Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Ray Charles’
genre
6 “Thank God” day:
Abbr.
9 Swedish autos
14 Borden mascot
15 Cereal grain
16 Come from behind
17 Teen’s budding
facial hair,
informally
19 Place for a perm
20 One of many in a
Lipton bag
22 Home buyer’s
debt: Abbr.
23 Ceases
26 Sister of Rachel
28 Distributes by
shares
29 Group nickname
for Ringwald,
Sheedy, Lowe,
Estevez et al.
33 “Let’s go!”
34 Name of 18
French kings
35 “Toto, __?”:
Dorothy
36 Caviar, e.g.
37 Country-drive
view
39 Jam holder
40 Nonprofit URL
ending
41 Carpentry bit
42 Uncommon
43 Next-door
resident
45 Gabor with an
echoic name
47 Florida State
player, for short
48 Native
49 Living room piece
51 “No chance of
that happening!”
54 Relax, in slang
56 Speculation
leading up to a
February 22
awards
extravaganza
60 Open, as a jacket
61 Tex. clock setting
62 Theater offering
63 Takes a nap
64 Fancy carp
65 Former Steeler
star Lynn __,
who ran for
governor of
Pennsylvania in
2006
DOWN
1 Sales agent
2 Bass brew
3 Govt. intel org.
4 Style of wording
5 Command
6 Hoops ref’s calls
7 Demolish, as a
building
8 Chichén __
9 Yearbook sect.
10 Road travel org.
freebie
11 Semi-
autobiographical
1979 Fosse film
12 Opinion website
13 “Auld Lang __”
18 Pool legend
Minnesota __
21 Natural aptitude
23 Wrinkle-resistant
synthetic
24 Author Leonard
25 Bubbly plum-
flavored drink
27 Online market for
handmade crafts
29 Dumb mistake
30 Penitent sort
31 Like a
woodworker’s
rasp
32 Seoul native
34 Toy block brand
37 Humorist Mort
who wrote jokes
for Kennedy
38 To the third power
42 Colorful post-
cloudburst
phenomenon
44 Hockey mask
wearer
45 Alcopop brand
46 Hurricanes, e.g.
48 Spiny desert
plants
49 Gulf War missile
50 “Don’t tell me!”
52 Relax on a
porch chair,
perhaps
53 Standard Oil
brand
55 Hi-fi platters
57 Charlottesville
sch.
58 Red or blush
wine, familiarly
59 Buddhist sect
By Garry Morse
©2015 Tribune Content Agency, LLC
02/16/15
02/16/15
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Monday, February 16, 2015
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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5A — Monday, February 16, 2015
Arts
The Michigan Daily — michigandaily.com
NBC
“What’d you say about Star Trek?!?!”
Don’t read this, go
listen to Drake
ALBUM REVIEW
The Toronto rapper’s
mixtape/album
makes a statement
By RACHEL KERR
Daily Arts Writer
Late Thursday night, Drake
tweeted a link to If You’re Reading
This It’s Too Late after teasing it
with the release of
a short film titled
“Jungle”
earlier
in the day. He’s
calling it a mix-
tape, but within
an hour it was
off the Internet,
and only available
to
purchase
on
iTunes. Mixtapes
don’t cost money;
they’re
usually
found in the crev-
ices of the Internet. And they defi-
nitely don’t span over 70 minutes
like this one does. Of course, I still
found myself spending $12.99 for it
while at a party before leaving so
I could have my own personal lis-
tening session.
But the 17-track project, which
features collaborations with Lil
Wayne, PARTYNEXTDOOR and
Travi$ Scott, works because he’s
calling it a mixtape, rather than a
full-blown album. It doesn’t feel
like the follow up to 2013’s Noth-
ing Was The Same because it’s not
supposed to. There was almost no
promotional work, unlike NWTS
and his 2011 effort Take Care,
where we’d essentially heard the
whole album before the release.
None of the tracks on IYRTITL
could have been obvious singles.
And their content sounds differ-
ent: more urgent, aggressive and
cold. It’s the Toronto rapper’s way
of telling people, if they didn’t
already know, he’s not one to be
fucked with. He’s only getting big-
ger, and he knows it. That could
be what Drake’s referencing with
the project’s title; If You’re Reading
This It’s Too Late serves as a state-
ment to fellow rappers and fans
alike, implying we can’t keep up
and that’s how he likes it.
In fact, the whole tape feels like
a statement. It can’t be a coinci-
dence that Drake decided to drop
the thing the same day Kanye
West unveiled his new fashion line
with Adidas, as well as a surprise
track, during New York Fashion
Week. And the tracks are littered
with shots at other rappers, even
friends like Jay Z and West. He
explicitly calls out Tyga during
“6PM in New York” – “I heard a lil’
lil’ homie talking reckless in VIBE
/ Quite a platform you chose, you
shoulda kept it inside/ Oh you tried
it, it’s so childish calling my name
on the world stage/ You need to act
your age and not your girl’s age” –
and finally breaks his silence about
the beef with Cash Money Records
in “Star67” – “Walk up in my label
like, where the check though?/
Yeah I said it, wouldn’t dap you
with the left ho.” This brings up
an interesting question: Does this
“mixtape” fulfill Drake’s four-
album contract with Cash Money?
That would explain why it was
up on iTunes for sale, as opposed
to the usual Internet upload that
mixtapes
recieve.
With
both
Drake and Wayne on the outs, this
could be the death of the famous
hip-hop label.
If this tape was a goodbye, it’s
a hell of a good one. We get the
Drake that goes off in bangers like
“Know Yourself” and “6 God,” but
also the introspective, moody-
broody Drake – my favorite Drake
– in songs like “Now and Forever”
and “Jungle.” We get a bunch of
millennial references no one will
understand in 10 years but that still
really resonate right now – “Call
your ass an Uber, I got somewhere
to be.” We get Drake talking about
his mom because he can’t not talk
about his mom. “I can’t be out here
being vulnerable, momma” is the
most Drake lyric I’ve ever heard.
We get an abnormally long mix-
tape that feels short, which makes
it easy to listen to on repeat.
But we also get a mixtape that
might be trying a little too hard
to be hard. Drake has always been
acutely conscious of his position in
the rap world. But all these shots
at other rappers? Or the gunshot
features on “Energy” and “Know
Yourself?” Like, come on Drake,
we know you’ve never shot a gun
in your life. Or on “Energy,” he
raps over and over again about
how he’s got enemies, like a lot of
enemies. We get it, Drake, people
don’t like you! It feels inauthentic
at points. Drake wants so terribly
to prove himself, and he says just
that in “6PM in New York” – “I
wanna prove that I’m number one
over all these niggas.”
Still, something has changed
with the rapper. He even notes in
“6PM,” “‘Best I Ever Had’ seems
like a decade ago.” IYRTITL marks
a transition for Drake’s sound,
attitude and, potentially, even his
label. He’s completely confident
doing whatever he wants now,
like dropping a whole mixtape
unannounced. He knew we were
all thirsty during this dry period
before the release of his actual
anticipated album Views From the
Six, so he gave us a taste of what’s
to come later this year.
And I don’t regret leaving that
party to listen.
CASH MONEY RECORDS
Nobody’s saying he could do better.
Minkoff show
a ’70s homage
By KATIE CAMPBELL
Daily Arts Writer
Rebecca Minkoff’s New York
Fashion Week designs were an
homage to the ’70s. The runway
was filled with loosely styled cool
girls wearing fringe, tall boots and
deep, muted colors. The opening
look was the perfect way to define
the show — a brown and black com-
bination of a peasant blouse and mini
skirt topped with a vest. Other nota-
ble outfits included a look defined
by a vibrant red peasant dress with
a knee length leather jacket and an
ankle length, fringe skirt paired
with a cream blouse and a leather/
fringe vest. The textures and fabrics
of the pieces were a highlight of the
collection. The fringe varied from
white to black to brown, short to
long, and are featured on the coats,
dresses, skirts and boots. Other fab-
rics, such as leather, suede and wool,
were paired with the fringe to bal-
ance out the intensity of the texture.
Minkoff’s looks define the con-
temporary approach to the trend-
ing Woodstock-esque styles that
have been appearing on young
adults since Coachella made music
festivals fashionable. Minkoff’s
approach to the relaxed style is
countered by her tendency for
structured pieces. In this collec-
tion, the most distinctive pieces
were the outwear; the jackets,
vests and coats layered over the
models stealing the show. The
pieces ranged from leather motor-
cycle
jackets
to
ankle-length
Sherpa
coats.
The
collection
offers many options for season
transitions, as most of the pieces
are layered. Any combination of
the dresses, skirts, tops and bot-
toms can be mixed and matched,
adding to the overall easy vibe of
Minkoff’s inspiration, Patti Smith.
REBECCA MINKOFF
John Wayne called, he wants his hat back.
Despite strong cast,
‘Slap’ can’t connect
By ALEX INTNER
Daily Arts Writer
The idea of a “guilty plea-
sure” show has been embraced
wholeheartedly by broadcast
networks.
This
type
of
series
thrives on the
idea of driving
people to watch
each week, even
if
they’re
not
the best shows
on
television.
However, there’s
something
about each pro-
gram
that
fits
that model that
makes
it
worth
watching.
“Scandal” has dense plotting
and cliffhangers that push
you into the next week. Oth-
ers have performers that make
them worth watching on their
own, like Viola Davis on “How
to Get Away with Murder” and
Taraji P. Henson on “Empire.”
“The Slap” has the right title,
hook and cast to fit right in
with these shows, but it never
embraces what it could be and
is painful as a result.
“The Slap,” based on an Aus-
tralian series of the same name,
follows what happens after the
events of Hector’s (Peter Sars-
gaard, “An Education”) 40th
birthday party. At the party,
Hector’s cousin Harry (Zach-
ary Quinto, “Star Trek”) slaps
another couple’s misbehaving
child, and the couple leaves
the party threatening to press
charges. The pilot also deals
with
Hector’s
uncertainty
about his affair with his under-
age babysitter Connie (Maken-
zie Leigh, “Gotham”).
What comes back to hit the
show is the mix of over-the-
top storytelling elements and a
sense that it wants to be taken
seriously. From Hector’s intro-
duction
as
a
jazz-listening
“good guy gone bad” to the fam-
ily’s arguments, it only goes for
one thing: drama. Every scene
plays out with the emotional
volume pushed up to 10. Even
when it gets to the slap of the
title, the child’s scream is heard
in slow motion and the camera
cuts to everyone’s *shocked*
faces. This all could work if it
didn’t try to take itself so seri-
ously. It’s so interested in doing
a dramatic telling of its story
that it loses track of how silly
it all is. If it embraced that fac-
tor, then it could actually be a
decent show, but it fails to rec-
ognize its potential.
It doesn’t help that the fan-
tastic cast is saddled with one-
note, stereotypical characters
that don’t allow them to show
any range as performers. The
show has an excellent ensem-
ble, including Sarsgaard, Quin-
to, Uma Thurman (“Kill Bill”),
Melissa George (“The Good
Wife”) and Thomas Sadoski
(“The Newsroom”). That cast
should be able to make any-
thing better, but they’re stuck
with the limited characters on
the page. For example, Quinto’s
character is the “hot-headed,”
successful member of the fam-
ily, so he’s only told to play
angry. He doesn’t get to add any
nuance to his portrayal in the
several minutes he’s on screen.
Sarsgaard is the one given the
most to work with in the first
episode, but his character fits
right into the “good leading
man who has skeletons in his
closet” stereotype. The show
does nothing to break the char-
acter out of that mold and his
performance suffers as a result.
Honestly, if I were any one of
these actors, I would be slap-
ping my agent for getting me
involved in this schlock.
It’s really a shame. A show
called “The Slap” with this
premise should be something
that fits right in as a television
soap. Instead, its one-note char-
acters and heavy-handed story-
telling leave nothing to hook
the viewer. Maybe it’ll get bet-
ter and the characters will gain
depth as the show completes its
eight episode run, but the first
episode didn’t leave a mark.
B+
‘If You’re
Reading
This, It’s
Too Late’
Drake
Cash Money
Records
D+
‘The Slap’
Limited
Series
Premiere
Thursdays
at 8 p.m.
NBC
TV REVIEW
NYFW RECAP