LARGE 3 BDRM. at 119 E Liberty.
All three rooms have sky light. Wash‑
er and dryer, central air. Heart of
Ann Arbor, 7 min. walk to UM. One
year lease. Avail
able NOW. $2400
per month, $800 per person (room for
three people). No park
ing. Please call
734‑769‑8555.
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
5 1016 S. Forest $3600
4 827 Brookwood $2900
4 852 Brookwood $2900
4 1210 Cambridge $2900
Tenants pay all utilities.
Showings scheduled M‑F 10‑3
w/ 24 hr notice required
734‑996‑1991
TWO BDRM APT. 325 E Liberty
good location for two people. Apt
above Per
sian House 5 min. walk to
UM. Free heat, washer/dryer, shared
internet. Available NOW. One year
lease. $1600 per month. 734‑769‑8555
or 734‑662‑0805.
FOR RENT
STUDENT SUMMER STORAGE
Specials‑ Indoor, Clean, Safe and
closest to Campus. Reserve online
at annar
borstorage.com or call
734‑663‑0690 to
day as spaces
are filling fast!
SERVICES
HELP WANTED
P/T COMPUTER PROGRAM-
MER with strong math background
and familiar
ity with MATLAB
required. Experience with C++
desirable. Individual will need to
gain knowledge of immunology.
Salary commensurate w/ exp.
Contact: Dr Stephanie Evans:
evansst@umich.edu
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