ACROSS
1 Command from a
bailiff
5 Circle calculation
9 They smell
14 Like Mini Coopers
15 Pond croaker
16 Swine squeals
17 Gave the once-
over
18 Particularly
welcome casino
visitor
20 Alpine song
22 Ear-splitting
23 Court case that
generates a
media frenzy,
say
30 Handsome god
32 Get really angry
33 Granada gold
34 Irritate
37 “CSI” facilities
38 Tee sizes, for
short
39 “Nice job!” ... and,
in another sense,
a hint about the
first words of 18-,
23-, 52- and 60-
Across
42 Geese formation
43 Leafy veggie
baked for chips
45 Bitten by bees
46 Angled pipe
fitting
47 Handsome god
50 __ Raiders:
consumer
advocates
52 Abe Lincoln
nickname
55 Principal role
56 Diet food phrase
60 Irritate to the
breaking point
66 Shredded
67 Construction
beam fastener
68 Former South
Korean leader
Syngman __
69 Golf club used for
chipping
70 Blissful settings
71 Jedi guru
72 Small change

DOWN
1 Do as directed
2 Toy with a spool
3 Deleted, with
“out”

4 Louisiana music
style
5 Olympics fig.
6 French monarch
7 One below birdie
8 Specialized,
committee-wise
9 Bit of pasta
10 Frying liquid
11 NBC show since
1975, briefly
12 Barely manage,
with “out”
13 Ukr. or Lith., once
19 Feels remorse
over
21 Bochco legal
series
24 Forearm bone
25 Some DVD
players
26 Sinuous swimmer
27 Less cowardly
28 Insurgent group
29 ’50s four-
wheeled flop
30 16th-century
Spanish fleet
31 Hoi __: the
masses
33 Heroic Schindler
35 Giants Hall of
Famer Mel
36 Brewers Hall of
Famer Robin

40 Pest in a swarm
41 Utah city near
the Golden
Spike
44 Photo blowup:
Abbr.
48 Sea spots?
49 Blueprint detail,
for short
51 Sexy
53 Cable Guy of
comedy
54 The Gem State

57 Warning from a
driver?
58 Elvis __ Presley
59 No-frills shelter
60 Hip-hop Dr.
61 Free (of)
62 “__ changed my
mind”
63 Caracas’ country,
to the IOC
64 Athens : omega ::
London : __
65 Assenting vote

By Gail Grabowski and Bruce Venzke
©2015 Tribune Content Agency, LLC
02/17/15

02/17/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, February 17, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

HEY.

YOU'RE 
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Call: #734-418-4115
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Join a fun and exciting start‑up with 
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6 — Tuesday, February 17, 2015
Arts
The Michigan Daily — michigandaily.com

‘Bosch’ has issues

Amazon’s new 
series is distinct 
but derivative

By MATT BARNAUSKAS

Daily Arts Writer

With the critical success of 

“Transparent,” Amazon’s original 
programming earned a higher 
level of legitimacy. 
However, most of 
Amazon’s successes 
lie in shows with 
a unique blend of 
comic and dramatic 
undercurrents. But 
there’s no outright 
humor (except the 
occasional sarcastic 
remark) in “Bosch,” 
an 
adaptation 
by 
Michael 

Connelly of his own procedural 
novels that follow the titular 
detective. The series brings a 
dark, modern noir atmosphere 
to Amazon’s collection of shows, 
but it still has issues setting itself 
apart in the crowded field of cop 
shows.

Played 
by 
Titus 
Welliver 

(“Transformers: 
Age 
of 

Extinction”), 
detective 
Harry 

Bosch opens the show by tailing 
a suspected serial killer. The 
dark city streets slowly dim as 
Bosch pursues the man until 
the dirty yellows and oranges 
give way to shadowy blues and 
sudden 
torrential 
downpour. 

Bosch shoots the man, Roberto 
Flores (Roberto Montesinos, “We 
Bought a Zoo”), and Pandora’s 
box opens.

The series fast-forwards to 

Bosch’s trial for shooting Flores. 
Here, questions regarding the 

detective’s 
motives 
begin 
to 

arise. Former special forces and 
a known maverick within the 
department, Bosch is hardly 
approachable. He is a cop who gets 
stuff done, or as the prosecutor 
Honey Chandler (Mimi Rogers, 
“Two and a Half Men”) puts it, 
“an experienced, highly trained 
killer with a body count too 
large to remember.” The show 
holds off on giving a definitive 
answer to the question and places 
Bosch in ambiguous territory. 
Welliver, 
a 
strong 
character 

actor from acclaimed series like 
“Deadwood” and “Lost,” plays 
Bosch with the right amount of 
emotional barriers for mystery, 
enough sympathetic vulnerability 
and hints of sarcastic asshole 
so that it’s understandable why 
his superiors want him gone. 
One such higher-up remarks 
outside the courthouse, “I’m 
glad you didn’t settle Bosch. 
Such a pleasure watching you 
hang yourself.” Another advises 
him to “Join the 21st century 
with the rest of us.” The latter 
line encapsulates Bosch; he feels 
like a relic from a more brutal, 
bygone era uncomfortably placed 
in modern Los Angeles. Bosch 
himself says “I’m not worried 
about what I did. I know what I 
did was right. I’m worried about 
what the jury will think I did. 
Anyway, fuck it.” 

This isn’t to say Bosch is 

incredibly original in his own 
right. The influence from several 
of 
television’s 
former 
rough 

mavericks 
hang 
over 
Bosch. 

There’s the “screw you” attitude 
of Gregory House (“House”), the 
arrogant bucking of authority by 
Jimmy McNulty (“The Wire”) 
and the tortured pragmatism of 

Jack Bauer (“24”). These common 
traits reinforce that “Bosch” isn’t 
exactly new, and in some cases has 
been done better. The presence 
of actors Lance Reddick (“The 
Wire”) and Annie Wersching 
(“24”) serves as a reminder of this, 
and they surround Welliver with 
worthy talent.

“Bosch” feels neo-noir in its 

early episodes, which is its finest 
achievement. The city of Los 
Angeles at night is well-shot, 
pervading its cinematography 
with a sense of dark beauty and 
an underbelly of foreboding. 
Meanwhile, there are enough 
quirks to make the depiction 
stand out, like a shot of a 
passed-out Santa Claus. Even 
in high-class areas (ironically, 
where Bosch lives), there lurks 
a potentially violent side of the 
iconic city. Between the light and 
the dark, it’s in the shadows that 
Bosch feels most comfortable. 
Even when the department gives 
him a break to work on his trial, 
he finds a way to get back into the 
field, claiming, “I’m no good with 
downtime.”

Bosch’s 
detective 
work 

ultimately brings him to the 
skeletal remains of a young child. 
The case opens old wounds for 
Bosch, whose orphan upbringing 
is 
filled 
with 
violence 
and 

tragedy. The brutal scene is one 
of the main arcs and presents a 
challenge that Bosch wants to 
solve while he wrestles with his 
demons in court.

“Bosch” ’s distinct aesthetic and 

Welliver’s strong performance 
make the show worth seeing. But 
the series must shed the weight of 
spiritual predecessors in order to 
assert itself as a trademark series 
for Amazon.

B

Bosch

Series 
Premiere

Available 
to stream 
on Amazon 
Instant Video

Sex and stupidity sell 
in modern pop lyrics

By CLAIRE WOOD

For The Daily

In 2014, R&B star Jeremih 

scaled the pop charts once again. 
With his latest hit skyrocketing 
to number six on Billboard’s R&B 
Singles in America chart, the song 
was a definite success. We hear it 
everywhere — radio stations, frat 
houses, bars — still going strong 
months after its release date. 

“Don’t tell ‘em / Don’t tell ‘em / 

You ain’t even / Gotta tell ‘em.”

Considering 
his 
past 
hits 

(2009’s “Birthday Sex” and the 
2010 release “Down on Me”— both 
of which sport blatantly sexual 
titles), it comes as no surprise that 
Jeremih intimately beckons us in 
this recent serenade of his secret 
sex life. 

I guess Jeremih really wanted 

to keep his sex life on the D-L, as 
he repeats the phrase “don’t tell 
‘em” throughout the song 40 times. 
 

Granted, the star is conveying 

his 
song’s 
theme 
of 
furtive 

fornication quite effectively, but 
40 times? In fact, throughout the 
54-word chorus, Jeremih uses a 
smashing variety of no more than 
seven words. 

Now, here is where the question 

comes up: how on earth did 
Jeremih’s “Don’t Tell ‘Em” become 
a number one hit on Billboard’s 
R&B Singles?

We can’t lie: Our parents’s age 

really had it down. Big hits back 
then sported impressive lyrics 
that hit listeners square on. The 
Temptations’s release of “My Girl” 
in December of 1964 inspired 
America with words that the 
whole world knows: “I’d guess 
you’d say / What could make me 

feel this way? / My girl — my girl 

— my girl!” The three wholesome 
women of The Supremes rattled 
America with “Stop in the Name 
of Love,” singing the begging story 
of a broken heart. Gloria Gaynor 
belted out her single “I Will 
Survive” in 1978, boasting strong, 
defiant feminism with her lines: 
“Did you think I’d lay down and 
die? Oh no, not I! I will survive!” 

Throughout 
the 
decades, 

however, a pitiful transformation 
has occurred in a sort of prodigious 
degradation of lyrics. Recent pop 
releases have come out with some 
of the most atrocious rhymes, puns 
and choruses in the history of 
mankind. 

For example, Big Sean climbed 

to Billboard’s number one Ranking 
for Hot R&B and Hip-Hop despite 
Sean’s 
repeated, 
demeaning 

assertion that he will be abstaining 
from “fuckin’ with you, you little 
dumb ass bitch.” Notwithstanding 
the 
most 
shameless 
female 

objectification America has seen 
yet, Big Sean’s music video has 
raked in over 37 million views on 
YouTube.

If not blatantly offensive, these 

kinds of lyrics are unfathomably 
stupid. Rapper YG, featured in 

Jeremih’s “Don’t Tell “Em,” backs 
his statement of being “on my late 
night thirsty” with the substantial 
argument that, of course, “it was 
late night, and I was thirsty.” Good 
one, YG — excellent use of circular 
reasoning. Nicki Minaj comes out 
with a similar, insultingly simple 
line in her recent release “Only,” 
as she claims that she “don’t duck 
nobody but tape” and then follows 
with an explanation of how “that 
was a set up for a punchline on 
duct tape.” Was that our cue to 
laugh? Nobody knows. 

So how is it possible that these 

horrendous, empty combinations 
of verses climb their way to the 
top of the pop culture food chain? 

I have no clue. Maybe its 

Minaj’s artificial perfection that 
sells her albums. Maybe we’re 
intoxicated 
with 
the 
recent 

trends of throbbing bass and 
synthesized 
instrumentals. 

Maybe it’s the heavy eroticism 
that defines a song’s popularity, 
attractive to us as some form 
of vicarious fantasy. Maybe we 
actually like the lewd, asinine 
lyrics that inundate today’s Top 
40.

Or maybe we’ve all stopped 

listening.

TV REVIEW
MUSIC NOTEBOOK

YOUNG MONEY

Don’t tell ‘em your lyrics suck.

By CAROLINE FILIPS

Daily Arts Writer

DKNY’s show opened with 

a backdrop of white text on a 
black background, posing the 
question, “What is New York?” 
Potential answers were pro-
jected throughout the show, 
including “New York is life, 
love and happiness” and “New 
York is the only place where 
you can be more. More cre-
ative, more adventurous and 
more importantly, yourself.” 
Though answers varied, by 
the show’s finale, we learned 
Donna Karan’s answer to the 
question: polished minimal-
ism, crisp, clean cuts and 
understated glamour.

The one-time “Queen of Sev-

enth Avenue” is arguably the 
essence of New York. As a life-
long native, she always reflects 
the city’s distinctive charac-
ter through her collections. 
Never failing to pay homage 
to the city that never sleeps, 
Karan stayed true to her sig-
nature style this season. The 
overarching minimalism of the 
collection was noticeable in 
not only the oversized sweat-
ers and coats, but also Karan’s 

use of a limited color scheme, 
consisting of mainly prima-
ries, camel-tones and black. 
Though sparse in color, Karan 
added small touches of embel-
lishment with sash-like strikes 
of glitzy beading strewn across 
button-downs and extending a 
gilded touch to the lapels and 
sleeves of the collection’s many 
coats.

Karan’s fall line is an accu-

rate depiction of New York 
itself, with various layers, few 
bold colors countering neu-
tral shades and inconsistent 
lines and structure mimick-
ing that of the city’s typical 
resident — brash and complex. 
The limited use of embellish-
ments and broaches topping 
off 
relatively 
conventional 

turtlenecks and button-downs 
reflects the city’s practicality, 
but also that bright beacon of 
hope New York is so often asso-
ciated with. Ankle-high socks 
embroidered 
with 
“DKNY” 

channeled schoolgirl vibes, yet 
crisp, clean loafers and chunky 
platforms denoted a graduated 
feel. Tinged with little chaos 
among the conventional, Karan 
and her expertise will always 
do the city justice. 

NYFW RECAP
DKNY’s NY 
state of mind

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