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By Mark McClain
©2018 Tribune Content Agency, LLC
11/13/18
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
11/13/18
ANSWER TO PREVIOUS PUZZLE:
Release Date: Tuesday, November 13, 2018
ACROSS
1 Source of
spumante wine
5 Mr. __: Former
name of a Dr
Pepper rival
9 Light model wood
14 Bore false
witness
15 Et __: and others
16 Provo native
17 Beige look-alike
18 *Safari head
protector
20 Superficial, as
beauty
22 Make possible
23 Negative
connector
24 Packers
quarterback
Rodgers
26 *Traditional farm
equine
29 Nervous twitches
33 Vein discovery
34 ... Venus, __,
Mars ...
35 Like sea battles
36 Column slant:
Abbr.
37 Overseas
business abbr.
38 Sheep’s call
40 Sister Sledge’s
“We __ Family”
41 Corp. bigwigs
43 Nike alternative
45 __ showing:
theater info
46 Textile mill worker
47 *Baked pork
cut that sounds
perfect for a
blanket in the
park
49 Whirlpool brand
51 Wee bit
52 Ship’s chart
55 Air, mostly
60 *Lever for manual
water extraction
62 Intricate garden
feature
63 Medieval suit
64 Backtalk
65 Prickly husks
66 Nary a soul
67 London rental
68 Blind part
DOWN
1 Brewpub pints
2 Under the
weather
3 Hatcher with a
recurring role in
TV’s “Supergirl”
4 [Shrug]
5 *Kid’s
homemade
topper
6 Nastase of tennis
7 Minor role
8 Scrooge’s
“Dang!”
9 Good, in
Guatemala
10 Hawks’ home
11 Ewe kid
12 “A Light in the
Attic” poet
Silverstein
13 Penny-__:
unimportant
19 Roll call answer
21 Woodworking
rods
25 Rubbish
container
26 Stockholder’s
agent
27 Protective
embankment
28 Install, as a cleric
30 Eric Trump’s
mom
31 Off-the-cushion
pool shot
32 Large quantity
33 Pundit’s piece
35 Daytona 500 org.
39 Ordeal ... and a
hint to the initials
of the answers to
starred clues
42 Ice-climber’s boot
attachment
44 Tabloid fodder
47 One of the Three
Bears
48 Cold War threats
50 Skiing champ
Phil or Steve
52 Cross over
53 Tipperary tip jar
coin
54 Hunter’s need
56 Victor’s wife in
“Casablanca”
57 Ancient France
58 Poet Pound
59 Branch home
61 Bad check
letters
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
TV REVIEW
In
the
horrifyingly
antiquated,
backwards-
looking town of Belt Buckle
Bay, three superhero drag
queens
—
Scarlet,
Lemon
and Safira — take a respite
from their day jobs in a bland
department store to protect
the city’s LGBTQ community
by night. The result is a very
entertaining
satire
of
the
conservative establishment’s
continuing bigotry towards
LGBTQ groups.
“Super
Drags”
was
originally created in Brazil,
as evidenced by the fact that
most of the text displayed
remains
in
Portuguese.
Netflix recently produced an
English dub, with the main
trio of drag queens voiced by
Ginger Minj, Shangela and
Trixie Mattel of “RuPaul’s
Drag Race” fame. Their main
nemesis is an evil drag queen
intent on stealing the life force
of the LGBTQ residents of Belt
Buckle Bay.
“Super
Drags”
is
nothing short of constantly
entertaining. The animation
is expressive and colorful,
and the English dub is full
of life, which is rare among
dubs.
The
protagonists
in
the trio are each distinct and
quite charming. The dialogue
is fast-paced and full of wit,
although
it
is
evident
at
points that some jokes may
have been lost in translation.
The show is intended to be a
full celebration of drag and
LGBTQ culture in general.
The humor ranges from
extremely
low-brow
dick
jokes to clever satire on “Fox
and Friends”-style programs
and personalities who harp on
and on about the proliferation
of
“political
correctness.”
Ironically,
the
show
was
protested
by
conservative
action groups in both Brazil
and the U.S., with groups in
the latter boycotting Netflix.
The show uses its fast-
paced style as a framework
for exploring broader social
issues, such as the continuing
harassment
and
prejudice
members
of
the
LGBTQ
community face around the
world. It also tackles issues
of body image and racism
both within and outside of
the LGBTQ community. It is
worth noting, however, that
“Super
Drags”
approaches
these
issues
through
a
Brazilian lens. While minority
communities in both countries
face many of the same issues,
the cultural and historical
differences of the countries
make
the
more
nuanced
aspects of the discussion seem
rather unfamiliar to American
audiences.
I must disclaim, however,
that as someone who is not a
part of the LGBTQ community,
I am not entirely qualified to
judge whether “Drag Queens”
is an entirely accurate, positive
form of queer representation
on
TV.
While
ostensibly
very inclusive in terms of its
rhetoric, some have raised
the
point
that
the
show
reinforces stereotypes of the
drag community (for example,
the show’s campiness) and
is not necessarily a positive
representation. Others on the
internet have pointed out the
differences in drag culture in
Brazil and America and how
the show is a more accurate
portrayal of the former. While
“Super Drags” is entertaining,
it is worth keeping these
issues in mind.
‘Super Drags’ is thought-
provoking superhero show
SAYAN GHOSH
Daily Arts Writer
“Super Drags”
Episodes 1-3
Netflix
MUSIC
From his stint in “Jurassic
Park”
as
a
sharp-tongued
mathematician to his more
recent
role
in
Marvel’s
“Thor:
Ragnarok”
as
The
Grandmaster, Jeff Goldblum
has grown to be a true pop-
culture icon. The addition of
“jazz musician” to Goldblum’s
vibrant and diverse roster is
more than fitting. His new
album
with
the
Mildred
Snitzer Orchestra, The Capital
Studios Sessions, is like a long
lost perfect puzzle piece — the
world didn’t know it needed
Jeff Goldblum singing and
performing jazz with Sarah
Silverman and Haley Reinhart
until he gave it to them. While
Goldblum
doesn’t
reinvent
jazz
the
way
one
might
expect (many consider jazz
to be a “dying” genre in need
of reinvention or a merciful
death), he capitalizes on the
advantages of jazz as a genre
of live performance. The result
is a strange yet delightful
mixture
of
satisfying jazz
riffs, velvet-smooth vocals and
playful humor.
The album is comprised of
14 songs, a mix of familiar hits
and new material. Sometimes
it can be a gamble to reprise
“the
classics,”
especially
when it comes to jazz. A genre
dependent
on
originality,
innovation
and
passion,
a
modern cover can come off
as flat, boring and repetitive.
But while there is certainly
a strong sense of familiarity
throughout the album with
most of the songs being covers
of jazz and swing classics
from the ’30s and ’40s, like
“Cantaloupe
Island,”
“My
Baby Just Cares For Me,”
“I Wish I Knew” and more,
somehow Goldblum and his
orchestra
avoid
the
usual
pitfall of over-cooking the old
hits. Part of this comes from
the alluring, intimate vocals of
Haley Reinhart — she shines
in particular in “Gee Baby”
and “My Baby Just Cares For
Me.” On the other hand, the
humorous flirtation and easy
exchanges between Goldblum
and
Reinhart
turn
the
performances into something
fun and casual, brightening
some of the characteristic
heaviness of the dark, smoky
jazz club vibes.
The music alone is good.
“Cantaloupe Island” opens the
album with some impressive
saxophone
solos,
and
Goldblum proves his metal
as a musician on the piano.
The ensemble keeps a solid
beat going, and there is an
undeniable sense of joy and
satisfaction from a quality
jazz performance. Goldblum
even treats the audience to
some of his own vocals in a
duet with Sarah Silverman,
“Me and My Shadow,” which
is an odd combination of jazz,
comedy and a bit of Broadway-
style flair. The original song
was a duet between Frank
Sinatra and Sammy Davis Jr.,
but Goldblum and Silverman
adapt the lyrics to fit a modern
context, including some playful
jabs like “we’ll change that
name Redskins, is that such
a chore?” and lighthearted
banter, with Silverman and
Goldblum remarking that the
trumpet solo is like “a knife
cutting hot butter” — which
led to a discussion about the
safety of leaving butter out
to melt mid-song. The duet
ends on a high note with
Goldblum throwing in a nod
to “Jurassic Park,” playing the
movie’s theme on the piano.
Silverman prays she won’t get
eaten — Goldblum “calms” her
fears with a playful “dinosaur
growl.” At times Silverman
and Goldblum leave something
to be desired in passable but
ultimately lackluster singing.
However, while the duo may
not be destined for the top of
the charts anytime soon, their
humor and oddball dynamic
swoop in to save the day.
What saves the album from
fading into obscurity alongside
other attempted revivals of
jazz and swing is the fact that
the album is comprised solely
of live recordings. Rather than
simply producing yet another
cover of a Nina Simone hit,
Goldblum
adds
a
distinct,
fresh “Goldblum touch” to
the performance with his side
quips, banter and touch of
silliness. Goldblum reminds
the audience and performers
that
jazz,
and
music
in
general, doesn’t have to be so
serious. A song can be good
without
necessarily
being
revolutionary
or
dripping
with
overdone
dramatics.
Sometimes music can just be
fun. And at its core, that’s what
Goldblum’s album is — fun.
The image the album conveys
is that of a couple of friends
messing around, having fun
and just enjoying the music.
It’s this easy going simplicity
that makes Goldblum’s album
a good one. No one says it
better than Goldblum himself
when he calls out to Silverman,
“Let’s do the ending again,
I love that ending!” Music
for the love of it, that’s what
Goldblum’s album is all about.
Everything else aside, the
album is worth a listen, if only
for some fun, some jazz and to
hear Jeff Goldblum imitate an
oddly sexy T-Rex in a spin on
the classics of the swing and
jazz masters.
The union of smooth jazz,
comedy in Goldblum’s ‘The
Capital Studios Sessions’
MADELEINE GANNON
Daily Arts Writer
The Capital
Studios Sessions
Jeff Goldblum and
the Mildred Snitzer
Orchestra
Decca Records
NETFLIX
WIKIMEDIA COMMONS
WIKIMEDIA COMMONS
The result
is a strange
yet delightful
mixture of
satisfying jazz
riffs, velvet-
smooth vocals
and playful
humor
The animation
is expressive
and colorful,
and the English
dub is full of life
6 — Tuesday, November 13, 2018
Arts
The Michigan Daily — michigandaily.com