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HELP WANTED

By Chase Dittrich
©2019 Tribune Content Agency, LLC
10/29/19

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

10/29/19

ANSWER TO PREVIOUS PUZZLE:

Release Date: Tuesday, October 29, 2019

ACROSS
1 Rogues
5 Is without
10 Possesses
14 Rose’s Broadway 
love
15 Copier brand
16 Game with cues 
and balls
17 Social event with 
costumes and 
facial covers
19 Gaelic tongue
20 Defunct 
Amer. soccer 
competition
21 Commented
23 Footwear insert
26 Slice of history
27 Homebuyer’s 
need
28 Accustom (to)
32 Ron Weasley’s 
pet Scabbers, for 
one
35 The “S” in CBS: 
Abbr.
37 San Diego ball 
club
38 Act in a bipartisan 
way, and what 
the circled letters 
do Across and 
Down
42 Major blood 
vessels
43 Have a bug
44 Northern Calif. 
airport
45 Avow
46 Lunch hour
49 Nutrition fig.
51 Native 
encountered by 
Crusoe
55 Large watchdogs
59 “SNL” alum Cheri
60 Rebuke from 
Caesar
61 Kitchen storage 
brand
64 Rolled-up 
sandwich
65 Office 
communication
66 “__ hardly wait!”
67 Internet 
transmission 
delays
68 Uses for a fee
69 Therefore

DOWN
1 “The Stranger” 
novelist Albert

2 Make self-
conscious
3 “Y.M.C.A.” music 
genre
4 Book that 
continues a story
5 Charlemagne’s 
domain: Abbr.
6 Balloon filler
7 Hiccups cure, so 
they say
8 Lymph __
9 Unifying feature 
of many escape 
rooms
10 Part of MO
11 Toil
12 Odor detector
13 Iditarod 
conveyance
18 __ no good: 
scheming
22 “That’s __ 
shame”
24 Speaks in a 
gravelly voice
25 One-named 
“Only Time” 
singer
29 Caterer’s 
coffeepots
30 Snorkeling spot
31 Gas brand in 
Canada
32 Some TVs

33 In __: lined up
34 Ripped up
36 Mrs., in Madrid
37 Traffic cone
39 Recipients of 
venture capital
40 Broadway 
restaurant 
founder
41 “Mean Girls” 
screenwriter Fey
47 __ about: 
roughly
48 Peabrain

50 Chasing
51 “Washington 
Journal” channel
52 Surfer’s hangout
53 Pianist Claudio
54 Real estate 
claims
55 Whimper
56 Gillette brand
57 Without a date
58 Do a slow burn
62 Mango remnant
63 Trains over the 
street

BIOCHEM 212 TUTOR 
WANTED
Text/Call Judy 
(312)-678-6736

GO BLUE

6 — Tuesday, October 29, 2019
Arts
The Michigan Daily — michigandaily.com

In 2019, a year when most people try their hardest 
not to offend, not to make light of racism and cruelty, 
Taika Waititi’s Hitler comedy “Jojo Rabbit” should 
not work. To make a drama about Nazi Germany is 
one thing, but to make a film about that same era of 
history that is intentionally comedic — that wants its 
audience to laugh — is another thing entirely. The 
very thought of it is uncomfortable. There is arguably 
nothing more horrific than the actions of Adolf Hitler, 
and there is arguably nothing less funny. 
Yet “Jojo Rabbit” works, and it definitely made me 
laugh. But it wasn’t a mindless, simple kind of laughter. 
It was laughter with substance, with darkness, 
laughter that drew attention to itself, laughter that 
forced me into a painful awareness of why, precisely, 
I was laughing at a movie about Nazism. “Jojo 
Rabbit” straddles the 
dangerously thin line 
that divides comedy 
and 
tragedy 
with 
remarkable grace, and 
the tension that builds 
through this balance 
makes watching the 
film utterly strange 
and eye-opening. 
“Jojo Rabbit” is the nickname of Jojo (Roman 
Griffin Davis, debut), a ten-year old boy growing up 
in Nazi Germany, who is thrown out of a Hitler Youth 
training camp for refusing to kill a rabbit. When he 
returns home to his mother (Scarlett Johansson, 
“Under the Skin”), who he learns is not only critical 
of Hitler but is in fact hiding a Jewish girl (Thomasin 
McKenzie, “Leave No Trace”) inside their house, 
Jojo is forced to reconsider his own beliefs and his 
own sense of belonging. His imaginary friend Hitler, 
tellingly played by Waititi, a Maori and Jewish man, 
doesn’t make things any easier. 
But what is “Jojo Rabbit” really about, and why 
is it so uncomfortable to watch? Simply put, “Jojo 
Rabbit” is about us. It is about how children learn 
to hate, and how these children, conditioned to 
hate, grow up to run our governments. It is about 
the allure of discrimination, its power to unite and 
foster communities and make us feel like we belong 
somewhere. Jojo doesn’t actually hate Jews — he 
thinks he hate Jews because his role models do, 

because it is the sentiment his entire community is 
built around. Elsa, the aforementioned Jewish girl, 
even tells him, “You’re not a Nazi, Jojo. You’re a ten-
year old kid who likes dressing up in a funny uniform 
and wants to be part of a club.” 
Isn’t this exactly what is happening right now? 
Alt-right extremist groups built on racist hate market 
themselves to young, vulnerable, lonely people 
who feel forgotten by the world. Though there is no 
legitimate excuse for participating in these groups 
and playing a role in acting out their agendas, “Jojo 
Rabbit” reminds us that these people are, like us, 
human humans whose evil is not innate, but taught. 
And only by understanding where they are coming 
from can we move forward.
Even if this is the case, isn’t analogizing our 
current social situation to Nazism a tad extreme? 
Maybe even insensitive? In asking this question, I’m 
reminded of what happened earlier this year when 
Alexandria Ocasio-Cortez wrote a tweet calling the 
detention 
centers 
at 
the 
US-Mexico 
border “concentration 
camps,” 
in 
doing 
so drawing a direct 
parallel 
between 
the current political 
administration 
and 
Nazi Germany. Her 
analogy 
received 
immense backlash but equally immense support, 
with University of Wisconsin-Milwaukee history 
professor Rachel Ida Buff affirming AOC’s statement 
as “absolutely” accurate in Newsweek. In explicitly 
linking its subject matter to the social climate of 
2019, does “Jojo Rabbit” exaggerate our situation to 
the point of becoming offensive, or is the film simply 
calling it what it is? 
Maybe the complexity of the questions it 
compels us to ask is what makes “Jojo Rabbit” such 
a bizarre, unsettling viewing experience. Maybe 
my laughter was a kind of defense mechanism, 
an awkward response to my own discomfort and 
newfound cognizance of the unacknowledged evil 
we live among every day. Yet, despite the darkness 
it addresses and the awful, uncomfortable things it 
forced me to ponder, “Jojo Rabbit” is ultimately an 
optimistic movie, affirming that no one, not even 
a ten-year-old Nazi youth, is irredeemable. I can’t 
think of a message for the people of 2019 more 
comforting or more uplifting than that.

‘Jojo Rabbit’ is for 2019

ELISE GODFRYD
Daily Arts Writer

FOX SEARCHLIGHT PICTURES

FILM REVIEW

Jojo Rabbit

The State Theatre

Fox Searchlight Pictures

Odditties Sodomies just sounds like it would be 
the name for a compilation of Ariel Pink’s best 
previously-recorded yet unreleased tracks. The 
off-kilter and kitschy Pink has never been known 
for doing things conventionally, and he certainly 
isn’t going to start now. The songs on this record 
were recorded in the days of Ariel Pink’s Haunted 
Graffiti and afterward. The tracks didn’t have 
a place on his main releases, so they were all 
thrown into the Odditties Sodomies series instead.
Unfortunately, it seems these songs may have 
been left off Pink’s previous releases for a reason. 
They are far from his best tracks, but that doesn’t 
mean they’re bad songs by any means. Some of 
them are quite enjoyable. 
However, 
some 
things 
just don’t need to be 
released — some things 
are best left abandoned 
on the cutting-room floor.
None of the songs on 
Oddities Sodomies (Vol. 
2) are essential to Pink’s 
discography, 
but 
now 
that they’ve been brought 
to life, they adequately 
augment 
his 
already-
massive resumé. A few songs, like “Unwritten 
Law,” a snoozer reminiscent of new wave’s most 
mundane, and “Chart-Beep,” an alright song with 
one of the most most blown-out and annoying-
sounding synth lines of all time, probably 
shouldn’t have been unearthed. But for the most 
part, Oddities Sodomies (Vol. 2), if not superfluous, 
is a fun, discretionary listen.

However, some songs stand heads and 
shoulders above the rest. If “Unwritten Law” and 
“Chart-Beep” are the floor of the ocean, songs like 
“The Night Has Opened My Eyes” and “Go Go x2” 
are the Mount Everest and K2s. “This Night Has 
Opened My Eyes” finds Pink crooning Morrissey-
like atop jaunty guitar strums and warm, heart-
filling bass. After all, it is a cover of The Smiths 
song of the same name. However, Pink gives it 
his own signature lo-fi, antiquated twist, and it 
sounds great. He took the song and made it his 
own; it’s an example of a good cover (take notes, 
Weezer).
“Go Go x2,” though it does not reach the same 
highs as “This Night Has Opened My Eyes,” 
deserves to be mentioned in the same breath. It 
is a strange, passionate song directed to a woman 
that, for some reason, Pink cannot bring himself 
to leave. He sheepishly 
sings all sorts of lines like 
“I’m crazy for you / What 
can I do? / I don’t care, 
walk all over me / Till I’m 
black and blue.” Despite 
it’s 
less-than-pleasant 
subject matter, “Go Go 
x2” is a sunny, vibrant-
sounding track that is a 
very welcome addition to 
Pink’s discography.
Odditties 
Sodomies 
(Vol. 2) is just that, a collection of oddities. As 
listeners, we didn’t need any of these songs, but 
that doesn’t mean that they can’t be enjoyable. 
The compilation warrants very few repeat listens, 
but for hardcore fans, it is a nice addition to the 
collection. Ariel Pink isn’t at his best, but he’s not 
at his worst. And that’s about all you can ask for 
with a compilation album of unreleased rarities.

Unnecessary ‘Sodomies’

JIM WILSON
Daily Arts Writer

4AD

MUSIC REVIEW

Odditties 
Sodomies (Vol. 2)

Ariel Pink

Mexican Summer

On the day of October 1st (sometimes even 
before that), our campus suddenly turns orange. 
Lattes are pumpkin flavored, candy is a meal and 
“spooky szn” is the go-to Instagram caption. 
Even concerts take on a special theme. The 
School of Music, Theatre & Dance University 
Philharmonia Orchestra has been putting on 
their annual Halloween Concert for years, 
contributing to the spooky season and pleasing 
long time patrons.
Though the only music that immediately 
comes to mind when you think “Halloween 
music” is “This is Halloween” from “The 
Nightmare Before Christmas” or “I Put a Spell 
on You” from “Hocus Pocus,” the Philharmonia 
Orchestra was able to fill an entire afternoon 
with lesser known, but no less spooky songs for 
all ages to enjoy.
The music was a thrilling mix of recognizable 
classics and exciting new discoveries. “Infernal 
Dance of King Kastchei” from “The Firebird,” 
composed by Igor Stravinsky, made me jump 
out of my seat with its vibrancy and intensity. 
“Pavane for a Dead Princess,” composed by 
Maurice Ravel, brought me back to a dream-
like peace with its beautiful lullaby-like melody. 
Adam Glaser’s “March of the Little Goblins” gave 
the audience the perfect opportunity to see all of 
the costumes of the performers as they marched 
on stage to the beat of their own melody. With 
some of SMTD’s most talented performers, each 

song was executed to perfection with stunning 
accuracy and breathtaking passion.
Though the music was fantastic, the skits 
were even better. Each piece was introduced by 
a new conductor in a new costume, somewhat 
related to the piece. When I say “somewhat” I 
mean SMTD master’s student Leonard Bopp 
entered to conduct Swan Lake in a chicken 
costume, claiming to be “winging it.” Between 
songs, we saw SMTD master’s student Elias 
Miller, dressed as a princess, fall dead, only 
to be revived by a knight in shining armour — 
SMTD master’s student Nathan Bieber — while 
conducting “Pavane for a Dead Princess.” 
The six student conductors even put on a 
choreographed “Ghostbusters” dance to get the 
crowd on their feet.
The audience participation took the cake — or 
should I say candy, which was handed out after 
the concert. Some patrons had been coming for 
over 20 years, some weren’t even 20 years old. 
Little Mary Poppinses and Wonder Womans 
roamed the upper balcony, clapping along to 
Ghostbusters and jumping out of their seats to 
see the “worlds scariest monster.” No matter 
what age, everyone thoroughly enjoyed the 
performance.
The Halloween Concert is a long-standing 
tradition that brings in all kinds of goblins, 
ghouls and ghosts of all ages. If you missed this 
supernatural, fun-filled evening, don’t worry. 
There will be one next year, and the year 
after, and the year after. You can see this 
show until you’re mummified, or maybe 
just dressed as such!

Philharmonia Halloween
concert is a success, again

DANA PIERANGELI
Daily Arts Writer

YOUTUBE

COMMUNITY CULTURE REVIEW

