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Monday, January 30, 2017 — 5A
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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
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WORK ON MACKINAC Island
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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