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March 22, 2017 - Image 6

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The Michigan Daily

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ANN ARBOR THIS
SUMMER?

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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

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RELEASE DATE– Wednesday, March 22, 2017

Los Angeles Times Daily Crossword Puzzle

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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

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