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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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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