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 $4300
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
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 discount‑
ed meals.
(906) 847‑7196.
www.theislandhouse.com
SUMMER EMPLOYMENT
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 “... __ a puddy
tat!”
5 Bygone 26-Down
rival
10 Limit
13 Small rodent
14 Bold alternative
16 Have a mortgage
17 “... two fives for
__?”
18 Helix-shaped
pasta
19 Pince-__
20 Surprisingly little,
pricewise
23 Picasso’s birth
city
24 Desertlike
27 Superfast
32 RR stops
35 Healthy drink
36 Immigrant’s subj.
37 Maxim about
frugality
42 Comic strip cry
43 “Deadliest Catch”
narrator Mike
44 View from
Catania
45 It’s learned the
hard way
50 Put away
51 Split up
54 Confusing
statements ...
and a hint to the
circled letters
60 MSNBC’s
“Morning __”
62 Add value to
63 Avian digestive
system part
64 Brewpub order
65 School bud
66 Singer Horne
67 “Not __”
68 Bond and others
69 Macron’s state
DOWN
1 Nobelist Pavlov
2 Revered emblem
3 Singer/songwriter
__ Ray Joel
4 Followed the
crowd?
5 European
dumpling
6 Not exactly
hummable
7 Post-WWII
alliance
8 Settled on a
branch
9 Ho Chi __ City
10 Harmonious
11 Leave open-
mouthed
12 Candy with an
Emoji dispenser
set
15 VI x XVII
21 Flat-topped cap
22 Editor Talese
with a
Doubleday
imprint
25 “Show time!”
26 Co-founder of the
SkyTeam
alliance
28 Skin care name
29 “That is sooo
cute!”
30 Wasikowska of
“The Kids Are All
Right”
31 Engine starter:
Abbr.
32 DNA lab items
33 Unspoken
34 Call for an
appointment
38 Before, in
ballads
39 Scand. land
40 Temple athlete
41 Squid
appendage
46 Light opener?
47 Coined money
48 Pageant bands
49 Anesthesiologists’
work sites, briefly
52 White-plumed
wader
53 “Strawberry
Wine” country
singer Carter
55 Gen-__
56 First family
grandson?
57 Let go of
58 Actress Rogers
59 Rescue team
acronym
60 Word with hawk
or walk
61 “¡Viva el matador!”
By Jerry Edelstein and Bob Monat
©2018 Tribune Content Agency, LLC
03/29/18
03/29/18
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Thursday, March 29, 2018
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
SINGLE REVIEW: ‘LOST IN JAPAN’
The thing you need to know
about Shawn Mendes is that he
was a Vine kid. More impor-
tantly, he was one of those Vine
kids who didn’t use the platform
for tormenting unsuspecting
parents or siblings, but rather
used it mostly for showcasing
musical talents that would have
otherwise remained hidden.
Armed with an acoustic guitar
and a wide smile, Mendes would
post short clips of him covering
various Ed Sheeran, One Direc-
tion and 5 Seconds of Summer
songs (and even a Beyoncé track
thrown in here and there). His
rise to fame started here, under
the pastel green curl of Vine’s
logo, vocals restricted to bite-
sized, five-second long segments.
It’s a shallow personability
that has remained constant
throughout his music, even as
Mendes stepped away from
Vine, entered into record con-
tracts and started releasing
original albums. His songs lack
substance, depth or dynamism,
instead just minute variations
on the same easily-consumable,
bred-for-radio sound that has
been recycled throughout gener-
ations of generic pop stars from
Ed Sheeran to Charlie Puth.
And it isn’t a bad sound — catchy
hooks and predictable melodies
are easy to sing along to when
you’re stuck in bad traffic — but
it’s one that lacks originality;
music that never goes beyond
established constraints.
Shawn Mendes’s newest
single, “Lost In Japan” fol-
lows the same formula — easily
memorable “Can’t get you off my
mind” a bow on top of the whole
shiny, auto-tune slathered cho-
rus — only with an “edgy” R&B
twist. Rather than authentic,
the dancing synth and energetic
tempo’s upbeat pulse are only
reminiscent of Calvin Harris’s
Funk Wav Bounces Vol.1, and
Shawn Mendes finds himself
continuing to rip off those who
came before him.
To be fair, Mendes is not a
bad artist. His vocal range is
astounding, natural falsetto
reaches add texture to every
lackluster melody and, as he
jumps from the smooth crescen-
do of the chorus into the abrupt
“I could feel the tension / We
could cut it with a knife” of verse
one, Mendes is graceful, never
allowing the delicate warmth of
his voice to falter.
“Lost In Japan” is noth-
ing new. Similar to the breezy
triviality of what came before
it — songs like “There’s Nothing
Holding You Back” or “Treat
You Better” — the single’s best
feature is its consumerism — the
nearly universal sentiment that
can be found within Mendes’s
manufactured confession of love.
- Shima Sadaghiyani,
Daily Music Editor
“Lost in Japan”
Shawn Mendes
Island Records
ISLAND RECORDS
Nederlands Dans Theater
performs at Power Center
COMMUNITY CULTURE
The
transient
nature
of
dance has the power, if done
well, to create windows into
a world we would otherwise
never experience. This weekend
Nederlands
Dans
Theater
brought not one, but three
universes to our doorsteps.
On
Friday
and
Saturday
night, Nederlands Dans Theater
performed at the Power Center.
Filling the house from the front
row to the back of the balcony,
it was packed with students,
faculty, Ann Arbor locals and
people from all over the state. It’s
not often a triple bill show gets
a standing ovation more than
twice, at least not in my time
at the University, or even at the
large performances I’ve seen at
Lincoln Center. When it comes to
NDT, it seems like no one in the
audience wants to stop clapping.
The Dutch dance company
is based in The Hague, and has
maintained
its
international
reputation as a leader in dance
for
decades.
The
program
included two works by artistic
director Paul Lightfoot and his
artistic partner Sol León, as well
as “The Statement” by Crystal
Pite.
“I think our works, even
though they can be so varying,
each of them has a relationship
to social structures, but also
our connection globally and
as human beings within each
other,” Paul Lightfoot said in an
interview with The Daily before
the shows. “Worlds apart, but
at the same time transmitting
a lot of messages about how we
connect as people.”
The opening number, “Shoot
the Moon,” is an NDT signature.
Dancers immediately take the
audience to a painfully deep
place of human connection and
isolation. Revolving walls creates
three separate rooms where
we watch relationships unfold
and meld together. The fluid
vocabulary of the movement
alone creates tension between
bodies,
between
the
self.
Lightfoot and León choreograph
facial
expressions
that
are
simultaneously convoluted and
impossibly beautiful. Music by
Philip Glass drives the piece
to
reveal
vulnerability
and
incredible
resilience
—
it’s
no wonder the long-standing
repertoire of 12 years continues
to be well-received.
“I hope we set a kind of an
example of what you can do
with
something,”
Lightfoot
said. “(Dance) has always been
regarded, I think, as the ugly
sister of the arts compared
to opera or classical music or
theatre. Ballet or dance has sort
of been more frowned upon and
less elitist and perhaps seen as
more superficial than it actually
is.”
The second work by Crystal
Pite pushes boundaries even
further. “The Statement” is set
in a corporate business setting
with two men and two women in
suits, based off of her production
“Betroffenheit.” With an original
script and sound score, the text
adds a layer of complexity that
sets a brilliantly cynical tone. The
audience laughs at the sarcasm,
the movement perfectly timed
and calculated. The dancers
move with such precision and
dynamism, it becomes impossible
to turn away, to close your jaw
or think of anything besides the
present
moment.
Underlying
the sweeping movements are
complex questions surrounding
guilt and blame in our society
— a masterpiece that is both
kinetically and psychologically
moving.
“I think people are always
thrilled
to
watch
kinetic
interventions,” Lightfoot said.
“They’re top sporters … I think,
in general, for people to watch
dance is something that is really
invigorating — it drives all your
senses.”
The closing piece, “Singulière
Odyssée,” made its international
premiere this weekend. The
curtain rises and the set alone
captivates — a European art-
deco train station with altered
dimensions.
Lightfoot
spoke
about coming across a waiting
area on his travels from Zürich
to Luxenburg, when he decided
to create a dance based on a
real place for the first time.
The flawless technicality of the
dancers stands out in this piece,
highlighted
by
moments
of
unison and sustained partnering.
Autumn leaves fall and flood the
stage, the rustling leaves adding
an
unpredictably
stunning
texture.
“When
people
come
see
a work, they have to be fully
aware that what they’re going
to be walking into is a world
of
duality,”
Lightfoot
said.
“I think in principle is really
crucial — the idea of the yin and
yang, masculine and feminine
energies. That’s how you get
transformation.”
The
abstract
nature
of
the
pieces
gives
freedom
for
narrative
interpretation.
Regardless of how the narrative
is received, one thing that is
undeniable is how sophisticated
and seasoned the dancers are.
“Forget the works, watch the
dancers,” Lightfoot said. “It’s
a beautiful thing to watch this
group of people. They are ultra-
motivated and at their peak all
the time. They will recognize
YOSHIKO IWAI
Daily Staff Reporter
the
process
of
development
and embrace each other … Like
butterflies, we don’t have 40
years to extend our careers.
We have 20 if we’re lucky, 15
possibly, 10 more than likely.”
Lightfoot referenced NDT as
a sort of “mini United Nations,”
made up of 22 nationalities, with
dancers from various cultures
and backgrounds. Words don’t
do justice to the physicality or
artistry of this triple bill. The
only thing I can do is urge others
to see and experience.
“Art and culture in general
is building so much force at
the moment,” Lightfoot said.
“With
everything
manmade
and natural disasters going on
around the world, more and
more you find people looking
towards culture as a sort of
trusted outlet.”
‘A Woman, In Bed’ shows
multifaceted female lust
BOOKS
Anne Finger’s “A Woman, In
Bed” evades easy classification.
It’s not really a romance novel,
and calling it historical fiction
would be reductive. Set in France
in the half-century following
World War I, “A Woman, In
Bed” follows Simone as she
moves through the varied bodily
experiences
of
womanhood
that are often left undiscussed:
menstruation,
motherhood,
abortion, lust, masturbation and
sexual experimentation.
“A Woman, In Bed” does not
have particularly compelling or
nuanced characters. The plot
isn’t extremely engaging, and the
prose is often stilted. Instead,
the strength of this book lies in
its methodological approach to
writing about female sexuality
and
corporeality.
Finger’s
narrative
is
an
unabashed
and unflinching chronicle of
the aspects of female life that
have
long
been
considered
improper material for literature
because they are too mundane
or too culturally or politically
controversial.
Finger’s
discussions
of
abortion
are
especially
transgressive, and the frankness
with which she renders the
procedure and its aftermath is
almost lurid: “The doctor flung
the curette down on the table in
exasperation. Bits of blood and
tissue flew away from it, dotting
his glasses, his cheek.” A later
abortion, this one performed by a
female doctor, is less emotionally
draining for Simone, and also less
physically painful. The doctor
instructs Simone that if she runs
a fever and needs to go to the
hospital to “Be sure to tell them
you passed something small and
white. You saw a tiny hand or
foot. That it fell into the toilet,
and you were so distraught you
flushed it away.” The physicality
of abortion is described in detail,
as is the emotional aftermath.
Simone is upset and mourns the
children she did not have, but
then she remembers the children
she does have, the ones who
barely have enough days-old
bread to keep from starving, and
her sadness — not regret — takes
on a different tone. Finger does
not condemn or defend Simone;
instead, she simply describes,
and lets the reader interpret as
they like.
Similarly
unflinching
are
Finger’s
descriptions
of
the
female body when it is simply
existing. Simone “scraped the
nail of her pinkie finger along her
gums, along her teeth, smearing
the whitish stuff that caught
beneath her nail,” her breasts
“began to jet milk” and she has
“fetid breath in the morning.”
The
explicitness
of
these
descriptions are unusual — they
are not sexual, and they do not
further character development,
world-building or plot. Instead,
they advance Finger’s quest to
illustrate the richly pleasurable,
painful and often numbingly
mundane
experience
of
inhabiting a female body.
The novel is often lethargic and
stagnant, probably due to the lack
of character development and
the clunky plot. The moments of
clarity are all the more powerful
given their murky surroundings;
they emerge from the slushy
prose like tiny windows into the
novel Finger could have written
with a bit more storyboarding
and editing. “A Woman, In
Bed” is worth the read just for
these little gems. Finger deftly
maneuvers
between
desire
and
circumstance,
candidly
describing
the
choices
that
Simone makes in a way that is
neither opportunistic nor cruel.
It’s rare to find an insistently
feminist novel or even one
willing to fully describe the
complexly entangled pains and
joys of womanhood. The frequent
shortcomings of this book are
especially disappointing given
the scarcity of novels that
even attempt to describe the
embodied experience of being
a woman with a grace and
empathy that illuminates rather
than obscures. “A Woman, In
Bed” proves that avoiding these
subjects would be a loss — it’s far
better (and more interesting) to
valiantly try and fall short.
MIRIAM FRANCISCO
Daily Arts Writer
“A Woman,
In Bed”
Anne Finger
Cinco Puntos Press
March 27, 2018
The strength of
this book lies in
its methodological
approach to
writing about
female sexuality
and corporeality
6 — Thursday, March 29, 2018
Arts
The Michigan Daily — michigandaily.com