ACROSS
1 Gownlike Roman
garment
6 Like teary eyes
11 Sculpted
physique, briefly
14 Sky blue
15 Asteroids game
company
16 Actor Vigoda
17 Zero or one
19 Japanese carp
20 Trunk of the body
21 Orchard rows
23 Internet
destination
27 Good
Housekeeping
publisher since
1911
28 Pilot Earhart
29 Leaning-on-the-
horn sounds
31 Hawk’s claw
32 Wintry temps
33 NYG rival in the
NFC East
36 Pinball excess
37 Mountain bleaters
38 Ball-and-mallet
game
39 Foxy
40 Business
convention
handouts
41 Clods
42 __ Wilson, who
played Sam in
“Casablanca”
44 Peaceful
45 Sports venues
47 Original star of
“Star Trek”
48 Bedding
49 Promised
51 __ de Triomphe
52 July 14, in France
58 Golf ball holder
59 Hodgepodges
60 Eat away at
61 Lith. or Est., once
62 Graphs’
horizontal
reference lines
63 “Billions & Billions”
author Carl

DOWN
1 Indent key
2 Submachine gun
named for its
designer
3 Religious school
teacher, perhaps
4 Lyricist Gershwin

5 Free from doubt
6 Madrid mother
7 Bluesman
Redding
8 “Othello” schemer
9 __ Lanka
10 Giggles
11 Thirteen
12 Thin woodwinds
13 Jefferson,
religiously
18 Lotus position
discipline
22 “The Facts of
Life” actress
Charlotte
23 Light bulb units
24 Online letters
25 Performer who
shimmies and
uses finger
cymbals
26 “The __
thickens!”
27 Brinker on skates
29 Like little,
glittering eyes ...
and a phonetic
hint to this
puzzle’s four
longest answers
30 “I’m game”
32 Ripped
34 Without
assistance

35 Hard luck case
37 Big party
38 Shipping route
terminus
40 Vending machine
feature
41 Subordinate
church officials
43 Poem of praise
44 “Where the
Sidewalk Ends”
poet Silverstein
45 Blind strips

46 Goodyear
products
47 Ham go-with
49 Powerful 
engine
50 Oklahoma 
native
53 In the style of
54 Historical period
55 Pooch
56 Oral health org.
57 Japanese
currency

By Gerry Wildenberg
©2017 Tribune Content Agency, LLC
02/07/17

02/07/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, February 7, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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HELP WANTED

6 — Tuesday, February 7, 2017
Arts
The Michigan Daily — michigandaily.com

I got my first taste of Persian 

rap in the backseat of my 
friend’s car, flying through 
the 
deserted 
nighttime 

highways of Tehran. It’s an 
introduction 
that 
I 
found 

very 
fitting, 
representative 

of the secrecy woven into 
the 
entire 
subculture: 
DJs 

quietly spinning records in 
their basement, underground 
performances, 
friends 

exchanging recommendations 
in the corners of still, dark 
streets.

Persian 
hip-hop 
is 
a 

relatively 
new 
concept 
in 

Iran. It rose to prominence 
during the early 2000s, mainly 
through the help of Mahdyar 
Aghajani, a record producer 
born and raised in Tehran. 
Under him, Persian hip-hop, 
or 
‘021’ 
music, 
expanded 

past just a carbon copy of its 
American 
predecessor. 
021 

music became a genre that was 
singularly Iranian; Aghajani’s 
fusion 
of 
Middle 
Eastern 

harmonies with modern hip-
hop and electronic elements 
helped create a space within 
the fabric of society for other 
young artists to showcase their 
music.

It 
was 
under 
Aghajani’s 

production 
that 
Jangale 

Asfalt (translated to “Urban 
Jungle”) by Iranian rapper, 
Hichkas, 
was 
created. 
It’s 

considered one of Iran’s first 
hip-hop albums: A blend of 
conventional 
instruments, 

such 
as 
the 
santoor 
and 

tombak, 
with 
pounding 

electronic beats serves as the 
backdrop to Hichkas’s smooth 
rapping.

Many songs, like “Dideh 

Va Del,” feature a chorus 
overflowing with echoes of 
traditional 
vocals 
encased 

within 
verses 
that 
rap 

observations of Iran’s current 
social climate. Other songs, 
like 
“Vatan 
Parast,” 
mute 

classical instruments to allow 
more modern hip hop elements.

What 
these 
songs, 
and 

Jangale Asfalt as a whole, did 
was aid in producing a form 
of expression that belonged 

solely to the Iranian youth.

In Iran, there is a gaping 

disconnect between the older 
generation and the younger. I 
see it in the way my parent’s 
friends disdainfully talk about 
“the youth,” the way they fail 
to uphold customary Persian 
ideals, seeming to toss an 
illustrious history into the 
dirt. There seems to be an 
understanding lost between 
these two generations, a lack 
of communication that breeds 
muted resentment.

After all, the older generation 

of Iran had lives shattered by 
change. In the chaotic void 
following the infamous 1978 
revolution, with many citizens 
fleeing their home country and 
various political regimes vying 
for power, it seems that the 
people of Iran lost sight of both 
their national and self-identity.

Iran 
is 
a 
country 
of 

division, 
between 
people 

and people, between people 
and government and, most 
importantly, between people 
and their sense of nationalism: 
What it means to be proud of 
being Iranian. It is a country 
that 
tries 
to 
forget 
the 

pandemonium of its recent past, 
glossing over the complexities, 
trying to reclaim its historic 
grandeur and prestige without 
ever discussing the root of the 
problem. I see this issue within 
my own family; my parents 
choosing to never elaborate 
on their experiences during 
the political upheaval of the 
’70s, and I, in turn, not truly 
grasping the extent of the 
revolution’s impact on their 
lives until just recently. 

The lack of communication of 

the difficulties and fears from 
both sides of the generational 
gap causes the older generation 
to chastise the youth; they see 
the new clothes, new slang 
and new music and only see an 
abandonment of the principles 
so strongly fought for during 
the ’70s. 

But there is a difference 

between change that is forced 
onto a community and change 
that is enacted from within a 
community. After all, viewing 
as an outsider, there is so much 
lost to the eye: Individual 
stories are hidden, the intricate 

details crushed beneath the 
grand scope of the big picture.

Iranian 
hip 
hop 
is 
not 

American 
hip 
hop 
simply 

translated into Farsi. While 
it did get inspiration from its 
American 
counterpart, 
021 

music stands independent as 
a style created solely by and 
for the Persian youth. It’s a 
distinction that many overlook, 
but one that is essential.

021 music takes American 

hip hop and incorporates it 
into Iranian culture, building 
off of ideas from renowned 
Persian 
poets 
and 
older 

styles of classic music and 
consequently 
integrating 

it 
within 
the 
community. 

Between 
the 
government-

enforced lack-of-privacy and 
the sheer restrictions people 
are placed under, there was 
little that existed intimately 
within society to solely the 
Iranian youth. Within this 
style of music, young people 
can express themselves the way 
they want to, free of judgment 
and constraint; a radical wave 
of fresh ideas coming from 
within the borders of Iran. 
021 music is something that 
Iranian youth can be proud of.

Maybe this is the start of 

a new Iran. Not that hip-
hop will cause all societal 
problems to be solved, but 
maybe this, as Iranian hip-hop 
grows in scope, will help start 
introducing the notion that it 
is possible to change and move 
forward without completely 
letting go of past culture.

If you listen closely to 

rappers 
like 
Hichkas, 
Yas 

and Salome MC (among many 
others) the gap between Iran’s 
younger and older generation 
is not as immense as it might 
appear. In their songs, Iranian 
hip-hop artists are advocating 
for many of the same values 
that 
the 
older 
generation 

yearns to return to: A unified, 
proud 
Iran 
— 
one 
that 

acknowledges its past mistakes 
as much its past successes, and 
one that is steady in its national 
identity, moving forward and 
progressing 
without 
losing 

touch with its origins.

Above all else, Persian rap is 

the voice of the Iranian youth. 
People just need to listen. 

Underground hip-hop movement might unite Iran’s youth
No one knows Persian rap

MUSIC VIDEO REVIEW

 
In anticipation of the 

forthcoming second install-
ment to the “Fifty Shades of 
Grey” series, ZAYN and Taylor 
Swift released the music video 
accompanying 
their 
“Fifty 

Shades Darker” 
theme song, “I 
Don’t 
Wanna 

Live Forever.” 
 
Pref-

aced by a trailer 
for the film, the 
“I Don’t Wanna 
Live 
Forever” 

music 
video 

echoes a simi-
larly steamy mood. Beginning 
with paparazzi cameras going 
off and a shot of ZAYN dash-
ing through the rain from his 
sleek black car into a club, the 
aesthetic 
screams 
mystery. 

The dark lighting, close-ups 
of his face and overlay of his 
sensual vocals work together 

to build suspense; throughout 
the first minute of his solo, 
you’re left wondering where 
it’s all heading.
 
And just when the 

light changes from green to 

neutral to a dark 
red, the camera 
pans across a red 
wall, 
smoothly 

transitioning to 
a shot of Taylor 
Swift, signifying 
her entry into 
the duet. 
 
Dressed in 

a blazer, lingerie 

and glittery red lipstick, she 
undoubtedly embodies that of 
a vixen; her soaring, sprite-
like vocals provide contrast 
to her dark, outward attire, 
offering an interesting inter-
play throughout the duration 
of the video.

 
Aside from the phys-

ical beauty of both Swift and 
ZAYN, the music video really 
doesn’t offer anything more 
than lust in the midst of a lav-
ish setting. There’s barely a 
narrative other than the two 
ripping their hair out in desire 
for one another; the most 
interesting part of the entire 
video may be the sparkly red 
lipstick Swift wears.
 
The fact that this 

video serves as promotional 
material for “Fifty Shades 
Darker” taints the artistic 
integrity of it; it feels overly 
commercially driven, over-
produced and extremely con-
trived. However, despite the 
intent of the music video, it 
still remains somewhat enjoy-
able to watch.

— Danielle Immerman

SHIMA SADAGHIYANI

Daily Arts Writer

“I Don’t Wanna 
Live Forever”
Taylor Swift & 

ZAYN

Republic Records

When “Powerless” debuted 

at last year’s San Diego Comic 
Con, the series made a positive 
impression on its nerd-friendly 
audience. 
Considering 
the 

spectacle-heavy 
superhero 

franchises that dominate TV 
and film, it was a nice change 
of pace for comic 
fans 
to 
see 
a 

show 
dedicated 

to 
the 
unsung 

heroes behind all 
the action. But 
even 
with 
the 

favorable reviews 
and 
burgeoning 

hype, the pilot 
of “Powerless” was almost 
entirely reshot and rewritten, 
leading to the departure of 
series creator Ben Queen (“A 
to Z”). These unfortunate early 
signs of creative differences 
point to potential cancellation, 
but “Powerless” seems keen on 
fighting against the wrath of 
ratings and mixed reception. 

Despite the show’s glaring 

flaws, it offers some hope for 
recreating the show’s original 
charm, with an impressive 
comedic 
cast, 
intriguing 

premise 
and 
cheeky 
title 

sequence. Vanessa Hudgens 
(“Grease: 
Live”) 
does 
her 

best in leading the cast as 
the ambitious, spunky Emily 
Locke, a new member of Bruce 
Wayne’s security subsidiary, 
which specializes in creating 
products for ordinary victims 
of 
superhero/supervillain 

battles. Seeing the destruction 
of her town Charm City, Locke 
is determined to bring justice 
to the city’s citizens with 
creativity, and the reluctant 
help 
of 
her 
co-workers. 

There’s 
the 
fast-talking 

technician Teddy (Danny Pudi, 
“Community”), the virtuous 
I.T. guy Ron (Ron Funches, 
“Trolls”), 
the 
hardened 

personal 
assistant 
Jackie 

(Christina Kirk, “Melinda and 
Melinda”) and the company’s 
wealthy, conceited boss and 
Bruce’s cousin Van Wayne 
(Alan Tudyk, “Rogue One”). 
Each of them initially doubt 

Locke’s 
ability 

to get them back 
on 
track, 
but 

as 
with 
most 

conventional 
sitcoms, 
she 

eventually gains 
their trust.

While 

“Powerless” 

succeeds with strong comedic 
actors like Hudgens, Pudi and 
Tudyk, the strength of its cast 
can’t make up for the overeager, 
nervous 
energy 

that 
intensifies 

the show’s messy 
execution. 
The 

first 
sequence, 

where Hudgens’s 
Locke 
provides 

some egregiously 
exposition-heavy 
narration, 
is 

beset with stale 
dialogue 
that 

continues to the 
very end of the 
pilot. 

“Powerless” 
attempts 
to 

make its characters whimsical 
and quirky through snappy, 
fast-paced interactions. And 
yet, it’s obvious that Hudgens, 
along with the other cast 
members, are uncomfortable 
with the material, as seen 
through 
the 
staleness 
of 

each character’s delivery and 
flatness of their personalities. 
Because it takes place in the 

DC 
Universe, 
“Powerless” 

also suffers from making too 
many overt references to its 
superheroes, namely Batman 
and Superman. Usually, self-
referential jokes are much 
funnier when they’re subtle, 
but on “Powerless,” they’re a 
bit too on-the-nose, like when 
Van shows Emily an awkward 
text conversation between him 
and Bruce Wayne.

Still, 
there 
are 
very 

small 
glimpses 
into 
what 

the show could have been. 
Thanks to their respective 
successes 
on 
“Community” 

and 
“Suburgatory,” 
Pudi’s 

and Tudyk’s comedic timing 
shine 
through 
the 
stilted, 

cookie-cutter 
dialogue. 
An 

early moment of conflict when 
the company can’t sell their 
superhero products bolsters 
the 
show’s 
narrative 
and 

could keep it from devolving 

into a generic 
workplace 
comedy. 
But, 

“Powerless” 
is a mediocre 
fit 
compared 

to other new 
NBC 
sitcoms 

like “The Good 
Place” 
and 

“Superstore.” 
Perhaps 
it 

might 
have 

benefitted 
from a place on 

the CW’s lineup rather than 
NBC’s, given that network’s 
bevy 
of 
superhero-driven 

dramas (“Arrow,” “The Flash,” 
“Supergirl” 
and 
“Legends 

of 
Tomorrow”). 
Whatever 

the 
circumstances 
for 
the 

change in premise and script, 
“Powerless” shows a glimmer 
of 
promise, 
but 
needs 
a 

comedic kick or two to conquer 
its missteps. 

“Powerless”

NBC

Thursdays @ 8:30 

p.m.

There are very 
small glimpses 
into what the 

show could have 

been

SAM ROSENBERG

Daily Arts Writer

NBC’s latest has the potential to break into the comic-book 
adaptation trend and elevate network’s comedy lineup

DC Universe get a burst of 
quirk from ‘Powerless’

TV REVIEW
MUSIC NOTEBOOK

SAAMET

Iranian rapper Hickas

