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Monday, March 23, 2015 — 5A

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ACROSS
1 Gear tooth
4 Scotch whisky
brand
9 Apples, e.g.
14 Sushi bar tuna
15 “Inside the NBA”
analyst Shaq
16 Scary bacteria
17 *Dots-and-
dashes system
19 Charged toward
20 Long Island
airport town
21 “Divergent” star
Woodley
23 Robber, to cops
26 Join the game
27 Electrical unit of
resistance
30 Fish market
offering
33 Revolutionary
Guevara
36 *Entrée
38 Linen fiber
source
39 Statesman
Stevenson
40 Part of UNLV
41 Fly like a
parasailer
42 Weed-control
tools
43 *Boxy British
economy car
45 “Take your pick”
46 Ironed
47 Grounded fast
jet, briefly
48 Affordable __
Act
50 “This __ unfair!”
52 Car thief on a
pleasure spin
56 Car wheel shafts
60 Offensively
pungent
61 *Venue for
hypothetical legal
cases
64 Stop to think, say
65 Alma __
66 Word in
itineraries
67 Tricky road
curves
68 Roast host, and a
hint to the
answers to
starred clues
69 Wild blue yonder

DOWN
1 Victoria’s Secret
garment, for
short

2 Cries of
discovery
3 “You go, __!”
4 “My Cousin
Vinny” co-star
5 Post-apartheid
ruling party:
Abbr.
6 Prefix with
conservative
7 Father figures
8 “Ick!”
9 Hazards
10 Central Florida
city
11 *Wallet
alternatives
12 Zing
13 Web browsing
destination
18 Dainty taste
22 Church recess
24 Vintage vehicle
25 One of Tony
Soprano’s
henchmen
27 Mutual of __
28 Was wearing
29 *Hannah
Montana
portrayer
31 Fiber-rich cereals
32 St. Francis of __
34 Greek god of the
underworld
35 Use, as influence
37 __ in November

38 Showman
Ziegfeld
41 Devout term for a
churchyard
43 TV “neigh” sayer
44 These, in Nice
46 Lion family units
49 Roll out of the
sack
51 Kitchenware
brand
52 Bit of mockery
53 Andean stew
tubers

54 Buxom one-
named
supermodel
55 What the buffalo
do, in song
57 Disposable
diapers brand
58 “CHiPs” star
Estrada
59 Time at a motel
62 Non-Rx
63 Golfer’s gadget ...
or where it’s
used

By Mary Lou Guizzo
©2015 Tribune Content Agency, LLC
03/23/15

03/23/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Monday, March 23, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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Taubman program
trains new architects

By CAROLINE FILIPS

Daily Arts Writer

Though higher education is ide-

ally the gateway to the profession-
al world, there is often discrepancy
between material taught in class
and its practical application. In an
attempt to bridge the gap between
academic and professional set-
tings, the University offers vari-
ous
degree-specific
programs

outside of the classroom, such as
The Taubman College of Architec-
ture and Urban Planning’s Spring
Break
Connections
externship

program. Though Spring Break
is often regarded as a relaxing
departure from rigorous course-
work, many architecture under-
graduates spend their weeklong
vacations learning the real-world
applications of their scholastic
endeavors.

Months prior to each Spring

Break, the school’s Career Ser-
vices Coordinator Beth Berenter
is hard at work, serving as a
liaison between students and
architecture firms. Berenter has
catered to Taubman students
desirous of professional experi-
ence since 1999, pairing them up
with firms based on their loca-
tion preferences.

Berenter is inspired by the

admirable work ethic of her stu-
dent clients.

“Architecture students typi-

cally work a lot of hours; school
isn’t just going to class and going
home,” Berenter said. “They
literally live in the studio. The
fact that they’re willing to give
up any kind of break before the
final push before graduation or
the end of the term is a testament
to the firms giving them a good
experience.”

In terms of the feedback she

receives
each
year,
Berenter

insists the program is less about
studying and more about stu-
dents’ saturation within a profes-
sional environment. Each firm
exudes a unique character specific
to the organization, and Berenter
stressed the indelible experience
of students’ immersion within a
specialized workplace.

“Many of the undergradu-

ate students have never seen the
inside of an architecture firm, so
they get an eye opening experi-
ence of what it’s actually like to
be in a firm,” Berenter said.

Though
originally
created

exclusively for undergraduate
and graduate architecture stu-
dents in the early ’90s by the
American Institute of Architec-
ture Students, the program has
grown to also include graduate
urban planning students. This
year, 45 undergraduate architec-
ture students participated in an
externship.

Among this year’s under-

graduate architecture extern-
ship participants were Taubman
sophomore Taylor Boes and
Taubman senior Nathaniel Ros-
neck. Boes travelled to Raleigh,
North Carolina where she spent
the week at Integrated Design.
Rosneck chose Cooper, Robert-
son & Partners, a firm in New
York City.

Boes began her education at

Taubman last year as a member
of the first class to be admitted as
freshmen. She contributed to the
college’s Research Through Mak-
ing exhibition, which explored
various tactile fabric therapy sys-
tems for autistic children.

“It’s really cool to see immedi-

ate outcomes of your work,” Boes
said. “Creating an environment
that can do different things is
really interesting to me.”

At Integrated Design, a small-

er firm of six architects, Boes had
fully packed days from 9:30 a.m.
to 5:00 p.m. She opted for the
Raleigh firm due to her sister’s
residence in the city and its being
the workplace of 2010 University
alum Sam Berner.

In retrospect of her first

externship, Boes spoke positively
of her experience. She found a
greater understanding of how
an architectural firm functions
through editing projects, sit-
ting in on meetings, working on
renderings of three-dimensional
models and attending an urban
design conference.

“It
was
a
really
good

experience to see what a day in
the office was like, because its not

always just ‘oh here’s the finished
product,’” Boes said. “It was nice
to see how architecture is outside
of an academic context. It’s very
different
studying
something

and then going into the actual
field.”

This year was Rosneck’s sec-

ond externship experience. Last
winter, he participated in Dis-
ney’s college program for the
duration of the winter semester
at HuntonBrady firm in Orlando.
This spring, he decided on the
more concentrated environment
of New York City at Cooper, Rob-
ertson & Partners.

“At Cooper Robertson, we

worked on the design for a new
lifeguard headquarters in Asbury
Park, New Jersey,” Rosneck said.
“I think what I found so interest-
ing about them is that they do a
lot of urban planning projects.”

Rosneck and three fellow

students worked in a team
alongside two architects. The
duration
of
their
workday

consisted of exploring the facets
of urban sustainability in the
exploration of materials and
researching New Jersey codes
and regulations for eco-friendly
building on the coast.

Rosneck believes this year’s

externship taught him the value of
professional collaboration, which
he regarded as a refreshing depar-
ture from the more individualized
work throughout the school year.

“I think that when you get into a

work environment, you really real-
ize how important collaboration
is,” Rosneck said. “I think in stu-
dio projects we really tend to wrap
our heads around our own project.
You kind of zone in on what you’re
doing, and in the real world that’s
totally not the case.”

Both Boes’s and Rosneck’s

beneficial externship experiences
wouldn’t
have
been
possible

without
Berenter’s
help,
and

Rosneck wasn’t shy to emphasize
his appreciation.

“We’re so demanding, and I’m

fascinated by how (Berenter) has
been so accommodating and so
well organized,” Rosneck said.
“She’s a fantastic resource for the
university.”

‘Glee’ reflects our
adolescent selves

Beloved FOX series
was the voice of a

generation

By KAREN HUA

Daily TV/New Media Editor

Every generation has a tele-

vision series that defines their
coming-of-age
experience.
For us – gen-
eration Y, mil-
lennials, call it
what you will
– Ryan Mur-
phy (“American
Horror Story”)
created “Glee,” a theatrical repre-
sentation of the American adoles-
cent experience. As young adults
now, we may have spent the past
few years repressing our high
school identities. But ultimately,
whether we know it or not, wheth-
er we like it or not, part of us has
been shaped by the “Glee” phe-
nomenon.

The series pilot first graced our

screens in the spring of 2009 – for
some of us, at the peak of middle
school; for others, during our
entrance into high school – for all
of us, post “High School Musical”
phase, right at the tumultuous
threshold of the tween-to-teen
transition. Almost immediately
upon hearing the a capella notes
of Journey’s “Don’t Stop Believin’”
(or maybe Salt-n-Pepa’s “Push It”),
we all dual-enrolled in our respec-
tive high schools and William
McKinley High in Lima, Ohio.

But somewhere between that

first moment and now, we grew
older and forgot about “Glee.” The
final season even had the low-
est viewership and ratings of the
entire series. Some former hard-
core-Gleeks didn’t even know the
series took its final bow and exited
stage right as the curtain closed
indefinitely this past Friday.

The two-hour finale, appropri-

ately titled “Dreams Come True,”
was first a flashback to the 2009
pilot, then a flash forward to 2020.
The episode was just as perfect
and just as flawed as the show
always has been. And for one last
time, it tried to tie up the loose
ends at which viewers incessantly
screamed.

In the present, McKinley is

converted to a performing arts
school, and the remaining alumni
celebrate the exponential progress
that developed before their very
eyes over the seasons. In more
ways than one, the episode wasn’t
only the reunion of New Directions
– it was the final union of this cast
as they waved goodbye to an era.

Project forward into the future:

all the characters have reached
their theatrical and musical aspi-
rations, as well as their relation-
ship goals. Kurt Hummel (Chris
Colfer, “Struck by Lightning”) and
Blaine Anderson (Darren Criss,
“A Very Potter Musical”) are also
expecting a baby, whom Rachel,
finally
a
Tony-award-winning

actress, is carrying as a surrogate.
Sue Sylvester (Jane Lynch, “Two
and a Half Men”) has managed
to become vice president of the
United States, but she also shows
a softer, more mature side, in con-
trast to the jaded bitch we grew to
know throughout the series. She
makes sincere amendments in
too-good-to-be-true monologues
of inspiration and even rededi-
cates McKinley’s auditorium to
the deceased Finn Hudson (Cory
Monteith) – a noteworthy tribute
to Monteith’s memory after he
unexpectedly passed away two
years ago. And everyone gives their
greatest thanks to Will Schuester
(Matthew Morrison, “What to
Expect When You’re Expecting”),
the man who started it all.

The finale, like the rest of the

series, was not completely plau-
sible – superficially glossing over
issues of continuity and using
coincidences for expository conve-
nience. How could all the students
have continued to be wildly suc-
cessful? The despicable Sue Sylves-
ter is future vice president of the
United States? Almost every single
high-school-sweetheart relation-
ship worked out?

Most
of
us
slowly
lost

interest in the third season and

eventually stopped watching by
the fourth, primarily because
the plot increasingly became
unbelievable.
As
we
gained

our own experiences and grew
slightly more cynical, we began to
realize how the show’s depictions
of reality were too perfect and too
simply resolved. The show grew
cheesy as we grew mature.

However,
“Glee”
addressed

this point in the finale, when Sue
Sylvester repeated an iconic Finn
Hudson quote: “See the world not
as it is, but how it should be.” Not
everything needed to be a replica
of reality in order for it to be pow-
erful and poignant. The show was
never perfectly accurate, but it
showed us the possibility of what
situations could be – what charac-
ters have the potential to be – even
if these representations may not be
completely true in real life.

The fact is, we were also cheesy

and tacky and unoriginal and
hyper-overdramatic and pseudo-
inspirational; a superficial sheath
of makeup complexions and foot-
ball jerseys, a mask of insecurities
and inadequacies and idiosyncra-
sies. Our critique of and eventual
disdain for the show was just a
cringing reflection on the charac-
ters we were during our tumultu-
ous teens.

Regardless of what “Glee” has

become, we cannot renounce the
fact that we grew up with it. From
middle school, the show held our
hand as we stumbled through
our own high school’s dim corri-
dors. Rachel Berry’s (Lea Michele,
“New Year’s Eve”) voice soothed
us to sleep after our first bad date
or heartbreak. A little bit in all of
us strove to be as effortlessly popu-
lar as Quinn Fabray (Diana Agron,
“I am Number Four”), to be so
naturally badass like Noah “Puck”
Puckerman (Mark Sailing, “Rocky
Road”). However, for all the freaks
and geeks, the outsiders and lon-
ers, we found solace among the
other misfits of McKinley. What
we all soon realized was that we
all, in some form or fashion, had
a big ‘L’ on our foreheads. We all
struggled to fit in; we all cried
over our identity crises; we all had
our respective haters – but we all
found our refuge in glee club on
Tuesday nights after school.

“Glee” shined a direct spotlight

on our lives, but it taught us how to
stand tall and proud, to take com-
mand over our own stage-fight of
adolescence. By guiding us with
uncomfortable renditions of “Boo-
tylicious,” and touching ones like
“Cough Syrup” and “Imagine,”
“Glee” gave us all the talks the
adults in our lives couldn’t – or
wouldn’t in high school.

“Glee” maturely addressed the

nuances of sex, dating and rela-
tionships – miraculously providing
progressive perspectives without
making us cower in fear or scrunch
our noses in disgust. The show
demonstrated multidimensional-
ity behind the most controversial
issues: it showed humility in even
the most loathsome of characters,
urging us to examine deeper and
disperse empathy to all characters
equally. Being a homosexual buff
football player, being an upper-
class pregnant cheerleader, being
a clumsy boy in a wheelchair –
being in love with theater, song
and dance – that was all ok, even
if the real people in our lives never
told us they were. Regardless of
our identities, the series taught us

how to tackle adversity with grace
under pressure.

The fact is, “Glee” didn’t

changed
–
we
did.
“Glee”

transitioned from the show we
loved, into the show we liked
ironically, then finally into the
show we loved to hate. The show
was never a piece of cinematic art
or screenwriting brilliance; what
made the show memorable and
significant was its timing at the
crux of our generation’s malleable
adolescent years, right when we
needed it most.

Even if we haven’t sustained our

devotion to “Glee” for the past few
years, it was almost impossible not
to cry during the series finale. It
was still difficult to digest the final
end notes: “do-ba-do-ba-do-ba-
dah-dahhh” as the credits rolled
one last time. Regardless of how
hard we try to bury our adolescent
years, they are a period of life we
can never negate. As awkward,
confusing and uncomfortable as
they were, they undeniably helped
us define who we were – and who
we are. As we turn from our teens
into our twenties now, whether we
like it or not, “Glee” had some sort
of impact on raising us.

We are a Gleek generation.

TV REVIEW

FOX

“Who’s got the clap?”

B

Glee

Series Finale

FOX

COMMUNITY CULTURE NOTEBOOK