ACROSS
1 Subj. for a non-
native speaker
4 __-top: Beatles’
style
7 Much of “Star
Wars” FX
10 Clumsy type
13 __ Michele,
8-Down co-star
14 “The Princess
Diaries” princess
15 Tetris shape
16 Sporty truck,
briefly
17 War film with
a cast of
60-Across?
21 “Rock and Roll
All __”: Kiss hit
22 Reckon
23 Custardy dessert
24 Thrown for a
loop
26 Cool, once
27 Campus groups
28 Newspaper with
a staff of
60-Across?
31 Dough for
ramen?
32 Square __
33 Traveler’s aid
37 “Hamlet, thou art
slain” speaker
42 Political __
43 Big name in big
tractors
44 1969 hit song by
a group of
60-Across?
50 Write in code?
51 Actress Ramirez
of “Grey’s
Anatomy”
55 __ d’Alene
56 Mideast sultanate
60 Off-putting sorts?
63 Pie choice
64 Like bread knives
65 Well-to-do
66 Unpredictable
DOWN
1 Twisty-horned
antelope
2 Photo app effect
3 Founder of
Taoism
4 Sport for Ronda
Rousey, for short
5 Aromatherapy
array
6 Outmoded public
convenience
7 Center of moral
corruption
8 TV show with
mashups
9 Down with
something
10 Wanted one
11 Bothered a lot
12 Fronded plants
18 Mediocre marks
19 Sonnet, e.g.
20 Do maintained
with a pick
25 Kids’ summer
activity
27 “Another word for
nothin’ left to
lose,” in a Joplin
hit
29 __ Aviv
30 Genetic
messenger
molecule
33 The Scooby
gang’s Mystery
Machine, e.g.
34 Ode preposition
35 Spell
36 QB’s mishap
38 Dream state
letters
39 Technical foul
signal, in
basketball
40 West ender?
41 Place
45 Centipede home?
46 Stimulated
47 “Oh, now __ it!”
48 All-in-one
vacation
49 Eliot’s weaver
51 Canned meat
used in Hawaiian
cuisine
52 “The Good
Dinosaur”
dinosaur
53 Reddish horse
54 Source of
cartoon
explosives
56 Other, south of
the border
57 Castle defense
58 Basic class with
easels
59 Tiny time pd.
61 Siegfried
collaborator
62 PDX info: Abbr.
By Alan DeLoriea
©2017 Tribune Content Agency, LLC
02/09/17
02/09/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Thursday, February 9, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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6 — Thursday, February 9, 2017
Arts
The Michigan Daily — michigandaily.com
It’s easy to forget that music
can be as therapeutic for the artist
to make as it is for the listener to
experience. Sampha Sisay proves
this true on his debut LP, Process.
It’s a testament to his gorgeous,
versatile vocals; an impressive
display of the beauty that can rise
from pain. Sisay’s mother passed
away from cancer in 2015, and
that tragedy, in a way, makes this
album. Themes of grief and heavy
emotions run everywhere.
But Process is only heart-
wrenchingly
powerful,
never
overdramatic.
The album opens with “Plastic
100°C,” a passionate introduction
to a similarly raw album. Like
“Demons” from Dual, Sampha’s
second EP, “Plastic 100°C” starts
with a clip of a voice recording
before cycling into the actual
song. Plucking, harp-like notes
lend the piece a hypnotic, ethereal
feeling that sparks the detailed
lyrical imagery, while escalating
instrumentals
intensify
and
advance the song. “It’s so hot I’ve
been melting out here / I’m made
out of plastic out here / You touched
down in the base of my fears,” he
sings, with feverish anxiety in his
voice. Even more striking is the
unhurried, vulnerable bridge of
the piece, which contrasts sharply
with the organized chaos of the
first few minutes.
“Blood On Me,” the second
track and first single on Process,
came about because of a terrifying
dream, and it’s audible in Sampha’s
voice. The song begins breathlessly,
then grows in both intensity and
feeling. The faster pace of the piece,
quick, drumming instrumentals
and hypnotizing, almost cinematic
descriptions of the beings chasing
him combine in trepidation, yet
create a mesmerizing dream that
gradually swallows the listener.
Process shares some of the
same stylistic qualities prevalent
in 2013’s Dual, like
a heavy reliance
on
electronic
instrumentals and
a prancing piano,
but the difference
between the two
is in their tone.
Dual is unfailingly
melodious and bright, even at its
moodiest, possessing barely any of
the dark, somber earnestness that
dominates Process.
“Take Me Inside” may be the
shortest track in the album, but
it’s one of the most beautiful.
It’s slower paced than most of
Process, a quality that emphasizes
the
light,
delicate
dance
of
Sampha’s higher octaves. His
voice’s smooth transitions bring to
mind the composed strength of a
ballerina, filled with a calm grace
that belies the effort required to
perfect such skill. The latter half
of the song sounds as if Sampha
were accompanied by a chorus
of starlit angels. The beauty of
the song never detracts from its
weight though: “And I seek / I’m
seeking something I can’t see / I
may be reading in too deep / And
maybe this is all a dream,” Sampha
croons, leaving the listener with
an immersive, echoing melancholy
that sticks.
Sampha’s
range
is
almost
limitless.
“Under”
is
an
intentionally tumultuous track,
with
an
echoing
beginning
reminiscent of Dual’s “Beneath
The Tree,” while
“(No One Knows
Me)
Like
The
Piano”
strips
away
most
of
the
electronic
instrumentals
that are present in
practically
every
other track, leaving Sampha’s
voice to amble along at it’s own
heartfelt pace accompanied by a
single piano.
With a steady hand, Sampha
takes
listeners
through
a
mesmerizing journey that gets
down to the grit of what makes
us human. Instead of shying
away from pain that’s often
hard to discuss, much less sing
about, he embraces it. Process is a
magnetizing reminder that music
is inseparable from emotion and
an affirmation that grief, at its
rawest, is universally understood.
Process
Sampha
Young Turks
SAMANTHA LU
Daily Arts Writer
A session of therapy:
Sampha’s own ‘Process’
Mesmerizing new album proves cathartic and transcendent
Much
of
the
stigma
that
surrounds young adult novels is
undeserved. People point to the
tired tropes of the most laughable
YA novels as being representative
of the whole genre—love triangles,
mean boys in leather jackets who
secretly love you, bland female
protagonists named Elektra or
Aurora or whatever, nouns being
unnecessarily capitalized in the
place of actual worldbuilding, etc.
And yes, these tropes are pervasive
and annoying, but they’re window
dressing. They’re never at the
heart of what makes teenagers love
young adult books.
Cliche is not the same thing
as bad. If this were true, then I
guess we all would really hate
“Star Wars.” After all, it’s home
to all those dumb tropes like love
triangles, mean boys in leather
jackets,
and
the
egregiously
capitalized Empire and Republic.
Many of the surface-level YA
criticisms have much more to do
with derision of teenage girls and
the things made for/written by
women than they do concerns
over actual literary quality. But I
digress.
What I’m trying to get at here
is that a book that features corsets
and enchantments and not one but
two mean boys in leather jackets
with hidden hearts of gold is not
inherently dumb or bad. Silly?
Yes. Ridiculous wish-fulfillment
fantasy? Absolutely. Fun as hell?
But of course.
Stephanie Garber’s “Caraval” is
400 pages of pure pulpy joy. The
protagonist, Scarlett (spoiler: she
wears many red dresses, because
of course she does) is the daughter
of a powerful, ruthless, and violent
man who terrorizes her and her
sister Tella (short for Donatella,
because of course it is). Scarlett is
engaged to be married to a man
she has never met, but she secretly
dreams of seeing Caraval, an
annual performance where the
audience participates in a Hunger
Games minus the murder (well,
kind of) style of competition.
Caraval is a weeklong experience
in which participants stay on a
magical island where they solve
a series of riddles,
competing to see
who can get to the
end of the puzzle
first. With the help
of the mysterious
sexpot
sailor
Julian
(Leather
Jacket
Boy
#1),
Scarlett and Tella
are whisked away
to the show, where Tella is
immediately kidnapped by the
magical mastermind/organizer of
the event, Legend. In this year’s
competition, whoever finds Tella
first is the winner of the Caraval.
It’s up to Scarlett, with the help
of Julian, to find Tella and return
home in time for her wedding.
“Caraval” is so easy to poke fun
of. In this novel, there is no such
thing as too many adjectives or too
many synonyms for the color red (I
mean, “cerise?” Really?). There is—
no joke—a character named Dante
(Leather Jacket Boy #2, duh) who
has completely unironic tattoos of
black roses and falcons on the backs
of his hands and neck. There are
many, many extended sequences
of Scarlett and Leather Jacket
Boys being forced into increasingly
hilarious situations where they
have to stand really really close
together and make breathtaking
eye contact. At one point, Scarlett
says the word “scoundrel” with
complete sincerity, and LJB#1 is
honestly offended.
And yet, Stephanie Garber is no
dummy. She knows exactly what
kind of book she’s writing and never
shies away from the ridiculousness.
Garber works entirely within
familiar YA story structures, but
she clearly understands exactly
how
to
maximize
traditional
narratives to be their very best.
Every
character
is well-developed,
interesting,
and
complicated (except
for Dante, but I
mean, the dude’s
name is Dante. It
would be a little
redundant
if
he
had a personality).
The relationships,
though
predictable,
develop
organically and believably. And the
plot twists may be numerous, but
they make sense and work within
the
larger
story.
Structurally,
this book is precisely written
and airtight in its construction,
building in momentum by the page.
“Caraval” has its flaws, and it may
be silly, but it works. A functional,
entertaining and effective story is
no easy thing to write, especially
within traditional YA frameworks
from which people often expect
the worst. It’s melodramatic and
deeply entertaining. Ridiculous
and glorious. All hail “Caraval.”
Here to remind us just how weird
and wonderful YA can be.
This article has been reprinted as
a correction from Monday’s issue.
It was incorrectly attributed to
another writer.
All hail the YA ‘Caraval’
BOOK REVIEW
ASIF BECHER
Daily Arts Writer
“Caraval”
Stephanie Garber
Flatiron Books
YOUNG TURKS
‘Crazy Ex’ teases change
Season finale bodes of darker things to come for the show
There’s a moment in the
“Crazy
Ex-Girlfriend”
finale
where Rebecca (Rachel Bloom,
“Fuck
Me
Ray
Bradbury”)
looks like she’s on the verge of a
breakthrough. She’s sitting with
her therapist and talking about
how her father’s absence affected
her relationships with the men in
her life. It seems like she’s about
to have a realization, but then she
gets distracted and leaves in a rush.
It’s one of a few false starts to her
dealing with her mental issues.
Now, whether Rebecca is ready to
sort out her issues or not, the show
looks like it’s ready to deal with
them head-on. The brilliant season
two finale of “Crazy Ex-Girlfriend”
gave us insight into Rebecca’s past,
while the story had enough twists
and turns to keep me on the edge
of my seat, setting up a darker but
fascinating third season.
The finale focuses on what
happens around Rebecca and
Josh Chan’s (Vincent Rodriguez
III, “Hostages”) wedding. After a
haphazard proposal and a rushed
engagement
period,
Rebecca’s
life is thrown further into chaos
when her father, who left her when
she was a teenager, returns. She
spends most of the episode trying
to restart the relationship while
preparing for her wedding, which
brings to light how her current
issues connect with her father first
leaving.
More than anything else, the
show sets up a massive change in
tone and theme for its third season.
The main story arc for the first two
seasons has been that of Rebecca
and Josh. She moves across the
country for him, she tries to win
his love and she gets it. But now,
he left her, and she’s pissed. This
sets up a third season where the
focus will be about
her anger and her
seeking
revenge
against Josh. The
show hasn’t been
afraid of hinting at
the darker aspects
of mental illness
(see the first season song “You
Stupid Bitch”). However, it hasn’t
fully embraced it up to this point.
And, I hope with the embrace of
a darker tone, the show will delve
further into Rebecca’s mental
illness. There were moments
and hints throughout the season,
but there was always something
that prevented her from making
a realization (in those moments,
the show used the exacerbation of
her therapist to comic effect). Still,
the finale flashes back to moments
from Rebecca’s past involving
her relationship with a married
professor at Harvard Law named
Robert (Adam Kaufman, “State of
Affairs”). As a result of her burning
his clothes after he breaks up with
her, she is forced by the court to
spend time in a mental institution.
There’s clearly more story to mine
in both her background and her
efforts to get treatment, and it
looks like the show will bring more
of that to light last year.
One of the key strengths of
“Crazy Ex-Girlfriend” remains
its music, as the second season
featured some of the show’s best
musical moments. In the finale
itself, “Rebecca’s Reprise” is a
medley of four songs that perfectly
captures her journey up to that
point.
It’s
the
emotional
climax
for the season, as
she seems to have
everything
she’d
ever wanted. And,
the
music
helps
to emphasize the
emotional moments. Right before
everything starts to unravel for
her, the song is a moment of bliss.
The season was filled with many
great musical moments. From
Greg (Santino Fontana, “Shades of
Blue”) leaving the show with one
last reminder of how “It Was a Shit
Show” to the hilarious numbers
like “We Tapped that Ass” or
“The Math of Love Triangles,” the
series knows how to make fun and
engaging musical moments.
The second season of “Crazy
Ex-Girlfriend” wasn’t perfect, as
the show seemed to struggle in the
immediate aftermath of Fontana
leaving. But the finale was about as
good an ending as it could’ve had.
It attacked its material with depth
and intelligence, while setting up
a third season that, while being
remarkably different than prior
years, will take the show in a
fascinating direction.
ALEX INTNER
Daily Arts Writer
“Crazy Ex-
Girlfriend”
Season 2 Finale
The CW
MUSIC REVIEW
TV REVIEW
THE CW