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Email: dailydisplay@gmail.com

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NOW.

ACROSS
1 Hackneyed
6 Work out ahead
of time
10 Lily of France
garment
13 Prepared
potatoes, as for
hash browns
14 Boxcar hopper
15 Campus
courtyard
16 Unnamed news
supplier
19 ID theft target
20 Used a bench
21 Injector for
severe allergic
reactions
22 Slice opposite, in
golf
24 Snappy dresser
26 Actress Aniston,
in tabloids
27 Automatic setting
for highway
driving
33 Nabokov
nymphet
35 Cold draft server
36 Weed whacker
37 Wipe off the
board
38 Tidal retreat
39 Take control of
41 Rm. coolers
42 Lao Tzu’s “path”
43 Puts a gloss on,
as shoes
44 Christmas
display
48 Country singer
McGraw
49 Jamaican music
50 Annual spelling
bee airer
53 Understood by
only a few
56 Portfolio part,
briefly
58 Exceedingly
59 Conforms, or
what each last
word of 16-, 27-
and 44-Across
literally does
63 Seatback airline
feature
64 Otherworldly
glow
65 Actress Zellweger
66 “The
Fountainhead”
author Rand
67 Blue books?
68 Pretty pitchers

DOWN
1 Dumpster fill
2 Classic Unilever
laundry soap
3 Religious rebel
4 Bowling pin
count
5 Frozen custard
brand
6 Instagram
uploads
7 Soul singer
Rawls
8 Crunched
muscles
9 Bit of cosmetic
surgery
10 Dinner table faux
pas
11 Kentucky Derby,
e.g.
12 Yemen’s Gulf 
of __
15 One of five in a
maternity ward
delivery
17 Criminal group
18 Ready for
business
23 Singer
Kristofferson
25 Auto parts chain
28 Sport-__: off-road
vehicle
29 Chicago
ballplayer

30 Fake diamond
31 Move like honey
32 Dregs
33 Low in fat
34 Aquatic predator
38 Grab a bite
39 “__ Loves You”:
Beatles
40 One, in 
Dresden
42 “Used to be ... ”
43 Frighten
45 Sicily’s country
46 Sicily’s wine

47 Headgear on the
slopes
51 Strength
52 Botanical
connecting points
53 Mennen lotion
54 One of the
Gilmore girls
55 Kilted family
57 Land measure
60 Total amount
61 Capote nickname
62 Opposite of fast
fwd.

By C.C. Burnikel
©2015 Tribune Content Agency, LLC
04/20/15

04/20/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Monday, April 20, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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6A — Monday, April 20, 2015
Arts
The Michigan Daily — michigandaily.com

ZACH MOORE/Daily

Common exercising his right to bare arms.
Thank God for hip 
hop: Common in A2

By ADAM THEISEN

Senior Arts Editor

Less than five minutes into 

his concert at Hill Auditorium 
last 
Friday, 
Common 
was 

already one of the common 
people.

During 
one 
of 
the 
set’s 

earliest songs, “Blak Majik” 
from 
last 
year’s 
Nobody’s 

Smiling, 
the 
Oscar- 
and 

Grammy-winning rapper left 
the stage and ran into the 
crowd, high-fiving jubilant fans 
as he moved through the aisles 
and continued to perform.

It was an early highlight 

of 
an 
especially 
intimate 

performance from Common. 
In front of fans that included 
Michigan 
football 
coach 

Jim Harbaugh and former 
Michigan quarterback Devin 
Gardner 
(with 
the 
latter 

sporting a “Do The Right 
Thing”-inspired Radio Raheem 
t-shirt), Common played a 
career-spanning set ranging 
from songs that were less than 
a year old to tracks that he laid 
down over two decades ago.

Dressed simply in jeans and 

a blue jacket over a dark shirt, 
Common looked confident and 
relaxed, happy to be there yet 
entirely ready to deliver a top-
notch set. Early on, he listed 
off all of his albums in order 
for the crowd, getting cheers 
for each one while mentioning 
that he was “still hungry” for 
more. Common connected with 
the crowd and turned Hill into 
an intimate performance space 
during energetic favorites like 
“Go!” and “Get Em High” as 
well as more dramatic work like 
“Testify.” In fact, he completely 
shattered 
the 
performer-fan 

divide when he brought a fan 
from the front row onto the 
stage, dancing with her for a bit 
before sitting her on a stool and 
performing for her.

“I’ve 
always 
felt 
like 

Michigan was a second home 
to me,” Common said from the 
stage, referencing to the Fab 
Five and the late great Detroit 
producer J Dilla. He backed 
up those words later when he 
stopped “I Used to Love H.E.R.” 
to launch into a freestyle that 
name-checked 
Ann 
Arbor 

landmarks like State Street, 
South 
Quad, 
the 
Fishbowl, 

Skeeps and Rick’s.

“I’m sorta like Jalen / the way 

that I Rose,” he improvised.

The 
show 
was 
organized 

by MUSIC Matters, with the 
proceeds from the concert going to 
a summer camp for Detroit youth, 
and Common gave the evening an 
extra helping of socially conscious 
credibility. 
Though 
fearless 

with his power to put on a great 
show, Common also took care 
to emphasize that he never let 
celebrity get to his head, telling 
the crowd that no matter how long 
he rapped, he would always stand 
for the people.

The night felt like a celebra-

tion of hip hop and old-school 
soul music as much as it did 
a Common concert. For an 
extended period of time dur-
ing the show, Common let his 
DJs spin golden age hip-hop 
tracks, from Biggie to Naughty 
by Nature, while the crowd 
cheered and grooved. In addi-
tion, 
opening 
act 
Antwaun 

Stanley and the Detroit creative 
collective Video 7 started the 
night with Stanley singing a 
medley of classic soul, includ-
ing “What’s Going On,” “O-o-h 
Child” and “Love Train.” Musi-
cal references to De La Soul and 
A Tribe Called Quest also made 
their way into Video 7’s perfor-
mance, and there was also a fan-
tastic reimagining of J Dilla’s 
“Dime Piece,” featuring just a 
harp, synthesizer and vocals.

The 
bittersweet 
memory 

of Dilla, in particular, hung 
over the entire show. Common 
even took some time to recall a 
moment long ago in Downtown 
Detroit, when Jay Dee picked 

him up, and Common became 
enthralled 
with 
the 
music 

playing on Dilla’s speakers and 
was amazed to discover that 
the tracks were Dilla’s own 
productions. Fittingly, it was 
the Dilla-made “The Light” 
that got the night’s loudest 
singalong.

Of 
course, 
the 
show’s 

most poignant moment came 
near the end, when Common 
performed 
a 
stripped-down 

version of “Glory,” his song with 
John Legend that featured in 
the end credits of “Selma” and 
won the Academy Award for 
Best Original Song just a few 
months ago. Accompanied by 
just a piano and back-up vocals, 
Common dedicated the song to 
Trayvon Martin, Tamir Rice, 
Eric Garner and so many others 
“who have lost their lives to 
ignorance, to lack of humanity, 
to law enforcement who have no 
respect for life,” Common said.

“We all come from the one 

true creator, the most high,” 
he continued. “And it’s going 
to be up to us to change the 
system. It’s up to us to go out 
and change the situation. We 
can’t just tweet about it and 
Instagram about it; we gotta 
plan and strategize and be 
active out there supporting 
groups, voting, organizing ... 
and as you all go out as college 
students and people in the 
community, the things that 
you want to change, change it 
yourself.”

A hush fell over the crowd 

as Common performed the 
verses quietly and reflectively, 
ending the song not with a 
note of triumph, but with the 
knowledge that more work is 
still necessary if the Glory is 
going to come.

Outside of Hill after the 

show, 
Common 
posed 
for 

a picture with members of 
Music Matters, commending 

them for the job they did and 
encouraging them to continue 
with their work.

“I think it’s super important 

that we provide opportunities 
not only for ourselves and each 
other but for the young people 
that’s coming up after us,” he 
told the group.

“I know hip hop, for me, 

was a way to express myself in 
ways that I never had done ever 
before, so art and music and 
culture and just being able to be 
you through the art is an impor-
tant thing,” he continued. “So if 
we empower our young people 
to be able to do that through 
MUSIC Matters and other orga-
nizations that are supporting 
that, I’m telling you we’re gonna 
make a better world, because 
I know that without hip hop, I 
wouldn’t have the opportunity 
to be here.”

Thank God for hip hop.

Common was 
already one of 
the common 

people.

“I’ve always felt 
like Michigan 
was a second 
home to me.”

TV COLUMN

A final question 

for Netflix

F

or the past eight months, 
I’ve had the pleasure of 
being The Michigan Daily’s 

TV Columnist. With this role, 
I’ve used my journalistic power to 
ask the truly 
important 
questions. 
Why are you 
not watching 
“Shame-
less?” How 
did Patricia 
Arquette go 
from Oscar 
to “CSI” in 
just one week? What did “The 
Mindy Project” ’s racy sex scene 
mean for broadcast television? 
And of course, how could a Halle 
Berry-led television series about 
mysterious alien pregnancies be 
so damn unsatisfying? Now, with 
this final column — the last piece 
I’ll write for The Michigan Daily 
after three incredible years — I 
have one last question to ask.

Netflix built its television brand 

on the binge. In 2013, a press release 
from the company asserted “(Netf-
lix’s) own original series are cre-
ated for multi-episodic viewing, 
lining up the content with new 
norms of viewer control for the first 
time.” The idea: if viewers devour 
entire seasons of “Breaking Bad” in 
one weekend, why not employ that 
mindset with an original series? 
And of course, Netflix’s signature 
all-at-once delivery has paid off 
immensely, forging several hit 
series such as “House of Cards” and 
“Orange Is the New Black.” (Netflix 
doesn’t release ratings information, 
though research has estimated that 
both series are watched by many 
millions of viewers.) And two years 
later, with dozens of original series 
aimed at multiple demographics, 
it’s understandable that Netflix 
would double-down on its lucra-
tive original content. In December, 
Netflix’s Chief Content Officer Ted 
Sarandos announced that the com-
pany’s long-term goal is to premiere 
a new season or series every two 
and a half weeks.

In theory, this iniative is great. It 

means more original content from 
a now-proven television heavy-

weight. But in reality, can this 
work? How much can we binge? 
How much is too much? Because 
right about now, my many binges 
are beginning to infringe on my 
ability to binge it all. (Translation: 
I’ve been staring at this computer 
screen for too long.) My question 
to Netflix is: how can we possibly 
binge this much?

As a massive “Friday Night 

Lights” and “Damages” fan, Kyle 
Chandler’s new series “Bloodline” 
is a perfect show for me. As a lover 
of comic book movies (and a secret 
admirer of Ben Affleck’s campy 
take on the character), “Marvel’s 
Daredevil” is immensely intrigu-
ing. As someone who can quote 
almost any episode of “30 Rock,” 
“Unbreakable Kimmy Schmidt” 
is a must-watch. And two seasons 
in, how can I give up on Netflix’s 
flagship series “House of Cards?” 
And yet, the progress I’ve made 
on any of these series is unimpres-
sive — 10 episodes of “Schmidt,” 
four of “Cards,” one of “Bloodline” 
and none of “Daredevil.” Why? 
Because all four of these series 
debuted within just weeks of 
one another. But it’s not just that. 
Sarandos’ plan to debut new series 
every two and a half weeks forgets 
to account for one key ingredient: 
Netflix’s non-original series that 
started all the binging in the first 
place. With all the series Netflix 
has to offer — both new and old, 
original and acquired — it’s get-
ting more difficult to reconcile 
the site’s original programming 
with the rest of its catalog. In other 
words, my failure to keep up with 
Netflix’s ambitious slate of original 
programming has a name, and that 
name is “Sons of Anarchy.”

Just one week before season 

three of “House of Cards” pre-
miered, I (perhaps foolishly) started 
what would become a months-long 
journey with the Sons of Anarchy 
Motorcycle Club — six seasons on 
Netflix, right there in front of me. 
And as promised by friends and 
family, the series, led by Charlie 
Hunnam (“Pacific Rim”) and Katey 
Sagal (“Married… with Children”), 
is fantastic. But even more, it’s 
addicting, as if it were created with 

binge-ability in mind. (In reality, 
the series premiered on FX in 2008, 
long before “House of Cards” ’s 2013 
debut.) And as any Netflix enthusi-
ast knows all too well, once you’ve 
discovered that one arresting series 
— a “Breaking Bad” or a “Friday 
Night Lights” or a “Sons of Anar-
chy” — few other shows matter. 
Any free time you have is devoted 
to that series, my television viewing 
predestined for Jax Teller and his 
motorcycle cronies.

Seven seasons into “Sons of 

Anarchy” and “House of Cards” 
remains 
largely 
unwatched; 

“Bloodline” a blip on the radar; 
“Daredevil” nonexistent. And I’m 
OK with that, mainly because there 
are few series that I’ve enjoyed 
as much as I’ve enjoyed “Sons of 
Anarchy.” From start to finish, 
“Sons” was everything you hope a 
television series about a notorious 
motorcycle gang would be — its 
action exciting, its developments 
shocking, its writing and acting 
of the highest caliber. I’m OK that 
for me the words “television” and 
“Netflix” have been synonymous 
with “Sons of Anarchy” for the past 
few months. But is Netflix OK with 
it? Should Netflix be?

As long as Netflix continues to 

release its own series as quickly 
as every two and a half weeks, it 
will become harder and harder to 
enjoy the varied programming the 
service has to offer. And let’s face 
it: we’re not all going to be second 
semester seniors with endless time 
on our hands for very much lon-
ger. At some point, we’re going to 
have to choose. “Sons of Anarchy” 
or “House of Cards?” “Breaking 
Bad” or “Bloodline?” “30 Rock” or 
“Unbreakable Kimmy Schmidt?” 
And at that point, when you’re in 
the real world and your time is valu-
able and the hard choices have to be 
made … that’s when we all lose.

So, with this final column, I ask 

Netflix: how can we binge it all?

Believe me, we want to. But you 

need to give us the chance.

Stern has uncovered 

the first world problem par 

excellence. To congratulate him, 

email alecs@umich.edu.

ALEC STERN

CONCERT REVIEW

