearly
every character
is broken and
dysfunctional for
no reason, “Seven
Seconds” becomes
sluggish and
devoid of feeling