Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Gobbled down
6 IRS enforcer
10 Galaxy Tab rival
14 Memory slip
15 Lifeboat movers
16 Indian bridal dress
17 Hard-to-please
diva
19 Money for the pot
20 Beast of burden
21 TriCLEAN
gasoline brand
22 Skin ink, casually
23 Holder of odds
and ends
25 “Bless you!”
trigger
28 Penne __ vodka:
pasta dish
29 Hider in a
haystack
31 Former “Tonight
Show”
announcer Hall
32 Religious
offshoot
34 Like pages worth
bookmarking
36 Pueblo-dwelling
tribe
39 Tart taste
40 Pesto thickeners
44 Short race
47 Hubbub
48 Full of pluck
51 Bring up
53 Spot to enjoy
oysters and
clams
55 Way back when
57 Have
58 Origami bird
59 Windy City
superstation
60 Bear whose bed
was too hard
62 Dine together,
and a hint to this
puzzle’s circles
64 Deadlocked
65 In __: with all
judges present
66 Diciembre
follower
67 Granny
68 Help, as a
fugitive
69 Cheryl and Diane
DOWN
1 Llama cousin
2 Ankle bones
3 New Testament
letter
4 Branch of the mil.
5 Cobbler fruit
6 Play the flute
7 Botched up
8 River under the
Ponte Vecchio
9 Federal hush-
hush org.
10 Sci-fi writer
Asimov
11 Cat with black fur
12 Statues and
sculptures
13 Conk out
18 Gorilla expert
Fossey
22 Famous last
words?
24 Hidden store
25 Pond plant
26 Poem of tribute
27 Like 2015
30 Point
33 Polynesian
archipelago
native
35 Lab gelatins
37 Contented kitty
sound
38 “Lord, is __?”
40 Target score in
“Mario Golf”
41 Mrs. McKinley
42 Sign on a new
store
43 Synthetic rubber
compound
45 Kelp, e.g.
46 Gaunt from
exertion
49 Law that incited a
1773 Boston revolt
50 Pull hard
52 Sonata
movements
54 Master, in
Swahili
56 One resisting
authority
58 Chesapeake Bay
crustacean
60 Cattle holder
61 “Selma” director
DuVernay
62 Marketing
major’s deg.
63 “Messenger”
molecule
By C.C. Burnikel
©2016 Tribune Content Agency, LLC
03/29/16
03/29/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, March 29, 2016
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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SERVICES
FOR RENT
HELP WANTED
SUMMER EMPLOYMENT
6 — Tuesday, March 29, 2016
Arts
The Michigan Daily — michigandaily.com
ALBUM REVIEW
Thugga saunters
along on ‘Slime 3’
Young Thug stays
consistent but loses
his novelty
By MATT GALLATIN
Daily Arts Writer
With the rapid musical output
of Young Thug comes the inevi-
table fall of his novelty. And it’s
about time, for
it’s seemed like
an eternity of
responses
to
Thug
being
almost
unani-
mously
self-
righteous
and
intensely
vis-
ceral, negative
or
positive.
Modern Atlanta
rap as a general
movement calls for these imme-
diate reactions more than any-
where, thanks to its consistently
weird and conventional-bashing
artists. Still, Thugger remains an
anomaly with his melodic high-
pitched squeaks and screams.
Now removed from his remarkably
publicized 2015, it finally feels pos-
sible to approach Thug with a clear
head, with novelty aside and music
at the forefront. Slime Season 3 is a
solid entryway to do just that. It’s
Young Thug’s least cluttered, most
streamlined
and
approachable
tape so far, and it solidifies him as
a clear staple of the rap scene, your
personal feelings aside.
All of the elements of a clas-
sic Young Thug release are here.
There’s the undeniable banger,
“With Them,” which is the more
labored and paced cousin of “F
Cancer.” “Worth It” is a lavish
love song, and perhaps his most
heart-on-the-sleeve dedication to
fiancé Jerrika Karlae yet. The tape
is a tasting board of sorts, with the
most obvious signatures of Thug
stretched out and applied to an
entire release. Absent, though, are
the far left field experiments that
appear on his less linear works.
This newfound focus acts as a
double-edged sword. The major-
ity of criticism weighted against
Thug’s earlier releases revolved
around a lack of project cohesion.
The two previous tapes in the
Slime Season trilogy sprawled for
over an hour each, and alternated
between greatness and filler, like a
gold mine that needed to be hacked
away at. With his last release, I’m
Up (billed as a “retail mixtape”),
we saw Thug taking heed of that
criticism, offering just nine songs
and cutting his normal release
output in half. The result was an
improved project, but an under-
whelming collection of tracks.
There were no clear stand-outs,
and the replay value was minimal.
Slime Season 3 sees Thug applying
that same reductive hand to a more
successful result. There are no
serious lulls, which can mostly be
attributed to the hack-job that was
done here — the tape clocks in at
just 28 minutes. But there are also,
unsurprisingly, far less gems than
the earlier Slime Season tapes.
That’s not to say Slime Season
3 doesn’t have highlights. “Dig-
its,” the best here, is a nihilistic
shrug that still manages to achieve
anthem status. “Why not risk life
when it’s gon’ keep going? / When
you die somebody else was born,”
Thug asserts, demonstrating deep-
er lyricism than his non-sequiturs
(“I’mma pull out screaming hokey
pokey okey”) lead on. Opener
banger “With Them” is an exercise
in word acrobatics, weaving double
and triple entendres together with
deceptive ease. But, like I’m Up,
the best moments here don’t reach
the level that Thug’s 2015 stand-
outs did. Nothing here is as oddly
cathartic as “Calling Your Name,”
as arresting as “Just Might Be” or
as irresistible as “Best Friend.”
In many ways this is the com-
mercial release that debut album
Barter 6 was expected to be (but
wasn’t): less experimental, more
straightforward and easier for
the masses to consume. But that’s
dangerous territory for the Atlanta
rapper, who thrives on the unpre-
dictable. Where Barter 6 succeed-
ed in eschewing typical notions of
who, or what, “Young Thug” could
be, Slime Season 3 leans on the safer
side. Thus we get the first release
by the artist that could have actu-
ally been anticipated. For now, this
doesn’t take away from the artist’s
work — Slime Season 3 is a solid
tape front to back. But consistency
has a tendency to dull, and we can
only hope that where he goes next,
no one knows.
B
Slime
Season 3
Young Thug
300 Enter-
tainment
“
You’re in fucking outer
space.”
These are the words
that “Girls”’s
Shoshanna
hears on
last week’s
episode right
before she
ditches her
boyfriend
and walks
home alone
through the
Tokyo streets
at night. As
the camera stays motionless
and Shoshanna’s isolated back
becomes smaller and smaller,
one of the most devastatingly
beautiful cover songs I’ve ever
heard plays and the credits
begin to roll.
19-year-old Norwegian
singer Aurora’s version of
David Bowie’s “Life on Mars”
soundtracks an out of place and
uncertain Shoshanna, and it’s
artistic perfection. Sparsely
arranged — just a keyboard and
a young voice — and stunningly
delicate, “Life on Mars” was on
constant repeat for me in the
days following its airing. I’ve
never heard anything like it.
The idea that someone could
actually record a superior ver-
sion of a David Bowie classic
is something I’ve struggled
to come to terms with in the
past week, but Aurora does
it. It’s crushing to me how
restrained she stays, how she
uses nothing but her voice to
keep you engaged. She drags
out every phrase of Bowie’s
surreal poetry, moaning to
stick words together, making
her voice high-jump to reach
the first notes of the choruses,
pronouncing “fighting in the
dancehall” like her mouth isn’t
quite under control. It’s impos-
sible not to be enthralled.
In this particular scene, with
the added subtext of David
Bowie’s mortality, “Life on
Mars” places Shoshanna as this
tiny, tiny dot in an unknowably
large universe, walking through
what might as well be a dream
for all its frustrating, confusing
twists. She’s looking for life;
she’s looking for a spark, trying
to find herself in a world that
too often feels cold and airless.
I don’t know if I’ll ever be able
to get that episode’s closing
sequence out of my head.
But if you regularly watch
Lena Dunham’s “Girls,” the fact
that the show uses music in the
most incredible ways is not new
news. My introduction to the
show was Lee Moses, this old
soul guy with a voice like the
devil and a thrilling, obscure
set of recordings. A friend
played his song “Bad Girl,” and
its white-hot sound blew me
away so much I needed to know
where it came from.
“ ‘Girls,’ ” she said. “That’s
where I get all my music from.”
I spent the next weeks play-
ing Lee Moses for every single
person I hung out with, implor-
ing them to understand just
how shockingly, historically,
mind-blowing “Bad Girl” was. A
year later, I’ve burned through
four seasons of “Girls” and now
get really excited every Sunday
night, because each episode
always ends up inspiring me.
And “Bad Girl” remains one
of the greatest songs I’ve ever
heard.
And these amazing songs
are all over “Girls.” One epi-
sode ends with this unbeliev-
ably fucked-up bedroom scene
that I can’t describe because
my mom reads this column,
but as the credits start they’re
soundtracked by Belle & Sebas-
tian’s “I Don’t Love Anyone,”
which taken together is one of
the most audacious things I’ve
ever seen on TV. In another,
Ray argues with a DJ for
switching his Smashing Pump-
kins to LMFAO, hilariously
yammering on about a “breach
of contract.” New Order’s “Age
of Consent” plays at a party, and
that made me totally reevalu-
ate “Age of Consent,” because
I always thought of it as this
secretly incredible song that
could only be passed on by one
person playing it for another.
Marnie breaks my heart for
singing this awful, embarrass-
ing a capella version of Kanye
West’s “Stronger” in front of a
room full of strangers. Adam
punches a car stereo to turn off
Maroon 5 and ends up inad-
vertently quoting The Rolling
Stones.
So I’ve been going back over
all these great musical moments
in the show and trying to figure
out what makes them so great.
And okay, like 90 percent of it is
just Lena Dunham (or whoever
makes the musical choices) hav-
ing incredible taste. But at the
same time, “Girls” is the perfect
show for maximizing the poten-
tial of music to complement
characters and scenes.
I see this ability best all the
way back in the first season,
when Robyn’s “Dancing On
My Own” closes out an early
episode. Hannah is moping
and turns on it, proceeding to
dance out her feelings. Marnie
walks in, they share a laugh
about Hannah’s ex being gay
and Marnie starts to dances
along as the camera pans out.
And sure, these characters are
not good people, and it’s impos-
sible to truly love them like you
would a lot of TV protagonists.
But there’s a strange beauty
in how music affects our emo-
tions, how it can turn some
shitty feelings into an unfor-
gettable moment with a friend,
and observing that on a weekly
basis is a treat.
“Girls” is, at its core, a cel-
ebration of being alone (or, if
you want to be more charitable,
call it independence). None of
its characters are good people,
and every relationship over
the course of its four-plus sea-
sons has ended up trashed. It’s
a little exaggerated, and it’s
often a certain brand of flawed,
straight whiteness that can be
difficult to identify with, but
it’s not crazy different from the
real world, at least compared
to most TV shows. People who
think they’re in love sometimes
push each other apart, we
occasionally act like assholes to
our friends and we go through
lengthy stretches where we
don’t know who the fuck we
are.
And that’s when music is
there for us. When we want
confidence, support, reassur-
ance and fun, we can always
turn on a song. Music is there to
make us dance with hot strang-
ers or cry in our rooms by our-
selves or scream along to with
our friends at 2 a.m. Songs are
there to start conversations and
arguments, to melt away stress
or disappointment. Music exists
to mend severed connections,
and when they’re unmendable,
it’s there to make it OK. And
whoever the genius is behind
soundtrack of “Girls,” whether
it’s Lena Dunham or some
unknown hero, she gets it. We
can be all the way off in outer
space, away from our friends
or away from ourselves, but as
long as we have music, we’re
never totally gone.
Theisen can’t always get
what he wants, but if he tries
sometimes, you’ll e-mail him
at ajtheis@umich.edu.
In praise of the music
on ‘Girls’
ADAM
THEISEN
HBO
“I’m at a work phone trying to call home / All of my change that I spent on you”
MUSIC COLUMN