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