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. 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April 1st‑August 21st Furnished, Heat & Water & Free Internet 734‑761‑8000 primesh.com SERVICES HELP WANTED TICKETS & TRAVEL FOR RENT SUMMER EMPLOYMENT 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 WANT TO FREAK OUT ABOUT THE OSCARS WITH US? APPLY TO DAILY ARTS. To request an application, email CHLOELIZ@UMICH.EDU ADEPOLLO@UMICH.EDU