ACROSS
1 New
6 Word on a movie
ticket
11 Great white cousin
15 Like a gymnast
16 In perfect order
18 “As You Like It”?
20 Thai currency
21 “Night” author
Wiesel
22 Summertime
treats
23 Berkeley sch.
25 Moby-Dick, e.g.
28 “Hamlet”?
32 Bing provider
35 Fluorine or
chlorine
36 Santa __
37 State tie of New
Mexico
38 Name on the
cover of “Fear of
Flying”
39 __ shui
41 Fix, as a road
42 Bill
43 Web help source
44 Simple wind
46 Animal in some
fables
47 “Twelfth Night”?
49 What a round
increases
50 Vied (for)
51 Diarist Nin
54 Island festivity
56 Great Sphinx site
60 “A Midsummer
Night’s Dream”?
64 It’s taken in
schools
65 Take care of
66 Go slowly
67 Some expirations
68 High priests

DOWN
1 Lipo target
2 Costa __
3 Drawing toy in
“Toy Story”
4 One keeping
track of court
proceedings?
5 2013 Spike
Jonze movie
6 Deep blue
7 Stage of grief
8 Explorer who
named the
Pacific Ocean

9 Tech sch. that
filed for
bankruptcy in
2016
10 Eastern way
11 Collision repair
franchise
12 Alcove near the
chancel
13 Tool in a
legendary
electricity
experiment
14 Singles
17 “Goosebumps”
series author
19 Dig
24 Simple marine
plant
26 City on the
Penobscot River
27 Food chain letters
28 Biblical
queendom
29 Chincoteague
females
30 Jennifer Garner
spy series
31 Swaddled one
32 Theme
33 Pitch
34 Singer Jones
37 Pribilof Islands
locale

40 Totaling
41 Tennis 
nickname
43 Remote
45 Montana player
47 Fleece finder
48 Lots
49 __ curls
51 Some batteries
52 When to call, in
ads
53 Commedia
dell’___

55 A long time
57 Newsworthy
couple
58 Sixth in a 
series
59 Israeli author Oz
61 Takes too much,
briefly
62 “Love Story”
composer
Francis
63 Fashionable
initials

By Alex Eaton-Salners
©2017 Tribune Content Agency, LLC
02/10/17

02/10/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Friday, February 10, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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For many, Odd Future (née 

Odd Future Wolf Gang Kill 
Them 
All, 
or 

OFWGKTA) was 
some of our most 
formative 
lis-

tening — “Yon-
kers,” in all of 
Tyler, The Cre-
ator’s large bug-eating, vomit-
inducing, “threesomes with a 
triceratops”-claiming 
glory, 

was that video, the one we 
watched 
with 
our 
friends 

while feasting on our new-
est convenience store candy 
acquisitions, probably while 
playing Call of Duty, angsty 
and rebellious for no good 
reason. Like it or not, Syd will 
forever be inextricably linked 
to this group and its look. She 
was Syd tha Kid when she was 
part of this brand, a key cog in 
an iconic collective that still 
sees the effects of its cultural 
explosion reverberate around 
the rap industry.

This is fitting, however, 

because this machine, and its 
individual parts, function(ed) 
on disregard. This is Syd, and 
this is her Fin (whatever that 
Fin is). It’s the end of some-
thing, maybe her Odd Future 
life, maybe the beginning of 
some end, or maybe specula-

tion is futile, because this is 
her proverbial badassness, pro-
jected.

It’s there on “Shake Em Off,” 

to start. What could erroneous-
ly be interpreted as an explicit 
middle finger actually — with 

conviction — con-
veys uncertainty, 
over 
deliberate 

and luscious pro-
duction. Immedi-
ately, her current 
state 
of 
being 

is taken in the context of her 
past. While this is undoubted-
ly closer to what she did with 
Matt Martians as The Internet, 
it strays, definitively, from the 
Odd Future vibe. This sound 
is simultaneously foreign and 
welcome.

Gradually Syd builds an 

imposing version of herself, a 
silent assassin-esque power. 
“All About Me” flexes via a 
paced, pulsing beat. Here is 
Syd’s foremost proclamation 
of success. In what ultimately 
amounts to an appropriate 
boast, the singer reorients the 
listener’s attention to where it 
should be — her.

“Smile 
More” 
shifts 
in 

tempo, and it essentially flares 
just right. The album’s most 
overtly sexual track slow jams 
its way through levels of inti-
macy en route to “Got Her 
Own,” a more unabashedly 
cocky victory lap (“Know you 
seen her in the magazines, 

your / Aunty might hate, but 
it’s flattering, girl”).

It’s all fun, certainly, but 

Fin would do better with 
more variation and depth; the 
instrumentals become repeti-
tive and too often the very 
ethereality of the production 
masks shallow lyrical content. 
Alas, it thrives in its quiet con-
fidence. There’s no Los Ange-
les hip-hop here, no Funky 
Bass or Prominent Drum, no 
Y.G.-esque 
thump-de-bump 

and certainly no Tyler fuck-
around-ing. Syd strays, and 
appropriately so.

“Dollar 
Bills” 
surprises 

with 
tropical 
guitar 
from 

Steve Lacy in addition to his 
own fun verse. What comes 
off as a surface-level shtick 
might, indeed, be a surface-
level shtick, but the majority of 
the release is melodic beauty; 
even on “Over,” which exhib-
its a more melancholic grace, 
there’s an atmospheric quality 
(this time bolstered by a prod-
ding 6LACK feature) that fun-
damentally cements the album 
as her own, unique thing.

Perhaps 
Syd 
never 
fully 

identified with that potential-
ly too-enveloping OFWGKTA 
brand. Perhaps she did, and is 
now more comfortable than 
ever with moving on from it. 
This, Fin, is a start, an unapol-
ogetic pronouncement of Syd, 
by Syd. Hopefully there’s more 
where it came from. 

JOEY SCHUMAN

Daily Arts Writer

Syd does things her way on ‘Fin’

COLUMBIA RECORDS

Fin

Syd

Columbia Records

Singer’s debut record propels her out of OFWGKTA’s shadow 
and showcases her musical individuality and independence

TV NOTEBOOK

The TV show intro — the 

magic moments before your 
beloved program begins. The 
show’s 30 minute arc induc-
es a strong emotional pull in 
you. Some skeptics consider 
the intro a lost art form, pal-
ing in importance to mighty 
primetime programming, and 
for others, it’s a disgrace to 
the holy ritual of watching 
their favorite show. But for me, 
these small vignettes of video 
and sound flow through my 
veins, pump blood through my 
organic vessels and bring me to 
life. This is my open love letter 
to the art of the theme song, 
the cast credits; the anticipa-
tion before the show begins.

Some may call me crazy, a 

lovestruck fool or a hopeless 
romantic, enamored with the 
sound and light waves travel-
ing from the screen to my con-
sciousness. But these feelings 
are legitimate, real and stron-
ger than ever. For me, the TV 
show intro is an amazing work 
of art and doesn’t get the rec-
ognition it deserves.

Intros (back in the glory 

days of television) united us 
as Americans. It’s impossible 
to remember every episode 
of “Friends,” every intricate 
moment of “Gilmore Girls” 
or every joke made on “Fresh 
Prince 
of 
Bel-Air.” 
Those 

hilarious quips or iconic scenes 
have fallen by the wayside in 
the banks of our memory. But 
I bet anyone who has reli-
giously watched these shows 
can recite their theme songs 
by heart. I bet they get up off 

of the couch and groove to the 
tunes which radiate from the 
television and into their soul. 
These were the pop songs of 
our 
youth, 
the 
connecting 

threads of our young hearts, 
bridging cultural gaps and cre-
ating beautiful friendships in 
the process. 

Not only do the theme songs 

of TV shows make them great, 
but their ability to tell a story 
in such a short amount of time 
elevate them magnificently. 
Look at “Friends,” for exam-
ple. Immediately, it’s obvious 
that this show is about friends 
goofing off together and doing 
silly things; it’s amazing that 
so much is conveyed in such 
a short time. Or in the show 
“Adventure Time,” the first 15 
seconds takes the viewer on a 
whirlwind journey of whimsi-
cal fun, showing them that the 
theme song is all they need to 
see in order to grab their atten-
tion. It’s genius and it’s show-
stopping — it’s the magical art 
of the intro at work.

Any 
reader 
might 
ques-

tion my logic. “There are ter-
rible intros in the world,” 
non-believers shout at me. 
“TV intros are annoying and 
unnecessary,” 
heretics 
say. 

Yes, I know that there are bad 
eggs in the bunch.

Not everything is perfect; no 

relationship is what it seems on 
the surface. There are ups and 
downs that go on behind the 
scenes, and the intro and I are 
no exception. We have had our 
spats over things like why the 
intro to “Modern Family” was 
so lackluster or why “Strang-
er Things” was such a good 
show, despite the intro being 
just slowly zooming text. Like 
any normal love story, there 

are bumps in the road, but we 
are able to move past them by 
working a little bit harder and 
focusing on the good times.

And there have been many 

good times. TV show intros 
have made me the man I am 
today. They have stuck with 
me throughout my life and 
they are the one constant that 
I can always count on. When I 
was five years old, I was beam-
ing with happiness whenever 
the “Dora the Explorer” song 
came on.

At ten years old, I was giddi-

ly singing along to “Spongebob 
Squarepants” while munching 
on my cereal in the morning. 
At 15, I discussed the beauti-
ful simplicity of the “Parks and 
Rec” intro with my friends. 
And now I’m 20, and I’m dis-
secting the intricate melodies 
and 
symphonic 
harmonies 

sprinkled into the “30 Rock” 
theme music that always puts 
me into a good mood. When-
ever I need an old friend to 
turn to, I not only look for my 
favorite shows, but my favorite 
intros that accompany them. 
The classic tunes never get old, 
and my love for them grows 
each time I watch these pro-
grams.

Television 
is 
a 
versatile 

medium that is constantly 
changing. Shows are evolving 
into new and exciting genres 
and formats, and so are their 
intros. One thing that will 
never change, though, is my 
unwavering 
infatuation 
for 

these beautiful gems. Love 
them or hate them, TV intros 
are here to stay, and I will 
be right there beside them, 
always giving them my love 
with a sweet embrace and a 
five-star rating. 

ELLIS HYMAN

For the Daily

Iconic and Timeless: An ode to TV’s 
memorable and comforting intros

A look into the charm of television’s beloved and overlooked feature

This past Tuesday, El Club 

in Detroit was packed to 
near capacity with flannel-
clad, mostly bearded twenty-
somethings eager to see one 
of indie rock’s most revered 
bands — the almighty Cloud 
Nothings. I (also flannel-clad, 
slightly bearded and twenty-
nothing) quickly slipped to 
the back of the crowd to enjoy 
the band for what was about 
to be my first time.

Cloud Nothings expertly 

seized the crowd by opening 
with “Pattern Walks” from 
2014’s Here and Nowhere 
Else, showcasing drummer 
Jason Gerycz’s insane skill. 
Gerycz’s 
control 
over 
his 

individual limbs bordered on 
absurdity, as his arms flailed 
across his kit and the bass 
drum beat with incredible 
dexterity. I couldn’t tear my 
eyes away until the nearly 
eight-minute 
track 
closed, 

when I turned to my friend 
and said, “Just watching him 
play almost gave me an asth-
ma attack.”

The band is touring in sup-

port of their phenomenal new 
record, Life Without Sound. 
By adding a fourth member to 
assist lead singer/songwriter 
Dylan Baldi in covering their 
complex guitar melodies, the 
band was able to achieve a 
full, complete sound in per-
formance. 
Highlights 
from 

the record included lead sin-
gle “Modern Act” which had 
the crowd singing along to 
the anthemic chorus: “I want 
a life, that’s all I need lately 
/ I am alive but all alone.” 
The band quickly fired up the 
crowd with the heavier cut 
“Darkened Rings,” exciting 
the already rowdy mosh pit — 
and finally motivating me to 
dive in.

Baldi 
sounded 
as 
caus-

tic and lively as ever, while 
remaining perfectly precise 
in his guitar playing. Each 
song sounded as tight as the 
recording, 
only 
amplified 

through the wildness of the 
crowd and the intimacy of the 
venue. The setlist consisted of 
tracks that boasted both his 
more melodic monotone and 
gravelly screams, command-
ing the crowd’s intensity with 
ease.

The 
band 
obliged 
the 

crowd’s pleas for an encore 
with 
Attack 
on 
Memory’s 

magnum opus “Wasted Days” 
— not only opening their set 
with a long track but bookend-
ing it with another. The crowd 
matched the band’s energy to 
the very end, returning every 
scream of the mantra — “I 
thought I would be more than 
this” — while throwing each 
other in euphoric disarray 
throughout every impressive 
instrumental 
section. 
The 

band’s 
unison 
throughout 

the chaotic instrumentation 
was a stunning testament to 
their musicianship and hard-
earned status in the indie 
rock scene.

The bottom line is, Cloud 

Nothings 
have 
cement-

ed themselves as some of 
indie rock’s greatest talent. 
Through their captivating and 
engaging live performance, 
and continual ability to put 
out fantastic records (even 
according to the “holier-than-
thou” Pitchfork) that emanate 
effortless talent, Baldi and 
company have proven to be 
some of music’s most essential 
artists of the 21st century. 

DOMINIC POLSINELLI

Daily Arts Writer

Cloud Nothings effortlessly and 
pointedly captivates at the El Club 

Band’s latest Detroit visit a reminder of their talent and staying power

CARPARK RECORDS

MUSIC REVIEW

CONCERT REVIEW

6 — Friday, February 10, 2017
Arts
The Michigan Daily — michigandaily.com

