Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Put a spell on
4 Organizes from
best to worst, say
9 Arizona landforms
14 Wrath
15 Longtime “At the
Movies” co-host
16 One bit
17 Shake up
18 *“C’mon, loosen
up!”
20 Do penance
22 Certain string
musician’s need
23 *Place for lefts
and rights
26 “Star Wars”
extras
27 Word of passione
28 Cheek
31 “Alas!”
34 Elementary bit
37 Water nymph
40 *Compromise
43 Orchard trees
44 “Ready are you?
What know you
of ready?”
speaker
45 Low in fat
46 Supermodel
Banks
48 Gross
50 PD alert
52 *Market measure
58 French president
Hollande
61 Sees red
62 *General
principle
65 Bygone muscle
car
66 Holiday visitor
67 “Science of
Logic” author
Georg
68 Shy person’s
note?
69 Branch quarters
70 Philadelphia pro
71 “Major Crimes”
network
DOWN
1 Muslim veil
2 Sister of Calliope
3 Maker of
ColorQube
printers
4 One-named
singer portrayed
by Jennifer
Lopez in a 1997
film
5 Japanese sash
6 Gun, as a V8
7 Roman fountain
8 Spot
9 Pony Express
concern
10 Vocalist James
11 Plopped down
next to
12 Apportion
13 Boatloads
19 Stack under a
tarp
21 “Close, but no
cigar”
24 Family nickname
25 Threadbare
29 Boy in “Star Wars”
prequel films
30 “I wish I could”
31 Bit of band gear
32 Small snicker
33 Sub filler
35 “So THAT’s
what’s going on
here!”
36 First responder
38 It borders the Fla.
panhandle
39 Hideout
41 Medit. country
42 Big name in big
rigs
47 Dating from
49 Cat dish tidbit
50 Nasal spray brand
51 Danish fruit
53 Parishioner’s
pledge
54 Milo of
“Barbarella”
55 “Pay attention,
man!” ... and, in a
different way,
what the end of
each answer to a
starred clue
refers to
56 John of The
Red Piano
Tour
57 Strikes
through
59 “Far out!”
60 Stockholder’s
assets?
63 Trendy boot
brand
64 Blanc heard
but not
seen
By Bruce Haight
©2017 Tribune Content Agency, LLC
01/25/17
01/25/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Wednesday, January 25, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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HELP WANTED
‘Good Place’ ends on high note
Serialization in sitcoms is a
rare thing. Most, while they do
have
continuous
arcs, focus on a
singular
story
each week. Still,
many sitcoms are
at their best when
they allow stories
to gain momentum
over
time.
This
is
especially
prevalent in sitcoms
created by Michael
Schur, creator of
“Brooklyn Nine Nine” and “Parks
and Rec.” The former started its
fall hot streak with a brilliant
three-parter that benefitted from
the extra time and the latter
thrived in the narrative arc (with
my favorite example being Leslie
running for city council). In each
case, the alternative strucute paid
off as it built over the course of
several episodes. However, no
network sitcom this year has been
as serialized as NBC’s “The Good
Place.” The comedy wrapped
up its first season with a finale
that built off the work that came
before it to create an ending that
blew open possibilities for season
two in an incredibly exciting way.
As “The Good Place” winded
through
its
first
season,
it
constructed a story that was
as twisty as it was intriguing.
It burned through its plot with
abandon. Moments that would
normally come at the end of the
season were happening halfway
through. It started off with a
problem:
Eleanor
Shellstrop
(Kristen Bell, “Veronica Mars”)
ended up in the “Good Place”
(the show’s non-denominational
heaven) even though she acted
horribly to the people in her life
on Earth (like how she left her
friend’s dog she
was
supposed
to feed to go to a
Rihanna concert).
She
meets
her
“soulmate,”
Chidi
(William
Jackson
Harper,
“The
Electric
Company”)
who
quickly
became
one of TV’s best
straight men, her
proudly philanthropic neighbor
Tahani (Jameela Jamil, “T4”)
and Jason Mendoza (Manny
Jacinto, “The Romeo Section”),
a Floridian DJ who is mistaken
for a Buddhist monk. As she
reveals herself and her past life
to the “neighborhood,” the show
continued to move forward with
compelling plot points at every
turn.
With its narrative momentum,
“The
Good
Place”
’s
finale
produced a twist that completely
changed the fabric of the show.
While the characters struggle
with the decision of who to send
to the torturous “Bad Place,”
wEleanor realizes that they have
been in the Bad Place all along, in
a world perfectly built such that
the core cast tortures each other.
It’s the kind of twist that makes
me rethink the show I’ve been
watching for an entire season, as
it’s both shocking and sensible.
Of course these people were
placed together to torture each
other. Ted Danson’s (“Cheers”)
ridiculous smile as he’s revealed
to be an evil architect is about as
laugh-inducing as comedy can get.
The twist sets up a second season
where the core cast’s memory is
wiped and they are split apart,
with Eleanor leaving herself a
note to “find Chidi.” A season
where the core cast will have to
navigate their hell and find each
other sounds like something “The
Good Place” will do well.
Not only is the show’s use of
serialization fascinating, it’s also
a fun show to watch. Following
in the footsteps of “Parks” and
“Brooklyn,” there’s a certain light-
hearted nature to everything
that happens. The characters
clearly care about one another,
and it shows in their interactions,
which the series mines for humor
so well. The relationship between
Jason and the neighborhood’s
robot assistant, Janet (D’Arcy
Carden, “Broad City”), put two
characters
together
to
great
results. There were so many great
jokes in the finale about the two
of them trying to have sex that
wouldn’t have worked if we didn’t
get to know these characters
throughout the season.
The character work and light
tone makes “The Good Place”
special. Add in the captivating
twists
along
with
strong
performances, and NBC has one
of the best comedies on television.
However, the network hasn’t
renewed the show for a second
season yet. The ratings are not
bad by any stretch, but they’re
not good enough that a pickup is
guaranteed. Still, the finale set
up a fascinating season two that I
really hope NBC gives us.
NBC
Kristen Bell as Eleanor Shellstrop in “The Good Place.”
A
“The Good Place”
Season 1 Finale
NBC
ALEX INTNER
Daily Arts Writer
A note on hidden spaces
On Saturday, January 21st
at the 2017 Women’s March
on Washington, artist Janelle
Monáe stood before an ever-
growing crowd and stated: “I
am so proud to stand here as a
woman, an African-American
woman;
my
grandmother
was
a
sharecropper.
She
picked cotton in Aberdeen,
Mississippi. My mother was a
janitor, and I am a descendent
of them, and I am here, in their
honor, to help us move forward
and fem the future.”
Even though I traveled to
D.C. to witness the historic
march,
I,
unfortunately,
was not able to see Monáe’s
powerful speech in person;
stuck on a metro train caught
in a three-hour delay due to
the sheer number of people
making their way into the city,
I was only able to hear Monáe’s
words after the march had
ended, stretching out sore legs
in my aunt’s house. There I was
surrounded by my family, all
of whom are immigrants. All
marched underneath the blank
slate of the cloudy sky for their
rights, both as women, and as
immigrant women.
It was there that I listened to
Monáe’s voice blast out of tiny
computer
speakers,
talking
about her pride to march both
as a woman and as an African-
American
woman:
Enfolded
by the faces of women whose
femininity enclosed a duality.
In 1989, civil rights activist
Kimberlé
Crenshaw
coined
the
term
“intersectionality”
as she studied the overlap
between
race
and
gender.
In her prominent essay, she
focused on the struggle of
Black women, stating that the
discrimination they experience
does not fall deftly into the
categories of either “racism”
or “sexism,” but rather, due
to their converging identities
of
being
both
“African-
American” and “woman,” is a
combination of the two. From
there, intersectionality grew to
become generally known as the
concurrence of multiple social
identities and the consequent
surrounding
systems
of
discrimination and oppression.
Monáe’s
song
that
she
performed
at
the
march,
“Hell You Talmbout,” brings
to light the conflict that can
exist within the intersection
of being Black and being a
woman. A majority of the song
simply lists the names of the
many Black women unfairly
killed by the police followed
by a repeated chant of “say
her name,” as a reference
to the recent #SayHerName
movement; while the names
of the Black men illegally and
immorally
killed
by
police
forces have started to gain
national attention (like Eric
Garner
or
Freddie
Gray)
the names of these women
(like Sandra Bland or Mya
Hall) are much less well-
known, pointing to the idea
that there is an invisibility in
intersectionality; within their
bisecting identities, the unjust
and inequitable crimes against
Black women have become
excluded and hidden from the
public eye.
The
inclusivity
and
recognition of intersectionality
in mainstream feminism is
necessary, especially from the
women who do not share the
same conflicts and experiences.
The issue of unfair violence and
police brutality against Black
women does not include White
women; part of the way we can
help include the perspectives
of black women in mainstream
feminism is by making sure our
voices are never raised louder
than the women of color who
are affected daily.
However,
America
has
never had a positive history
of creating equal spaces for
marginalized groups to feel
comfortable
speaking
in
without the threat of being
pushed to the side.
The music scene, specifically,
has always been a platform for
social change, especially for
the progression of women’s
rights. However, within that
context, there has previously
been
a
monopolization
of
recognition
and
relevancy.
Especially within third-wave
feminism, White women have
been primarily thought of as
the instigators of the infusion
of feminist ideals in music,
creating a space where female
artists of color have either
been talked over or ignored
completely.
When looking at the history
of
music
and
feminism,
the
second-wave
feminism
movement
that
started
in
the early 1960’s and lasted
throughout
the
late
’80s
was
relatively
restricted,
both in terms of how little
it leaked into pop culture
and how little it included
marginalized groups. However,
in the sequential third-wave
feminism movement beginning
in the early ’90s, borders
became much more relaxed,
and the movement began to
cross boundaries, bleeding into
music, art and public discourse.
Third-wave feminism took on a
more individualistic approach
to
feminism;
it
critiqued
second-wave
feminism
for
being
exclusively
White,
middle-class women, and tried
to alter the term “feminist” to
fit a more inclusive definition.
While the third-wave did
embrace the importance of
intersectionality
in
theory,
this
openness
was
not
always
directly
translated
into
practice.
Third-wave
feminism’s
materialization
in music is still considered a
primarily White woman effort,
with the overwhelmingly all-
White riot grrrl movement
taking up most of the spotlight
during the ’90s. Bands like
Bikini Kill and Sleater-Kinney
explored
the
empowerment
of female sexuality in their
music,
redefining
what
it
meant
to
be
empowered
through
aggressively
and
explicitly calling attention to
their own female sexuality.
The
problem
arises
when
this particular expression of
female empowerment during
the ’90s is considered the only
expression of emancipation.
And it usually is, with many
people solely noticing the riot
grrrl movement, linking it to
the girl power of the Spice
Girls in the early 2000s and
completely ignoring the efforts
of artists of color; bands like
TLC and Destiny’s Child, while
well-known, were not given
the same revolutionarily and
radically feminist status as
the riot grrrl bands, despite
sharing the same timeline and
emergence.
Part of it has to do with the
fact that these divergent bands
came from different genres of
music, but part of it also has
to do with the fact that riot
grrrl’s (and, more generally,
White
women’s)
expression
of female empowerment was
considered the principal form
of expression; the zine-filled
clamor of angry performances
where lead singers stripped
themselves
down
to
solely
bras turned into the face of
third-wave feminism in music,
overlooking
the
fact
that
empowerment read differently
for women of different races;
women of color had (and still
have) a harder time portraying
themselves as agents of their
own
empowered
sexuality
because of how they have
historically been painted as
hyper-sexual and debauched
in comparison to the pure and
innocuous standard of white
femininity.
Ignoring
the
role
of
intersectionality,
and
the
subsequent
stigma
that
surrounded artists of color as
they strove to find their place
during the sexual revolution
of third-wave feminism, can
lead to the emphasis of the
accomplishments
of
White
women while simultaneously
viewing
the
activities
of
women of color as merely
contributions, if not inadequate
representations
of
female
empowerment.
Principally: to ignore the
many
different
forms
and
voices
feminism
can
take,
both inside and outside the
realm of music, has the power
to
distance,
ostracize
and
suppress. It is an issue that
did not die out in the ’90s and
still is extremely prevalent
today. In fact, as the Women’s
March on Washington began to
gain more and more attention,
apprehensions began to rise
as well, with many women of
color wondering if the steps
of the Capitol on January 21st
would be a space reserved
mostly for White women or a
space inclusive of all identities.
It is a concern born out of
a history of marginalization,
and a concern I held myself as
I considered the multi-faceted
identity of my own family.
However, as I saw Janelle
Monáe’s commanding rendition
of “Hell You Talmbout,” as I
saw Alicia Keys standing tall
as she honored all the different
ways
femininity
can
be
expressed, as I saw posters of
all varieties champion for the
recognition and celebration of
Black women, Hispanic women,
Muslim women, undocumented
women and LGBTQ women, my
apprehensions slowly began to
fade away.
While the current situation
for
minority
women,
specifically for women of color,
is far from perfect, the relative
inclusivity of the Women’s
March on Washington (though
far from perfect itself) gives
rise to hope: both within music
and within the overall social
sphere of feminism. Women of
all distinctive individualities
are moving to march forward,
not back.
SHIMA SADAGHIYANI
Daily Arts Writer
Music at 2017 Women’s March highlights intersectionality
CAROLYN GEARIG/DAILY
Participants at Women’s March reflect larger political climate.
TV REVIEW
MUSIC NOTEBOOK
6A — Wednesday, January 25, 2017
Arts
The Michigan Daily — michigandaily.com