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