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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