ACROSS
1 Long __
4 Spartan
colonnades
9 Belief of more
than a billion
14 *1952 #1 hit for
Leroy Anderson
16 “Done!”
17 *Math reciprocal
18 Expand
19 Numskull
20 Start of a rumor
22 Fuel economy
testing org.
23 Business card
word
26 On the table
30 With 35-Across,
question the
starred clues
might ask
33 Zhou __
34 Wide size
35 See 30-Across
42 Boston Coll. is in
it
43 ’90s runner
44 Response to
30-/35-Across,
and a hint to a
hidden word in
14-, 17-, 61- and
66-Across
50 Pith
51 Medit. land
52 Revised
versions: Abbr.
55 Sharp
57 Stop on Amtrak’s
Lake Shore
Limited route
58 Theodore’s first
lady
61 *“Atomic” Crayola
color
65 Event with pole
bending
66 *Bogged down
67 “Octopus’s
Garden”
songwriter
68 Holds up
69 Sch. units
DOWN
1 Start of a
children’s song
2 Gluttonous
Augustus in
“Charlie and the
Chocolate
Factory”
3 Posse target
4 Stop: Abbr.
5 __ sale
6 Word with man
or horse
7 Latin lambs
8 To make sure
9 Confessor’s
words
10 Haberdashery
stock
11 Directed
12 Exist
13 Sign on a door
15 Put away
21 Djibouti neighbor:
Abbr.
23 Canine
24 Hun king, in
Norse legend
25 Capital of
Shaanxi Province
27 Several
28 “Twittering
Machine” artist
29 Observer
31 Mother __
32 Fools
35 2/3, say
36 Big name in
publishing
37 Decorates, in a
way
38 Mountain sighting
39 JFK list
40 Queen dowager
of Jordan
41 Wall St.
purchase
45 Rattletrap
46 Hold
47 “Born on the
Bayou” band,
briefly
48 “Mean Streets”
co-star
49 How ghost
stories are told
53 “2 Broke Girls”
setting
54 Origins
56 Actress Delany
57 Bit of work
58 Triage ctrs.
59 Finish, as a letter,
perhaps
60 Wyo. neighbor
62 Some Windows
systems
63 Hood’s gun
64 U.S. Army rank
abolished in
1815
By Jacob Stulberg
©2015 Tribune Content Agency, LLC
03/27/15
03/27/15
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Friday, March 27, 2015
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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ANNOUNCEMENT
SUMMER EMPLOYMENT
6 — Friday, March 27, 2015
Arts
The Michigan Daily — michigandaily.com
‘Monologues’ to
tell women tales
Play returns to the
‘U’ with diverse
cast and female
empowerment
By GRACE HAMILTON
Daily Arts Writer
For students touring the Uni-
versity, their starting point is
often the Michigan Union on
State Street. For
the past month,
an
enormous
banner has wel-
comed
these
students
with
“The
Vagina
Monologues”
stretched con-
fidently across
the arch of the
entrance, deco-
rated with pink
and purple. The
bold placement
of
the
sign,
unable
to
be
missed by pass-
ersby,
echoes
the confidence
of
the
play
it
promotes.
There’s no beating around the
bush here.
This Thursday and Friday,
March 26 and 27, Eve Ensler’s
triumphant
play
of
female
empowerment will be performed
at Rackham Auditorium and the
Trotter Multicultural Center.
This is the 5th annual showing
of “The Vagina Monologues,”
sponsored
by
Students
for
Choice, a student organization
which advocates for pro-choice
legislation.
The cast of 15 is a diverse
group of women ranging in age,
race and acting experience.
With recent criticism of the play
for being non-inclusive of cer-
tain identities, “our mission has
been to prove to people that it’s
still relevant and that we are
being as inclusive as we possibly
can; there is a place for everyone
to be in and enjoy this play,” said
year’s director Kayla Smith, an
LSA sophomore.
Both Smith and producer
Rhani Franklin, an LSA sopho-
more, are new to theater at the
University, and first time direc-
tors and producers. This fact
seems only to have added to the
strength of their vision and con-
nection to the play.
“Art and performance can be
a really powerful way to com-
municate a message and enact
social change,” Smith said of the
play. “‘The Vagina Monologues’
will make you laugh, it’ll make
you cry, but it will also make
you think about real issues.”
The breadth of issues that the
play is able to address makes it a
powerful catalyst for conversa-
tion and thought.
“It’s fun and different and
shocking,”
Franklin
said.
“There’s so much I wouldn’t
have thought to talk to people
about until seeing this play.”
Beyond
just
being
a
conversation starter, the play is
a call for action.
“It also encourages activism
for ending violence against
women and gender violence to
college campuses,” said Kylee
Smith, an actor in the play, said.
Kylee, a master’s student in the
School of Social Work, will be
performing in the play for the
fifth time this year.
“The most important message
is that violence against women
needs to be stopped,” she said.
While responses to the play,
both at the University and across
the nation, have ranged from
disgust to kneeling praise, “The
Vagina Monologues” is intend-
ed to relate to all people — men
included.
“I think a lot of times when
people try to explain to men why
feminism should matter to them,
they say things like, ‘Well, how
would you feel if someone did
this to your mother or daughter
or sister?’ ” Smith said. “I find
issue with that because men
shouldn’t have to feel sympathy
or that they are involved and
invested in feminism because
of someone close to them, they
should feel this way because
women are humans, women are
half the population.”
College is a time for people to
enter into conversations they’ve
never had before, listen to voices
they’ve never heard and explore
issues that are shushed in other
settings. “The Vagina Mono-
logues” presents these challeng-
es and profound privileges, all
in one. It is guaranteed to open
some eyes.
The Vagina
Mono-
logues
March 26th
at Rackham
Auditorium,
March 27th
at Trotter
Multicultural
Center
7:30 p.m.
Tickets at Mason
Hall: $5 presale,
$10 at the door
A ‘Big Happy’ mess
By SOPHIA KAUFMAN
Daily Arts Writer
Executive
producer
Ellen
DeGeneres and her fellow creators
of “One Big Happy” have clearly
realized
that
non-traditional
families
on
TV shows are
proof of being
socially
con-
scious. Unfor-
tunately
for
their audience,
they
seem
determined
to prove how
with the times
they
are
in
the most grat-
ing and gratuitous ways possible.
Even the title lends itself too easily
to criticism — the show is nothing
more than One Big Flop.
The pilot opens with Lizzy
(Elisha Cuthbert, “The Girl Next
Door”) buying prenatal vita-
mins in a drugstore, accompa-
nied by her straight best friend
and roommate Luke (Nick Zano,
“What I Like About You”). The
two are planning on raising a
child together and are disap-
pointed when they find out that
their latest try to get pregnant
failed. Later, Luke meets a flirty
and fun Manic Pixie Dream Girl,
Prudence (Kelly Brook, “Pira-
nha 3D”), who encourages him
to hop over the bar, fix himself a
drink like she has done and live
life to the fullest. She likes sci-
ence fiction and walking around
the apartment naked for no rea-
son. Predictably, Luke has never
met a woman like her before and
is devastated when he finds out
the beautiful Brit is about to be
deported. Lizzy can’t wait to see
Prudence go — after several quips
about Lizzy not being a “very
good lesbian” because she prefers
not to hug Prudence in the nude, it
is abundantly clear the two don’t
get along.
Then, Luke and Prudence get
married, Lizzy tells them she’s
pregnant and Luke is the father
and Prudence decides that it is
too much for her and runs to the
airport. Lizzy has a change of
heart, follows her there and gets
down on one knee to “get the girl”
for her straight best friend — and
thus ends the episode in true sit-
com fashion.
“One Big Happy” is full of
strained one-liners about lesbians,
stereotypes about straight guys
and more off-color boob jokes than
the 2013 Oscars. Brook does the
best she can with the inherently
sexist, one-dimensional character
she has been given, which incor-
porates a lot of hair flipping, forced
smiles and gratuitous prancing
around with pixelated body parts.
Zano looks confused as to wheth-
er he should be emphasizing the
dude-bro or ready-for-parenthood
side of his personality, although
it doesn’t really matter as the one
is as unbelievable as the other.
Cuthbert seems to be perpetually
looking around for a live studio
audience to appreciate her lines,
but her hopeful gaze is met only
with the hollow emptiness of
canned laughter. The few other
characters in the show are there
only to set up jokes so that these
three can triumphantly deliver
their punchlines.
There are a few lines that sug-
gest the writers are hesitantly try-
ing to steer the show in a better
direction, less focused on serious
plot in favor of pointing out pat-
terns in movies and shows that
incorporate so many of the same
banal plot drivers. For example,
when Lizzy says slowly to Luke’s
drunkenly slumped form on the
couch, “Maybe you shouldn’t
let her get on that plane,” and,
when he doesn’t understand her,
exclaims, “Oh my God, have you
never seen any movie ever?”
If the writers continue pok-
ing fun at themselves and give up
pretending this is anything other
than a low-budget sitcom, they
might arrive at something worth
watching. But the main take-
away from the show for people
who know anything about the
executive producer is a general
feeling of disappointment. “One
Big Happy” is the first sitcom to
feature a lesbian lead since Ellen
DeGeneres’s “Ellen,” and it’s
missing, above all, her wit and her
spark. Come on, Ellen. We know
you can do better.
C-
One Big
Happy
Series
Premiere
NBC
Tuesdays at
9:30 p.m.
NBC
This picture was taken moments before Ellen danced through the aisles.
EVENT PREVIEW
TV REVIEW
Release dates
don’t matter
By RACHEL KERR
Daily Arts Writer
Last week, Kendrick Lamar
surprised us all by dropping
his third studio album To Pimp
A Butterfly. This came only
days after he announced its
March 23 release date. And
while it’s being called an error
on his label’s part, it only fur-
ther solidifies the fact that the
release date is dead.
In the age of the Internet,
labels have struggled to adapt to
the way people listen to music.
The CD died its first death
when Napster was born in 1999,
and the birth of iTunes in 2003
finalized this transition into the
digital music world. But Napster
had changed something; people
no longer believed they needed
to pay for music. Though iTunes
offered songs for only 99 cents,
the Internet offered them for
free. Doors had opened that
could not be shut.
Today we have streaming
services such as Spotify and
YouTube, which offer royalties
to artists and require minimal
payment from us. Still, album
sales are down, so record labels
try to combat the allure of the
Internet. For instance, albums
will inevitably leak. If your
favorite artist has something
out soon, you can probably hear
it a couple days before some-
where in the crevices of the
Internet. Artists know this and
are adopting new promotional
methods to prevent this, for
example, by not using any pro-
motional methods.
It began with Beyoncé and
her 2013 self-titled project;
arguably the most influential
artist of our generation ignored
all album release precedent
and dropped a full audio-visu-
al album without any prior
promotion.
The
move
was
monumental. I mean, every-
one remembers where they
were the first time they heard
“Drunk in Love.” This wasn’t
the only time an artist had dis-
regarded release conventions:
Frank Ocean dropped CHAN-
NEL Orange on iTunes a week
early, Radiohead barely gave
us any notice before King of
Limbs, Death Grips uploaded
Government Plates to the Inter-
net with no warning. But some-
thing changed on that fateful
December night when Beyoncé
debuted.
Since then, fellow artists, too,
have abandoned the traditional
album rollout. Most recently,
Drake dropped If You’re Read-
ing This It’s Too Late without
any announcement, the title
itself a potential comment on
the surprise release. And who
can forget the whole U2 Songs
of Innocence debacle, where
everyone with an Apple account
got the album uploaded to their
iTunes for free, whether they
wanted it or not? D’Angelo,
Skrillex and Kid Cudi also
made little to no announcement
before releasing their 2014 proj-
ects, and both Kanye West and
Rihanna have said that their
2015 albums will drop when-
ever they want them to, without
an official date.
And while there’s an obvi-
ous difference between sur-
prise release dates and surprise
albums – one involves promo-
tion and the other doesn’t –
both disregard the calendar. But
this strategy seems to work in
an era where people want easy
access to everything, where
people want everything right
now. Take Beyoncé, for instance.
It sold over 800,000 copies in
the first three days, despite no
promotional
announcements.
What’s the point of putting a
specific date on the release
when the album will sell just as
many copies, if not more, with-
out it?
So,
I’m
glad
Kendrick
dropped his album early. After
a year of artists forsaking tra-
ditional promotional strategies,
I almost thought it was a little
lame that he was even giving us
a release date.
MUSIC NOTEBOOK