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ACROSS
1 “That’s enough
out of you”
6 Addams family
nickname
10 Festoons with
Charmin, for
short
13 Chicago airport
14 Barak of Israel
15 __ butter
16 Monkey cage
discard
18 Phone using a
tower
19 Govt. agency
that supports
startups
20 Kettle output
21 Ride in the desert
22 Reason for
totaling, as an
insured car
24 Social ranking
27 Many mobile
downloads
28 Coral component
29 Cause of some
tan lines
34 “All Things
Considered” 
co-host Shapiro
35 Day of song
36 Fleece source
37 Ornate 18th-
century genre
40 Thyme piece
42 Pre-hurricane
emergency op
43 Runs after
44 Fluffy sun
blocker
49 “No one can beat
me”
50 Poker game
concern
51 Unit of resistance
54 Poker at the
table?
55 Baseball rarity,
and a hint to the
vowels in the first
words of 16-, 22-,
29-, 37- and 44-
Across
57 Where buds may
go
58 Right hand
59 Meditation
teachers
60 “The Affair”
network, briefly
61 Flow with force
62 Place on a
pedestal

DOWN
1 Corny leftovers
2 Starbuck’s boss
3 Child tender
4 Tax-deferred
plan, briefly
5 Stiffen in fear
6 Prairie home
7 The Supremes’
“__ a Symphony”
8 “See if I care!”
9 Cholesterol letters
10 Annual Augusta
National event
11 “Pequod” 
co-owner
12 Room in a
maison
15 Shrimp dish
17 Off-roaders, for
short
21 2-Down’s title,
informally
22 Dirty digs
23 Place of honor
24 Prep for a bout
25 Big name in
riding mowers
26 Canadian short
story writer
awarded a Nobel
Prize in 2013
29 Lavish wrap
30 Discount rack
abbr.

31 First-aid gear
32 Boo-boo
33 Cribbage
markers
35 Prefix with drama
38 Small eggs
39 NASCAR’s
Yarborough
40 Z’s
41 Elbow protector
43 Mine extraction
44 Names as a
reference

45 Hater of David, in
Dickens
46 Rx
47 Reprimand
48 Aggressive cat
lover of cartoons
51 Gymnast Korbut
52 Flag down
53 Classic PC
adventure game
55 Some univ.
proctors
56 Curse

By Don Gagliardo and C.C. Burnikel
©2017 Tribune Content Agency, LLC
03/22/17

03/22/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, March 22, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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HELP WANTED

OVO

“Baby, it never gets old and 

that’s just how it goes.”

This 
line 
is 
rapped 
with 

subtlety on “Do Not Disturb,” 
the final track of Drake’s new 
“playlist” / official-studio-project 
More Life, which was released 
on Saturday. It acts as a simple 
bridge between other epic bars 
that are clearly more intended to 
turn into viral “tweet-ables,” but 
it’s Drake’s most honest lyric on 
the project, vividly capturing his 
signature charm in one snippy, 
circular expression.

Why is Aubrey Graham — 

now almost a full decade into 
his construction of the Drake 
caricature — still trying to coin 
trends (“playlist,” “blem”), fend off 
non-threatening rappers (Meek 
Mill, Tory Lanez) and establish 
pre-meditated hype for his next 
release (“I’ll be back 2018 to to 
give you the summary”)? Because 
it never gets old. That’s just how it 
goes. At least, it has been so far for 
Drake.

More 
Life 
doesn’t 
bring 

anything particularly new to 
Drake’s 
discography: 
Though 

his lingo has (controversially) 
expanded to include some exotic 

slang, the project’s soundscape 
is still defined (across 22 whole 
tracks) 
by 
big 
trap 
drums, 

“chipmunk” soul samples and 
island-inspired pop dives. It plays 
something like a walk-through 
of his greatest hits, re-creating 
within their well-tested spaces 
in 
a 
way 
that’s 

guaranteed 
to 
produce 

in-character 
anthems.

“Madiba Riddim” 

inherits 
rhythms 

from “Controlla” much like “Get 
It Together” takes its concept 
from “Take Care.” “Gyalchester” 
shares unique similarities with 
the 
“The 
Language.” 
“Free 

Smoke” would fit in fine on If 
You’re Reading This It’s Too Late, 
just as “Jorja Interlude” would on 
Nothing Was The Same. “Nothings 
Into Somethings” could be an 
interlude on So Far Gone. The 
project’s grand finale, “Do Not 
Disturb,” is the most obviously 
sequential of them all, its proper 
title 
(“7AM 
In 
Germany”) 

arriving as a lyrical anecdote to 
ensure that it’s attached, at least 
spiritually, to Drake’s ongoing 
series of “freestyles.”

For this reason, many will 

dismiss More Life as a stagnant 
release, but that’s too easy of an 

assessment for a Drake project, 
especially after all of his lofty 
predictions have come to blossom. 
For a singsongy rapper whose 
main shtick is a sharp smile 
coupled 
with 
slick, 
boastful 

wordplay, 
things 
truly 
could 

not have worked out any better: 

Mixtape 
Drake 

turned 
into 
a 

superstar. 
Now 

his braggadocio is 
at least warranted, 
his 
shots 
that 

much louder and 

more chilling. 

Alas, still trapped in the same 

self-indulgent 
role 
that 
he’s 

inhabited since we met him, 
Aubrey Graham performs all over 
the world on More Life, boasting 
the 
even-more 
glamorous 

luxuries of his most recent 
commercial success (Views), and 
taking another expectable turn at 
curating the future tastes of hip-
hop fans. He brings out friends, 
some of whom now stem from 
different continents, and tiptoes 
on tracks that inherently feel 
like their creations, branding the 
songs as October’s Very Own’s in 
an expectable tradition that their 
artists still seem to be weirdly 
appreciative of.

Yet, 
More 
Life 
will 
be 

remembered as the beginning of 

a comedown, the visible, tangible, 
downloadable conclusion to a 
past chapter of hip-hop wherein 
“Drake-featuring-Drake” 
was 

a sure-fire recipe for a rap hit, 
and during which every other 
artist’s feature felt somehow less 
relevant.

On 
already-massive 
hits 

“Portland” 
and 
“Ice 
Melts,” 

Quavo and Young Thug outshine 
him immensely, each adding some 
extra excitement to the project’s 
release (which, for the first time 
in a long time, Drake might have 
actually needed).

“Sacrifices” 
sounds 
like 

something we would normally 
expect to hear on a 2 Chainz 
album, and Drake feels similarly 
transplanted onto his tracks with 
Giggs (“No Long Talk,” “KMT”), 
both of which seem like somewhat 
forced 
collaborations 
(despite 

their abilities to rattle speakers on 
command).

Songs from Sampha (“4422”) 

and Skepta (“Skepta Interlude”) 
are also included, neither of 
which feature Drake, but both of 
which shine on their own terms. 
No guest, however, manages 
to outshine Kanye West. His 
co-produced experiment, “Glow,” 
is an odd electro-duet on which he 
and Drake go back-and-forth in a 
desperate attempt to be iconic, 

the perfect pair, and it will surely 
have its credibility debated by rap 
fans for a while.

The solo Drake cuts on More 

Life, as usual, have their own 
ways 
of 
making 
themselves 

relevant. “Passionfruit” became a 
guaranteed dance floor sensation 
the moment that it landed on 
Beats 
Radio1 
airwaves, 
and 

though it may sound strikingly 
similar to some former Drake hits, 
just re-packaged and finer tuned 
for his now multi-faceted fanbase, 
no one has seemed too hung up 
on this fact in the days since its 
release.

More Life offers brief, mostly 

disconnected tastes of Jamaican 

dancehall 
grooviness, 
British 

grime aggression, moody Toronto 
bedroom crooning (which Drake 
helped coin aside his formerly-
underground friend The Weeknd) 
and, 
of 
course, 
classically 

American pop formatting. The 
meager glue binding its 22 tracks 
together is their overtly-defensive 
Drake tone, one that we’re all so 
familiar with by now, defined 
by its half-witty broadcasting of 
bank figures and hyper-personal 
reflecting on the past via trendy 
singsong features. The only thing 
new is his (amazingly) ever-
increasing clout. Still bragging 
about the radio play that he and his 
friends receive, Drake raps, “If we 
not on the charts, my XO n*ggas 
eatin’ / 52 consecutive weekends, 
shout out The Weeknd,” on “Lose 
You,” the project’s on-cue inward 
reflection.

The act might get old soon, 

especially if Drake returns from 
his now-well-teased hiatus to 
Toronto, another year older, only 
to hand in yet another highly-
marketed, 
loosely-organized 

collection of snarky flexes and 
seemingly 
uninspired 
R&B 

efforts. (I am not sure anyone can 
handle another Drake track on 
which he wonders: “How come 
we can never hook up and stay 
friends?”). But in the meantime, 
while he still has the world’s 
attention, Drake offers us a 
playlist — not exactly an original 
project, but a collection of styles 
and ideas that he expects to catch 
and keep his brand afloat.

Like he said: “That’s just how it 

goes.”

SALVATORE DIGIOIA

Daily Arts Writer

More Life

Drake 

OVO

‘More Life’ will be 

remembered as 
the beginning of 
a comedown, the 
visible, tangible, 
downloadable 
conclusion to a 
past chapter of 

hip-hop

HOW 

CULTURED 
ARE YOU? 

NOT AT ALL? 
THEN DON’T 
JOIN ARTS. 

PLEASE. 
DON’T.

Offended? We’d love to hear 

from you. Want to prove yourself 

wrong? Email 

arts@michigandaily.com for an 

application in return!

ALBUM REVIEW

‘More Life’ — A playlist review by The Daily Arts Firm

6A — Wednesday, March 22, 2017
Arts
The Michigan Daily — michigandaily.com

