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
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.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