The Michigan Daily — michigandaily.com
Arts
Monday, January 30, 2017 — 5A

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DOING GREAT 
AND WE 
know you 
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Classifieds

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ACROSS
1 Song of praise
6 Madagascar
primate
11 “Norma __”
14 Fiber-__ cable
15 Last Olds model
16 Make a decision
17 Massachusetts
witch trial town
18 Frenzied
19 Speedometer
reading: Abbr.
20 Mork’s sign-off
22 Cute Aussie
“bear”
24 What we breathe
25 In favor of
26 Native of
Damascus
27 Chinese menu
letters
28 Eastside
Manhattan
thoroughfare
31 Dijon darling
33 Brain scan: Abbr.
34 Had the best
record in
35 Confidentially, in
Cannes
39 Univ. near
Harvard
41 Unspecified
number
42 Choppers
46 Boat made from
a hollowed tree
trunk
50 Ship, to a sailor
51 Zambia neighbor
52 Suffix with east
53 Male or female
54 Pastoral poem
55 Request for the
latest update
58 Cozy cat seat
59 Kind of Boy
Scout badge
61 Ancient region of
Asia Minor
63 “Lux” composer
Brian
64 Tylenol
alternative
65 “Filthy” moolah
66 “Sure thing”
67 Eight plus one, to
aviators
68 Disdainful grin

DOWN
1 Places to buy
stamps: Abbr.
2 Language of
Chile
3 On the loose

4 Property
encumbrance
5 Golden Arches
egg sandwich
6 Hollywood’s
Hedy
7 Stylish vigor
8 Café chalkboard
listing
9 Ocean State 
sch.
10 1990 Stallone
boxing film which
at the time was
thought to be the
conclusion of its
series
11 Caesar salad
lettuce
12 Give a hand to
13 Flammable
hydrocarbon
21 There’s __ in
“team”
23 Bully’s threat
ender
24 “Breaking Bad”
channel
26 Palm starch
29 “Later, bro”
30 X, to Cato
32 Update factory
machinery
36 “Toodles!”
37 GOP fundraising
org.

38 Kitchen
implements
39 Humdrum
40 “Lust for Life”
punk rocker
43 Defining 
quality
44 2000s crime
drama set in
Baltimore
45 Cast a spell 
on
46 Dan of old 
MGM musicals

47 Tracey on whose
show “The
Simpsons”
debuted
48 More orderly
49 Dinner plate scrap
55 Chirpy bird
56 Home with
drones
57 Sentence
subject, as a rule
60 Yale collegian
62 __ Lingus: Irish
carrier

By Kevin Christian and Andrea Carla Michaels
©2017 Tribune Content Agency, LLC
01/30/17

01/30/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Monday, January 30, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

2 BEDROOM + Study Fall 2017
2 Parking Spaces Washer/Dryer
Max occupancy is 4
935 S. Division ‑ $2250 + Utilities
Cappo Mgmt 734‑996‑1991

2017‑2018 LEASING
Apartments Going Fast!
Prime Student Housing
761‑8000. www.primesh.com
Efficiencies:
344 S. Division $855
610 S. Forest $870 ‑ 1 Left
1 Bedrooms:
511 Hoover $1045/$1065
*Varies by location: Full Furnished, 
Parking Included, Free Ethernet

DOG LOVER SOUGHT, an enthusias‑ 
tic submissive, to fix breakfasts for an 
older professor. Room and board, plus 
salary. Write me at: ccohen@umich.edu

EFF, 1 & 2 Bdrm Apts Fall 2017‑18
Many locations near campus
Rents from $850 (eff) ‑ $1415 (2 bdrm)
Most include Heat and Water
www.cappomanagement.com
734‑996‑1991

 ARBOR PROPERTIES 
Award‑Winning Rentals in Kerrytown,
Central Campus, Old West Side, 
Burns Park. Now Renting for 2017. 
734‑649‑8637. www.arborprops.com 

FALL 2017‑18 Apts @ 1015 Packard
2 Bedroom ‑ $1370 ‑ 2nd floor
3 Bedroom ‑ $1380 ‑ basement
1 parking space avail for $50/m per unit
Deinco 734‑996‑1991

1 BEDROOM APTS Near N. Campus
Fall 2017‑18 ‑ $900/m + $25/m Utilities
Each unit has one parking space.
909 & 915 Wall St.
Deinco Properties 734‑996‑1991

4 BEDROOM HOUSE Fall 2017
3 Parking Spaces Washer/Dryer
827 Brookwood ‑ $2900 + Utilities
Deinco Properties 734‑996‑1991

WORK ON MACKINAC Island 

This Summer – Make lifelong friends. 
The Island House Hotel and Ryba’s 
Fudge Shops are seeking help in all areas: 
Front Desk, Bell Staff, Wait Staff, Sales 
Clerks, 
Kitchen, 
Baristas. 
Dorm 
Housing, 

bonus, and discounted meals.
(906) 847‑7196. 
www.theislandhouse.com

FOR RENT

HELP WANTED
SUMMER EMPLOYMENT

During the past few years, 

the CW has been on an 
upswing in content. While it 
struggles with ratings, the 
network has been producing 
a number of quality television 
shows catered to progressive, 
young adult audiences. The 
CW’s 
hilarious 
female-

driven 
comedies 
(“Crazy 

Ex-Girlfriend” and “Jane the 
Virgin”) have become award-
winning 
critical 
darlings, 

while its long-running dramas 
(“The Vampire Diaries” and 
“Supernatural”) 
and 
superhero-

centric programs 
(“Arrow,” 
“The 
Flash,” 

“Arrow” 
and 

“DC’s 
Legends 

of 
Tomorrow”) 

have 
developed 

online cult followings. The 
newest addition of “Riverdale,” 
an updated adaptation of the 
famed Archie Comics, seems 
to fit the CW mold perfectly, 
but its ability to draw in both 
acclaim and devout fan bases 
is still up in the air.

In the promos preceding 

“Riverdale” ’s premiere, the 
show was thought to be a 
grittier, darker take on the 
much 
more 
lighthearted 

comic series. The description 
is 
certainly 
true 
for 
the 

most 
part 
— 
“Riverdale” 

uses a tantalizing, neo-noir 
murder mystery as a framing 
device for establishing the 
characters, story and location. 
But contrary to the initial 
perception, 
“Riverdale” 
is 

much more than “‘Twin Peaks’ 
meets 
Archie.” 
The 
show 

maintains a sly self-awareness 
to its own soapy nature and 
thus 
infuses 
unabashed 

melodrama, 
pop 
culture-

heavy humor and a cast of 
attractive characters into its 
story.

From the first minute of 

the pilot, the show’s laconic 
narrator, 
Jughead 
(Cole 

Sprouse, “Suite of Zack and 
Cody,” in a welcome return 
to television), sets the story 
in motion: After the sudden, 
mysterious death of a beloved 
high 
school 
student, 
the 

residents of the titular town 
must grapple with the tragic 
news 
while 
dealing 
with 

secrets and inner demons of 
their own. There’s Archie 
Andrews (K.J. Apa, “A Dog’s 
Purpose”), the football player/
aspiring 
musician 
whose 

affair with his music teacher 
Miss Grundy (Sarah Habel, 
“Whip It”) threatens both 
of 
their 
reputations. 
The 

seemingly 
perfect 
blonde 

Betty Cooper (Lili Reinhart, 
“The Kings of Summer”) has 
been harboring a crush on 
Archie for quite some time, 
but finds some competition 
in rich girl Veronica Lodge 
(newcomer Camila Mendes) to 
win his affection. With a few 
twists and turns, “Riverdale” 
sets up its intriguing premise 
in admirable fashion, but not 
without a few bumps along the 
road.

Though 
“Riverdale” 
is 

right on the cusp of being 

something more than a typical 
teen mystery drama (think 
Freeform’s 
“Pretty 
Little 

Liars”), it occasionally falls 
into the trappings of one. The 
dialogue has genuine moments 
of wit, but for the most part, 
its excessive reliance on pop 
culture references makes it 
almost grating to listen to. 
Unlike “Gilmore Girls” or 
“Veronica Mars,” “Riverdale” 
seems a little too keen on 
making references that are 
obscure 
(“I’m 
already 
the 

Blue Jasmine of Riverdale 
High”), cheesy (“You should 
be the Queen Bey of this drab 
hive”) and just plain confusing 

(“Can’t 
we, 

in 
this 
post-

James 
Franco 

world, just be all 
things?”).

Moreover, the 

personalities 
of 

the 
characters 

are a bit far-

fetched. 
In 
particular, 

Archie has yet to show a 
single character flaw — he’s 
talented, athletic and a tad 
too gorgeous to be considered 
a 
relatable 
protagonist. 

Conversely, the show’s main 
villain, redheaded queen bee 
Cheryl Blossom (newcomer 
Madelaine Petsch), has yet 
to show a single redeemable 
quality — she’s manipulative, 
entitled and a note too one-
dimensional to be considered 
a compelling antagonist.

At 
the 
same 
time, 

“Riverdale” seems confident 
in developing these characters 
by intertwining its mystery 
subplot with a coming-of-age 
story that gets at the heart 
of its source material. The 
love triangle between Archie, 
Veronica and Betty was always 
an integral part of the original 
comics, but to see it fully 
realized in a live-action take 
is quite entertaining and could 
easily prompt a “Team Betty 
vs. Team Veronica” situation. 
But instead of simply pitting 
Betty and Veronica against 
each 
other, 
“Riverdale” 

stitches the two into a strong 
female friendship that modern 
television could really use.

The 
internal 
conflicts 

underlying 
Archie, 
Betty 

and Veronica also offer some 
insight into the characters’ 
lives, especially with their 
complicated family dynamics. 
Veronica 
tries 
to 
reinvent 

herself when she moves to 
Riverdale in an attempt to 
disassociate 
herself 
from 

her 
father’s 
mysterious 

scandal. 
Archie 
wants 
to 

fulfill his passion for writing 
music 
against 
his 
father’s 

wishes. Betty represses her 
pent-up anger against her 
authoritarian mother. All of 
these complex issues make 
it 
clear 
that 
“Riverdale” 

still cares deeply about the 
characters and how they fit 
into the larger narrative of 
growing up in a world that 
can be cruel and dangerous 
(hence, the murder mystery 
subplot). 

The show’s soundtrack, too, 

complements the era well, 
incorporating songs from M83, 
Santigold, Tove Styrke and 
Tegan and Sara. There’s even 
a wonderful synthpop cover of 
Cyndi Lauper’s “All Through 
the Night,” performed by the 
school’s ferocious girl trio 
Josie and the Pussycats. If 
there’s one thing “Riverdale” 
is doing right in terms of 
recreating Archie for today, 
it’s with its music choices. 

While 
the 
writing 
and 

characterizations 
may 
be 

uneven, the parts that do 
work absolve the majority 
of “Riverdale” ’s faults. The 
pilot’s cliffhanger — more 
clues 
on 
the 
death 
and 

possible murder of the student 
are 
revealed 
— 
certainly 

makes “Riverdale” engaging 
enough to continue watching. 
Perhaps after it builds some 
momentum, “Riverdale” can 
hopefully join the ranks of 
its fellow CW binge-worthy 
programs. 

Uneven ‘Riverdale’ still 
holds true to CW mold

 
 
 
 
 
 
 
 
 
 THE CW 

Archie in a diner in the series premiere

Garage 
rock 
artists 
like 

Ty Segall are essential to the 
mainstreaming of rock music. 
Everything 
about 
his 
music 

screams retrospective rock ‘n’ 
roll, while keeping the genre fresh 
through the use of heavy-handed 
distortion. Artists like Segall, 
through their indie-tinged take 
on rock, are the ones responsible 
for summer festival-
goers head-banging 
their flower crowns 
off to massive pop 
tunes 
masked 

under guitar riffs 
and solos that bring 
out the rocker in 
anyone.

Ty Segall is exactly what you 

would expect from albums of this 
festival punk archetype — it’s a 
bright drunken haze of an album. 
The blurry black and white image 
on the cover speaks for itself: A 
dark image of a man who lacks any 
tangible features other than the 
curtain of hair covering his face. 
Even though the cover represents 
the 
genre, 
the 
album 
itself 

features tracks that produced 
poignant definition between the 
songs on the album. On his latest 
effort, Segall has expanded the 
dirtier lo-fi atmosphere of the 
oldies rock on 2015’s Ty Rex by 
utilizing incredibly well-written 
pop melodies, a common staple 

that has brought the garage rock 
niche popularity to the festival-
going crowd.

Segall is never afraid to show off 

his talents. The man is incredibly 
adept at his craft, sprinkling 
lightning fast guitar melodies 
throughout the album that give 
it the rock credibility it needs 
to survive in the 21st century. 
Segall’s penchant for writing 
both vocal and guitar melodies 
keeps the album fresh, each song 
distinct from the next, despite 

the distortion that 
permeates 
his 

work.

The 
drunken, 

romantic aesthetic 
commonly 
found within the 
modernization 

of rock, a movement fronted 
by artists like Twin Peaks and 
Mac Demarco, is palpable on the 
album. With lyrics like, “Take my 
guitar / I’ll be at the bar,” and “I 
don’t want to call you baby,” Segall 
paints imagery of long-haired sad 
boys ruminating over love with 
a stiff drink in hand. It’s lovable, 
fun imagery that adds relatability 
to a genre that can otherwise feel 
removed.

Back-to-back tracks “Papers” 

and “Take Care (To Comb Your 
Hair)” 
are 
pleasantly 
light-

hearted 
and 
cryptic 
to 
the 

point of goofiness, adding to the 
romance through their detail. 
Segall shows he’s capable of more 
than just the lo-fi rock ‘n’ roll we 

have come to expect from him. 
These floaty indie rock tracks 
give the album more depth than 
he’s accomplished on more recent 
releases, which tended to stick to 
his status-quo brand of punk. It 
makes for great effect before his 
goodbye — a lonely pair of chords 
on 12-second closer “Untitled.”

By getting in touch with his 

tender side, Segall has written 
a record that is not only ripe for 
throwing yourself around in a 
pit, but also includes moments for 
swaying along to the melody with 
breezy 
carelessness. 
“Talkin’” 

tones down the album, taking cues 
from music that almost feels like 
Beatles-era rock, while “Thank 
You Mr. K” brings it back to speed 
with rollicking piano added to the 
mix. It’s an effective play with 
varying tempo and volume, and 
the result is an unexpected but 
far-reaching album.

On 
his 
second 
self-titled 

record, Segall has taken the 
often 
two-dimensionality 
of 

garage rock and made it three-
dimensional 
through 
modern 

twists that give it distinction from 
the typical hazy aesthetic of the 
genre. It’s far from a surprising 
or magnificent album, but Segall 
succeeds in taking on his genre of 
choice with a broader view. To put 
it bluntly, it’s damn good — full of 
wit and charm. Hiding beneath 
rough riffs, shrill solos and a 
somber cover, Ty Segall proves 
that its namesake isn’t as sad as 
he’d make you believe.

‘Segall’ boasts essentials 
for a modern rock album

“Riverdale” is 

much more than 

“‘Twin Peaks’ 
meets Archie.”

SAM ROSENBERG

Daily Arts Writer

“Riverdale”

Thursdays @ 9 p.m.

Series Premiere

The CW

DOMINIC POLSINELLI

Daily Arts Writer

TV REVIEW
ALBUM REVIEW

Ty Segall

Ty Segall

Drag Records

 
 
 
 
 
 
 
 
 
DRAG RECORDS 
 

Ty Segall on tour

