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 Kerry‑
town 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
FOR RENT
ACROSS
1 Affectionate
sideline greeting
6 “I understand
now!”
9 Mud bath
coverings
14 Gal pal, in
Genoa
15 Searchlight used
by Gotham police
17 One changing
pitches
18 “Are you
declining?”
19 “Tell me!”
21 Response to a
tasty treat
22 Understand
23 “Va-va-__!”
24 Long Island town
26 Dog-tired
28 605, to Seneca
30 Stop, to swabs
33 Circle segment
34 “Humble” home
36 “Why would __?”
37 Dealer’s query
39 Class with
smocks
40 Punctuation in
many lists
42 Sign of disuse
43 Like yoga
teachers
45 Many a craft
beer, for short
46 Online box filler
48 Cough up the
cash
49 Enterprise rival
50 KitchenAid
appliances
52 __ colada: rum
drink
54 Old vitamin bottle
no.
57 Shiba __ :
Japanese dog
58 Scored well
under par, in golf
lingo
61 Bart Simpson’s
“Holy cow!”
64 “Love Me Like
You Do” singer
Goulding
65 Apple Store
support station
66 Preps, as
potatoes
67 Icon tappers
68 Bashful
69 Risky
rendezvous
DOWN
1 Fashionable
Kentucky Derby
array
2 “My turn to bat”
3 Handheld cleaner
4 Spotted wildcat
5 Thomas of “That
Girl”
6 Somewhat
7 Polishes off
8 Legal dept.
staffers
9 2006 cop drama
set in Florida
10 Star’s rep.
11 Hose mishap
12 Welles’ “Citizen”
13 Schedule
opening
16 Six-time Super
Bowl coach Don
20 Website with film
profiles
24 Hosp. fluid-
administration
methods hidden
in 3-, 9-, 31- and
34-Down
25 __ Alto, Calif.
26 Tampa __
Buccaneers
27 Slowly wear away
29 West Virginia
natural resource
31 Reagan Library
site
32 Allegro, largo,
lento, etc.
34 Like much Norton
software
35 Bluesy James
38 Japanese golf
great Aoki
41 Remote batteries
44 Promote
aggressively
47 Dunham and Olin
49 Buck horn
51 Anesthetizes
53 Bumbling
54 Sauce brand with
an accent on its
last letter
55 Salon colorings
56 OXY 10 target
58 Suspicious (of)
59 Art store buys
60 Wild or Old area
62 Balloon filler
63 Scrooge’s scoff
By C.C. Burnikel
©2018 Tribune Content Agency, LLC
03/20/18
03/20/18
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, March 20, 2018
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
BOOK REVIEW
I have a theory that all
good books fall into one of two
categories. Some are good like
Oreos or Amanda Bynes movies:
They probably won’t win a Pulitzer
Prize anytime soon, but they’re
compelling and comforting and
impossible to put down. Others
are good like quinoa and Oscar-
winning
documentaries:
They
might be a little bit less accessible,
but they offer something real and
sustaining, and they change the
way you move through the world.
And then there are the rare, best
books that can do both, making you
a better person in painless, wildly
entertaining ways. That’s Marisa
de los Santos’s gift. Her books are
consummate page-turners, imbued
with all the mystery twists and
will-they-or-won’t-they
tension
of a beach read, but they’re also
beautifully crafted, deeply felt and
consistently life-affirming. While
de los Santos’s latest novel, “I’ll Be
Your Blue Sky,” might not shine
quite as bright as those that came
before it, it still has that signature
cocktail of wit and wonder that
makes de los Santos great.
“I’ll Be Your Blue Sky” revisits
the characters of de los Santos’s
earlier novels, “Love Walked In”
and “Belong to Me,” a few years
down the road. Clare Hobbes is
all grown up and about to marry
Zach, a man who is, “So generally,
generically marriageable it was
almost funny.” Zach is smart,
handsome and determined to be a
good person despite his troubled
past, but Clare can’t shake the
feeling that their relationship
isn’t quite right. On her wedding
day, she serendipitously meets
Edith Herron, an old woman who
gives her the courage to follow
her instincts and break off the
engagement. Weeks later, Clare
discovers that Edith has died and
left her a New England beach
house, a safe haven where Clare
can pick up the pieces of her broken
heart. But everything at Blue Sky
House isn’t what it seems, and
Clare and her childhood friend
Dev set out on an adventure to
unveil the mysteries of Edith’s past.
It would be easy to pigeonhole
this book into the ill-defined and
commonly maligned category of
“women’s fiction,” where so many
good stories go to die. Ignoring for
the moment the larger problem
of how our society values content
aimed at women, “I’ll Be Your
Blue Sky” does conform to some of
the clichés of the genre. It’s clear,
within the first few chapters, who
Clare will end up with (which
points to another cliché — the
idea that the heroine has to end
up with anyone at all). The female
relationships
are
lovely
and
supportive and aspirational, but
they struggle to pass the Bechdel
test. The story is interested in love
— its complexities and paradoxes
and purities — more than anything
else, at the expense of hard-hitting
social criticism or intellectual
theorizing.
But
within
that
“women’s
fiction” framework, de los Santos
works magic. She’s a sharp observer
of the details, “All the small,
scattered pieces of the precious
and luminous ordinary,” and as a
result her world and its characters
buzz with life and authenticity. If
the relationship-centric subject
matter seems cliché, it’s executed
with such clear-eyed sensitivity
as to be completely irresistible,
even to a card-carrying cynic.
De los Santos writes fiction like a
poet, every word lovingly chosen,
and in her capable hands even the
simplest things sparkle.
Rather than “women’s fiction,”
it might be more accurate to
categorize this book as magical
realism. The parameters of Clare
and Edith’s world are certainly
different than our own: No mystery
is unsolvable, no coincidence is
impossible and happy endings
are guaranteed. But does it really
matter if this fantasy world she
creates, where the people are all
a degree better than we know
ourselves to be, isn’t as realistic as
realistic fiction would like? It’s still
delightful, clever and emotionally
resonant in a way that continues to
echo long after the final page. I’ve
had enough of reality. Bring me
more magic, please.
‘I’ll Be Your Blue Sky’ is a
magical, resonant read
JULIA MOSS
Daily Arts Writer
“I’ll Be Your
Blue Sky”
Marisa de los
Santos
William Morrorw
Books
Mar. 6, 2018
If the weeks in the wake
of
Parkland
have
taught
us anything, it’s that high
schoolers are a lot sharper,
a lot cooler and a lot tougher
than they’re given credit for.
That’s probably not news to
Netflix, which has quickly put
together an impressive arsenal
of
original
programming
featuring
young
characters
— from smash hits “Stranger
Things” and “13 Reasons Why”
to sleeper favorites “Everything
Sucks!” and “American Vandal.”
“On My Block,” a new half-
hour
comedy-drama
from
“Awkward”
creator
Lauren
Iungerich,
is
a
welcome
addition to the lineup. It’s a
sharp, moving series set in
South Central Los Angeles
and centered around children
of color, who — though pop
culture might lead you to
believe otherwise — actually
come of age, too.
The
show
follows
four
lifelong best friends as they
navigate their freshman year of
high school. There’s headstrong
tomboy
Monse
(newcomer
Sierra
Capri),
high-strung
Jamal (Brett Gray, “Rise”),
suave Ruby (Jason Genao, “The
Get Down”) and sensitive Cesar
(Diego Tinoco, “Teen Wolf”).
The quartet is joined later by
Olivia (Ronni Hawk, “Stuck
in the Middle”), who moves in
with Ruby’s family when her
parents are deported.
There are story beats that feel
familiar — drama surrounding
the school dance, complicated
love triangles, the pressure of
family expectations. But there
are also plenty of elements we
don’t often see on television
that keep the show original
and fresh. Cesar struggles to
break away from the gang life
men in his family are forced
into; Olivia is crushed that her
parents won’t be around for her
quinceañera.
It all makes for a show that’s
tonally interesting. Storylines
that are full of laughs, like
Jamal’s madcap quest for buried
treasure stolen from a roller
rink, find themselves alongside
much heavier arcs, like Monse’s
search for her biological mother.
Fortunately, for the most part,
the show’s young stars have the
acting chops to pull it off.
It’s largely thanks to them
that “On My Block” manages
that emotional whiplash quite
well. The constant teetering
between comedy and drama
gives rise to some exposition-
heavy
writing
and
stiff
performances at first, but the
show’s ambitions pay off by
the season’s final episodes,
when everything really falls
into place. And the initially
disparate
narrative
strands
converge and crescendo in a
genuinely shocking finale that
begs for a second season.
The show’s real strength
lies in its characters, who feel
immediately real and lived-in,
as if they’re old friends we’ve
known our whole lives. It makes
every triumph they experience
a little sweeter and every
disappointment
a
bit
more
heartbreaking. Monse, Jamal,
Ruby, Cesar and Olivia aren’t
the types of characters whose
stories usually get told on
television, but they’re each so
compelling that it’s impossible
not to fall in love with them. And
though the show doesn’t make
any mention of politics, there’s
something
about
watching
teenagers of color take up space
and speak their mind that feels
almost revolutionary.
It’s no surprise that some of
the most affecting, enjoyable
works on screen in the past
year — from “Lady Bird” to
“Dear White People” to “Love,
Simon” — have been modern
portraits of young adulthood
in all of its joy and confusion
and awakening. “On My Block”
brings more needed diversity
to the coming-of-age canon,
and does so with a charm
and charisma that’s simply
irresistible.
Netflix has another teen
hit with ‘On My Block’
MAITREYI ANANTHARAMAN
Daily Arts Writer
TV REVIEW
NETFLIX
“On My Block”
Netflix
COMMUNITY CULTURE REVIEW
Last Thursday, folk fans from
Ann Arbor and beyond gathered
at The Ark and settled into the
seats closely surrounding the
stage. The scene was a familiar
one for anyone who has spent
time at The Ark in the past: People
chat with each other and sit down
with drinks and popcorn, the
lights go dim. It’s a special kind of
atmosphere, whether or not you’re
very familiar with the artist of
the night, because it’s easy to feel
the community for the evening
already beginning to take hold.
That night, the performance in
question was that of Langhorne
Slim, with an opening set by
Christian Lee Hutson. And while
the usual feelings of an Ark
folk show were all there — the
community, the emotion and the
attentiveness — these particular
artists seemed to extend their
talents into other modes of
entertainment
as
well.
Both
performances were punctuated
by
storytelling
and
comedy
that had almost everyone in the
audience cracking up at one point
or another.
Hutson took the stage first,
wearing a bright, retro orange
shirt indicative of his Los Angeles
origins.
Hutson
warmed
up
the crowd with a wide variety
of songs from his repertoire,
ricocheting easily and naturally
between
moody
love
songs,
folksy reflections and alt rock
irony. One of the highlights was,
unquestionably, the humorous
post-breakup song, “The Kid,”
with a refrain that just about made
everyone present laugh: “It doesn’t
matter what you did / I think
that we should have a kid.” The
charismatic carelessness of this
song was perfectly reflective of
Hutson’s persona between songs:
Candid and vulnerable, good-
natured and shameless. There
were also moments that dug a
little deeper, like his performance
of “I Just Can’t Fucking Do It
Anymore,” a toned-down ode
to the bittersweet nature of
resignation and closure.
Slim took the stage next, with
a range of songs just as eclectic.
What’s more, each new song
seemed to hint at a new facet of
Slim’s personality; even after
the entire concert was over and
people were starting to file out,
it was difficult to know what to
make of him, how to sort all of the
different scraps and fragments
he’d shown us into a picture that
felt complete.
One thing that can definitely
be said about Slim is that he was
social. Like Hutson, he was able to
command the entire venue easily,
despite having no band behind
him. He was just a single man
with a guitar, yet it didn’t take long
before the audience was hanging
on to his every word and chord.
He even brought it up at one point,
remarking, “This is a listening
room.” He praised the audience
for listening so respectfully, but
also encouraged everyone not to
feel suppressed, to know they were
more than welcome to sing along
if they knew the words. People
laughed at this; undoubtedly
nobody had realized they were
being so quiet — we’d been so
hooked on the performance that
we didn’t notice.
And people did sing along;
the
soft
voices
of
audience
members filled the room during
the hits “Changes” and “Life is
Confusing,” and rose in volume
for more exuberant numbers like
“Wild Soul.” But they also fell back
into pools of captivated silence
during some of the broken-up
periods between songs, when Slim
would tell lengthy, varied stories
about his life and experiences,
interspersed with jokes. He joked
about Graham Nash, who had
performed at The Ark recently
and left his setlist behind; Slim
would often consult the setlist (on
the back of which he’d written his
own) and wonder aloud how his
performance was likely living up
to Nash’s.
He also told the room about
his childhood summers in Ocean
City and the love he had for his
grandparents.
He
then
sang
“Ocean City (For May, Jack
& Brother John),” a short but
poignant song about growing up
that resonated so much more due
to the context. Above all else, he
had an astounding capacity to
switch abruptly from one mode
to the next. One minute, he would
be giving a moving performance
or telling a story about his
grandparents that could make
half the people in the room tear
up, and the next he would swivel
into a cheerful, exciting new song,
and pull the audience right along
with him.
Each second was just as soul-
baring as the one that came before
it, with honest, poetic lyrics that
made it feel as though we were
almost having a conversation with
Slim, rather than simply being
entertained by him. Lines like, “If
I had somebody to love me / Then
I’d have somebody to love,” from
“Funny Feelin’,” were so playful,
poetic and relatable that it was
impossible not to be immersed in
the moment.
All of this reached its peak at
the very end of the concert. For
his encore, Slim had The Ark turn
the lights on. We’d been engulfed
in pitch-darkness for the entire
performance, and it felt a little
jarring to suddenly see each other
in all the light. Then he did the
encore while walking around the
aisles between the rows, making
eye contact with everybody and
nodding and singing, high-fiving
people and grasping their hands.
Artists do sometimes walk around
with the crowd while performing,
but for him to do it with all of
the lights on — everyone able to
clearly see each other as if it were
daytime — felt much more bizarre,
unique and oddly touching.
From what he showed us
that night, Langhorne Slim is a
musician, as well as a storyteller
and a comedian. He has a great
love for the people around him,
singular thoughts and (more
importantly)
the
ability
to
articulate them, and an awed,
specific memory. It is difficult to
understand him fully based on
these pieces, but we don’t need to;
maybe it is enough, as an audience,
to value what he has given us, and
to hope that we have given him
something back.
Langhorne Slim puts on
enigmatic show at The Ark
LAURA DZUBAY
Daily Arts Writer
6 — Tuesday, March 20, 2018
Arts
The Michigan Daily — michigandaily.com