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SERVICES

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ACROSS
1 Not at all good
5 Piece-of-cake
shape
10 Tick off
14 Use a surgical
beam
15 Toward the back
16 “What I Am”
singer Brickell
17 Welcome wind
on a hot day
19 First-rate
20 Grab greedily
21 Brought back to
mind
23 Migratory flying
formations
25 Dance move
26 Carrots’ partners
29 Dangerous tide
31 Airing in the wee
hours
35 Dr.’s orders
36 Successful
cryptographer
38 Diner
40 Cup handle
41 Not reactive, as
gases
42 “Best thing since”
invention
metaphor
45 Untruth
46 Walked with
purpose
47 Typical John
Grisham subject
48 Back talk
49 Nervous twitches
51 Retail center
53 Cigarette
stimulant
57 Staggered
61 Neutral shade
62 Pet without
papers ... or what
is literally found
in the circled
letters
64 Drop of sorrow
65 Oscar-winning
“Skyfall” singer
66 Family babysitter
67 Attaches a patch,
say
68 Massenet opera
about a Spanish
legend
69 Absolut rival

DOWN
1 O’Neill’s “Desire
Under the __”
2 Fruitless

3 Cuba, por
ejemplo
4 Some HD sets
5 Medal recipient
6 Poetic
preposition
before “now” or
“long”
7 Animal on XING
signs
8 Long looks
9 __ set: building
toy
10 College student’s
dining choice
11 Singing
competition that
returned in 2018,
familiarly
12 “Okay by me”
13 Nourish
18 Letters in old
dates
22 Virgil epic
24 Flip of a 45 record
26 Defensive
basketball tactic
27 Praise highly
28 Up and about
30 Oyster jewel
32 Cub Scout leader
33 Hatcher and Garr
34 Some Deco
prints

36 College transcript
unit
37 Silvery
freshwater fish
39 Nature
excursions
43 Dot between
dollars and cents
44 Given, as a
medal
48 Rudder locales
50 Snarky
52 Yank’s war foe

53 Earns after 
taxes
54 Slushy drink
brand
55 Avian crop
56 Boardroom VIP
58 Security breach
59 Counting rhyme
word
60 June 6, 1944
63 Collegian who
roots for the
Bulldogs

By Roland Huget
©2018 Tribune Content Agency, LLC
04/17/18

04/17/18

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, April 17, 2018

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

Classifieds

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

At a time with such heightened 

political anxiety, when Americans 
wonder what it’s truly like to live 
in 
Putin’s 
mysterious 
Russia, 

“Loveless,” 
nominee 
for 
the 

Academy Award for Best Foreign 
Film, may provide us with some 
answers. Directed by Andrey 
Zvyagintsev, 
the 
celebrated 

director of “The Return” and 
“Leviathan,” the film illustrates a 
world in which the sociopolitical 
state is so bleak that relationships 
and love have a difficult chance at 
survival.

“Loveless” is set in Moscow 

in 
the 
autumn, 
where 

Mikhail 
Krichman’s 
haunting 

cinematography and cool tones 
illustrate a desolate, cold and 
lifeless 
environment 
of 
trees 

without leaves or snow. His 
camera, like a ghost, slowly floats 
over icy rivers and grey forests 
and embodies this dreary mood. 
There is no place for flowers to 
grow and love to bloom. This place 
of lovelessness has no care and 
nothing or anyone to care for. It has 
no tenderness for its citizens.

The characters that exist, barely, 

in this world are Zhenya (Maryana 
Spivak, “Vasiliy Stalin”) and her 
husband Boris (Aleksey Rozin, 
“Leviathan”) who suffer together 
in a miserable marriage. On the 
brink of divorce, Zhenya and Boris 

have already moved on from each 
other, but there was never really 
any love between them. The only 
thread that holds their marriage 
together is Boris’s conservative 
Christian boss who implements a 
company policy where divorce is 
not permitted. Boris impregnates 
a younger girl, while Zhenya starts 
dating a wealthier older man who 
buys her lobster and wine while 
she plays footsies with his crotch 

during dinner.

Zhenya and Boris’s 12-year-old 

son, Alyosha, played by newcomer 
but 
natural 
Matvey 
Novikov, 

overhears one of their fights during 
the middle of the night. Illuminated 
by one of the film’s most painful 
visual shots — a silent howl behind 
Zhenya’s door slam — Alyosha has 
had enough of being unloved. He 
disappears the next day while his 
parents are off sleeping with their 
respective lovers. Of course they 
don’t realize his absence initially 
because they are so entrenched in 
total self-involvement. They are 
unable to see how their actions 
affect 
others, 
including 
their 

child. Zvyagintsev seems to be 
simultaneously critiquing our era’s 
current reliance on selfies and 
social media — means for people 

to be obsessed with themselves 
and be blind to compassion. The 
morning after Zhenya and Boris 
argue, Zhenya is too preoccupied 
with posting pictures and scrolling 
through her feed that she doesn’t 
even notice when Alyosha’s single 
tear dances down his face.

At 
first 
glance, 
“Loveless” 

appears to be a film about a 
tragic marriage that results in a 
runaway child. But it has way more 
complexity than that; by the end 
of the film, you realize it isn’t even 
about Alyosha whatsoever — he is 
secondary to the thesis of the film. 
It is about a voyage of attempting 
to become self-aware by selfish 
people who are wholly engulfed in 
themselves. It is a quest to possess 
empathy.

“Loveless” has layers. Like 

“Leviathan,” 
an 
allegory 
and 

social commentary about the 
plight of ordinary people living 
under 
Russia’s 
bureaucracy 

and 
institutional 
corruption, 

“Loveless” makes subtle critiques 
of the Russian state and how it is 
falling apart. Its arbitrary credence 
in religion, its engagement in 
war, its governmental chaos and 
failure of its police force to look for 
Alyosha. We hear real news clips 
on Boris’s radio in the background 
to remind us of the eerie politics of 
the period.

“Loveless” 
is 
hauntingly 

hypnotic. It makes us look into 
ourselves and question: How can 
life exist without love? “Loveless” 
then answers this question: It can’t.

‘Loveless’ presents quest
for warmth and empathy

SOPHIA WHITE

Daily Arts Writer

SONY PICTURES RELEASING

“Loveless”

State Theatre

Sony Pictures 

Releasing

Jeff Rosenstock on album 
‘POST-’ & upcoming show

ARTIST PROFLIE

Just two weeks ago, The 

Daily was lucky enough to have 
a chance to speak with singer/
songwriter 
Jeff 
Rosenstock 

about 
his 
newest 
record, 

POST-, 
and 
his 
upcoming 

show on Apr. 25, accompanied 
by Martha and Bad Moves, at 
the Loving Touch in Ferndale. 
Now in his mid-30s, a punk 
artist for whom it truly wasn’t 
a phase, the Long Island native 
found his musical roots in 
ska over two decades ago. An 
incredibly prolific artist, he 
has made and released music 
as part of his band Bomb 
the Music Industry!, along 
with several other projects, 
including recently composing 
the music for “Craig of the 
Creek,” a new show on Cartoon 
Network.

The Michigan Daily: What 

does the title of POST- mean 
to you? Then, the cover image 
looks like someone vacuuming 
maybe like an entryway. Where 
did that image come from and 
why did you decide on that?

Rosenstock: It’s hard to get 

into — I’ve been asked this a 
bunch of times and I feel like 
I’ve given a different answer 
every time, so I need to admit 
that the title, I think that what 
really appealed to me about 
it was that it was really … I 
wanted to have something that 
felt open and vague, and that 
felt that way to me. I had that 
written in a notebook and I felt 
like it could mean a handful 
of different things, which I 
think are pretty obvious on the 
record or just like, just livin’ in 
these times, man. But I liked 
that it was really open-ended, 
so I feel like trying to give an 
answer to it makes it not really 
be all the things, you know?

With 
the 
cover 
image, 

specifically, and the title, and 
the color scheme, and all that, 

I was hoping to hit that vibe 
of just waking up after being 
knocked out. Like I tried to 
make the color kind of like 
that color that the morning is 
when the morning first starts 
and maybe you can’t sleep. 
That grayish, bluish just kind 
of feeling.

And 
Hiro 
Tanaka 
is 
a 

photographer 
from 
Japan. 

He’s also a really good buddy, 
really, really cool dude, really 
fun dude to hang out with, and 
he travels with us on tour and 
he took a lot of really awesome 

pictures from the tour we did 
last summer, and that is one 
of a guy vacuuming up at like 
one o’clock in the morning, 
two o’clock in the morning at a 
casino in Reno, Nev. And I just 
kind of, I just thought it just 
suited it. I just kept throwing 
a bunch of stuff in there and 
then it was like, “Oh wait, shit, 
yeah. This is it. Thanks, Hiro.”

TMD: 
You 
strike 
me 

as someone who might be 
frustrated 
with 
people 
in 

music taking themselves too 
seriously. Would you agree 
with that?

Rosenstock: 
Oh 
yeah, 

totally. 
Why 
wouldn’t 
you 

wanna try and be funny? I 
don’t understand why a lot of 
people’s instinct is to ignore 
their senses of humor when it 
comes to anything. I feel like, 
personally, when people have 
a sense of humor about shit, it 
makes their art more relatable 
to me. I’ve been stoked about 
the younger bands that we’ve 
been 
playing 
with, 
’cause 

they all seem to have a little 
bit of a sense of humor about 
themselves, and not afraid to 
show it, and I think that that is 
nice, for me as a fan, you know?

TMD: For sure. One of 

the things that surprised me 
about POST- before I had even 
listened was that it’s just 10 
songs, with “USA” clocking in 
at seven and a half minutes and 
“Let Them Win” at 11. That’s 
compared to WORRY. with 17 
songs, where the back half is 
all these one- to two-minute 
jams that just flow into each 
other. What was the change in 
mindset that accompanied that 
change in structure?

Rosenstock: A few things. 

I’ve been listening to more 
ambient music, which I didn’t 
have too much of a grasp on 
when I was writing WORRY., 
but I’ve been trying to listen 
to things just to feel calmer, 
and I wanted to try and see if 
there was any space for being 
calm in a record of mine, 
because usually there’s not. 
It seemed like a kind of fun 
challenge to take on, and it felt 
like a natural time to give it a 
shot. It didn’t feel like I was 
forcing anything. I was really 
stoked how the end of “Let 
Them Win” turned out. That 
was at the end of a very very 
stressful couple of months. I 
recorded that shit just for the 
demo of the song, just to hear, 
“Will it sound good?” It kind 
of feels like a very emotional 
thing for me. I don’t know, 
whatever, 
who 
cares. 
But 

because I felt like I had a little 
bit of a better grasp on how I 
would want something with 
space to sound, and I think 
that one of the defining factors 
of our current shit as a human 
race is that there is no time to 
process anything. And that the 
fuckin’ record starts off pretty 
harshly, I thought that adding 
some time for reflection would 
be good.

I listened to that record On 

the Beach by Neil Young a ton. 
It’s one of my favorite records. 
I listened to the record Perfect 
From Now On by Built To 
Spill a ton, and both of those 
records are records that have 
a lot of space to them, where 

you can kind of get lost, jump 
in and out and go at your own 
pace and eventually it becomes 
your favorite thing. I don’t 
think I’ve usually made too 
much stuff that was like that, 
so I just wanted to give it a shot 
this time around. And it seems 
really 
smart 
now 
because 

people like it, but when I was 
done with it I was just like, 
“This fuckin’ song just turns 
into a ‘Stranger Things’ space-
jam for four minutes and it’s 
the first song on the record. 
Uh, why would anyone want to 
listen to this?”

TMD: I thought it was kind 

of funny — well, not funny, but 
WORRY. came out and then 
we had the election. Were you 
like, “Crap, now I have to make 
another album?” What was 
your feeling around that time?

Rosenstock: Yeah, I wasn’t 

like, “I gotta make an album, 
save the world!” you know? 
We were on tour, playing in 
Iowa as the dagger was being 
thrown, basically. We went on 
and it was kind of even, and 
then while we were playing I 
was like, “Man, everyone here 
seems to not like our band right 
now.” I looked over at the merch 
and Christine and Morgan and 
Cody who were doing merch 
for us — Katie Ellen and Hard 
Girls, respectively — were 
just shaking their heads back 
and forth. It was like, “What 
did we do wrong? Are we bad 
tonight? Are we worse than 
usual?” And then when we got 
off and I’d seen like, “Oh shit, 
it’s done,” some kid came up to 
me when I was talking to them 
in disbelief and was like, “Hey 
man, it fuckin’ happened.” Just 
basically like, “You can’t think 
that this didn’t just happen. 
This just happened.” I was 
like, “Whoa, stranger, that’s 
some heavy shit.”

I think being on tour for that 

record as that was happening 
affected me in a way I can’t 
really articulate. It gave me a 
lot of hope, to be honest with 
you. Because as these things 
were going bad around us, 
Anika and Cody — from Katie 
Ellen — had come up with the 
idea to, well, we were playing a 
college show the next day, and 
we wanted to take donations 
at 
the 
door 
for 
Planned 

Parenthood, like right away. 
And they were like, “You can’t 
do that, because it’s a state 
building.” So instead, Katie 
Ellen — the band — came up 
with the idea of having a make-
your-own-protest-pin station, 
so you could write, like, “Fuck 
Trump,” on a button. It was a 
day afterwards! We were all 
excited about doing it still at 
that point. Just being around 
that and being a part of it just 
kind of — I was feeling a lot of 
things all at the same time.

It wasn’t like, “Oh fuck, I 

gotta go write a record,” but 
I think that being done with 
all that, everything just felt 
different, and I really needed 
to decompress, and I feel like 
those are the moments where 
I’m at my best when it comes 
to writing. My friends Pete 
and Kara just happened to 
have a trailer up in the middle 
of nowhere, and I had a few 
weeks off, so I could just go 
up there for a week and demo 
and write and work on stuff, 
which is something I usually 
don’t have a chance to do. I 
went 
up 
basically 
straight 

from the Inauguration protest 
and the Women’s March. I 
maybe took a day to get all 
my shit together, then bought 
a synthesizer and went up to 
the mountains. I think that 
just feeling like I needed to 
decompress and try and take 
stock of everything was really 
important. I think that’s how 
those ambient passages ended 
up on the record, because 
that’s part of it. That’s part 
of being able to understand 
things, is giving yourself the 
time to understand things and 
be empathetic.

Read more at 
MichiganDaily.com

Jeff Rosenstock 

with Martha 

and Bad Moves

The Loving Touch

Apr. 25

$15

SEAN LANG

Daily Arts Writer

6 — Tuesday, April 17, 2018
Arts
The Michigan Daily — michigandaily.com

FILM REVIEW

