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By Doug Peterson
©2019 Tribune Content Agency, LLC
01/30/19

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

01/30/19

ANSWER TO PREVIOUS PUZZLE:

Release Date: Wednesday, January 30, 2019

ACROSS
1 Arrangement 
holder
5 Pursues with 
bloodhounds
11 Pampering, 
briefly
14 Mideast airline
15 Ace, in poker
16 That lady
17 Blink of an eye
19 Poison __: villain 
in Batman comics
20 Tip of a wingtip
21 Oprah’s channel
22 Quick cut
23 Former Soviet 
orbiter
24 “The Life of 
Pablo” hip-hop 
artist
26 Half-brush 
partner
29 Old AT&T rival
30 ’60s pigskin org.
31 Grows faint
34 Hank with 755 
homers
38 Comb and 
scissors, to a 
stylist
42 Sean of “Stranger 
Things”
43 In any way
44 Bakery order
45 Aunt, in 
Andalusia
47 Flat-lying volcanic 
flow
50 Tucked-in 
clothing part
55 __ heartbeat
56 Formally 
surrender
57 Did some laps
58 Put into gear?
61 Liquid in a drum
62 Musical 
ensemble ... or 
what the ends 
of 17-, 24-, 38- 
and 50-Across 
comprise
64 Lyrical tribute
65 Periodic reviews
66 “M*A*S*H” star
67 “Deck the Halls” 
contraction
68 Inky goofs
69 Set in a purse

DOWN
1 Suit piece
2 Gravy Cravers 
pet food brand

3 Stephen King 
novel featuring 
vampires
4 Draw forth
5 Butter amt.
6 Kick oneself for
7 Major maker of 
can material
8 Rodeo __
9 Saxophonist 
with 17 Grammy 
nominations
10 Normal: Abbr.
11 Your, old-style
12 Wranglers 
competitor
13 Chamber in a 
vampire movie
18 Pool protector
22 Get bleeped, 
maybe
24 Item in a kitchen 
block
25 Coup d’__
26 Pollster’s 
collection
27 Aerial enigmas
28 Hurly-burly
32 “Total Request 
Live” network
33 Seaside 
souvenir
35 Competition 
where rhymes 
are exchanged

36 Garfield 
housemate
37 Have to have
39 Petrol purchase
40 Tizzy
41 Cy Young Award 
winner’s stat
46 Naturally lit 
courtyard
48 Home 
improvement 
guru Bob
49 Fur-lined jacket
50 Hurry along

51 “America’s Got 
Talent” judge 
Klum
52 Lazes around
53 “Storage Wars” 
network
54 “The Jungle 
Book” setting
58 Get bleeped, 
maybe
59 Actress Lamarr
60 Flight sked info
62 “That __ close!”
63 NFL period

Classifieds

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

SUBLETS

On the cover of Outer Peace, 
singer-songwriter and multi-
instrumentalist Toro y Moi 
sits on an exercise ball in front 
of a glowing computer screen. 
Surrounded 
by 
different 
types of paraphernalia (read: 
keyboards and what appears to 
be a large glass of wine), Toro 
y Moi seems almost boxed in 
by all the various objects that 
help him make music, his gaze 
transfixed on the computer 
screen, backlit by muted tones 
of red, orange and 
yellow. Overall, the 
effect is distinctly 
otherworldly 
— 
a 
gauzy 
dreamscape 
that the album’s title 
seems to reference 
as well. Outer Peace 
provides the surreal 
terrain 
needed 
for Toro y Moi’s 
music to flourish. 
Saturated 
in 
bright, 
electronic-
pop melodies and 
inflated with funk 
and 
R&B 
tunes, 
Toro 
y 
Moi 
has 
never sounded quite 
as carefree as he 
does now. 
In 
the 
scheme 
of 
his 
entire 
discography, 
Toro 
y 
Moi 
seems to try on subgenres like 
different shirts. In 2010, his 
debut album Causers of This 
placed him firmly within the 
chillwave category, garnering 
comparisons 
to 
the 
hazy 
bedroom pop of Neon Indian 
or Tycho. 2011’s EP Freaking 
Out expanded past chillwave 
into a sound that could have 
emerged straight from the 
post-disco revival of the ‘80s. 
2013 saw the release of Say 
That and Toro y Moi’s deep 
exploration 
of 
everything 
house music alongside the 
halting indiosynchries of J 
Dilla-inspired 
loops. 
From 
there, Toro y Moi continued to 
expand and traverse musical 
boundaries, 
collaborating 
with artists such as Nosaj 
Thing, Chromeo and Travis 

Scott, never staying in one 
place 
for 
too 
long. 
After 
Boo Boo’s release in 2017, 
he shifted again — initially 
moving 
from 
Portland 
to 
Oakland and then winding up 
in rural Sonoma County where 
he spent several weeks in 
solitude creating what would 
eventually 
become 
Outer 
Peace.
Even though every Toro 
y Moi project has upheld its 
promise to be vastly different 
than the one that came before 
it, Outer Peace contains the 
most drastic stylistic shift: 
Gone 
are 
the 
wandering 

ambient contemplations, the 
at-times nebulous production, 
the 
lo-fi 
quality. 
Rather, 
Outer Peace emerges like a 
fresh breath of air — crisp, 
distinct, energetic in a way 
that many past projects were 
not. Powered by disco-driven 
melodies and held aloft by the 
perfect fusion of house and 
pop, the album beckons like 
a strobe light — a bright and 
beautiful break from reality 
neatly packaged in distinctive 
rhythms and clean production.
In an interview with Apple 
Music, Toro y Moi stated that 
Outer Peace mainly focuses 
on appraising labor within 
the 21st century. “It’s less of 
a 
love/heartbreak 
record,” 
he said. “It’s more of a you-
can-do-it, 
motivational, 
life-is-hard-because-all-you-

do-is-work record.” Indeed, 
there is a certain optimism 
to each track, a drive to 
keep moving and creating. 
The opening song “Fading” 
shimmers with a pulsating 
effervescence, glitching beats 
interspersing 
with 
soaring 
vocals. “Everything is fading, 
fading, fading / Guess I gotta 
have that faith in, faith in,” 
he says and there is a sense 
of continuation in spite of 
disillusionment, the pursuit 
of organic creativity in spite 
of superficiality. Its a theme 
that carries throughout the 
album, apparent in “Ordinary 
Pleasure”’s “Oh this 
world makes a lot 
of noise / Makes it 
hard to feel what I’m 
thinking,” in “New 
House”’s measured 
inquiry into societal 
expectations, 
in 
“Who 
I 
Am”’s 
electro-dance 
explosion 
of 
self-
exploration.
The 
pinnacle 
of 
Outer 
Peace 
comes through its 
very 
first 
single 
“Freelance.” 
It’s 
here that everything 
Toro 
y 
Moi 
was 
working 
towards 
in 
this 
album 
comes through the 
clearest. The track’s 
polished funk pays homage to 
the spinning kaleidoscope of 
an underground discotheque 
while 
lagging 
programmed 
beats 
climb 
to 
obscurity 
underneath 
Toro 
y 
Moi’s 
monotone drawl. “Nothing’s 
ever 
worse 
than 
work 
unnoticed / Freelance now 
I guess you earned it,” he 
states, 
and 
the 
strained 
notes of futility within his 
proclamation 
are 
at 
odds 
with 
the 
song’s 
buoyant 
production. 
The 
boundary 
between work and life has 
never seemed as blurred as it 
does here, and overarching 
everything is a desire to 
escape. “Cloud hidden and my 
whereabouts unknown,” he 
says over an unceasing beat. 
Disenchantment 
has 
never 
sounded more appealing

Toro y Moi’s ‘Outer Peace’ 
is an appealing fresh start

SHIMA SADAGHIYANI
Daily Arts Writer

Through new-age classics 
like “The Wolf of Wall Street” 
and “Catch Me If You Can,” 
modern 
cinema 
contends 
that a brilliant mind is both 
amazing 
and 
dangerous. 
We can marvel from afar at 
the charisma and genius of 
Jordan Belfort and Frank 
Abagnale Jr., while keeping 
in mind the sobering reality 
that the remarkable visions 
and charming personas that 
launched these two men to the 
top are the very qualities that 
ultimately put them behind 
bars. Belfort and Abagnale 
both rose to the highest of 
highs, living lives of luxury 
and grandeur, only to fall to 
the lowest of lows, serving 
double-digit 
sentences 
in 
federal prison. Reminiscent 
of 
these 
infamous, 
big-

screen-dramatized 
frauds, 
is the story of Fyre Festival: 
a 
shockingly 
catastrophic 
entrepreneurial 
venture 
led by the magnetic, yet 
arguably 
mad 
co-founder 
Billy McFarland. Exposing 
the festival’s failure from 
conception to ashes, Netflix’s 
rendition of the Fyre Festival 
catastrophe leaves audiences 
with mouths agape, horrified 
and in a state of disbelief 
that such a beautiful mess 
actually happened. 
At first, Fyre Festival was 
nothing more than a dream 
of Billy McFarland’s. Already 
a 
successful, 
youthful 
and 
trusted 
entrepreneur 
among the New York upper 
class, 
McFarland 
set 
his 
sights 
on 
advertising 
his 
latest 
undertaking, 
an 

entertainment booking app 
called “Fyre.” What better 
way to do so than with 
a 
massive 
music 
festival 

catered to the millennial 
elite on a private island in the 
Bahamas? Wasting no time, 
McFarland and the rest of his 
posse, including notorious 
rapper and Fyre co-founder, 
Ja Rule, jet off to the Bahamas 
to shoot a sexy promotional 
video with a crew of top 
models. In no time, their 
brainchild transforms into 
the most desirable bucket-
list item for every millennial 
influencer. 
There 
appears 
to be trouble in paradise, 
however, 
as 
McFarland’s 
promises to the festival’s 
investors and guests begin 
to pile up, each emptier than 
the last. Though, money is 
initially enough to patch up 
the holes that McFarland’s 
false claims keep creating, it 
soon becomes clear that Fyre 
Festival is a sinking ship, 
far 
from 
the 
picturesque 
fantasy of models, music and 
lavishness it was intended to 
be.
If one thing is for certain, 
it is that this documentary 
could never fall into the 
unfair yet common stereotype 
within the genre of being dry 
or boring. Watching such 
a visionary and massively 
expensive project collapse to 
literal shambles before our 
eyes, we cannot help but feel 
captivated by the account of 
Fyre’s misfortunes. The film 
rotates between present-day 
interview clips, showcasing 
a mixture of Fyre employees, 
festival goers and journalists 
exposing 
the 
harrowing 
tale of Fyre festival, and 
retrospective 
clips 
about 
the 
festival’s 
construction 
process. 
One 
of 
the 
recurring expressions that 
interviewees hit on over and 
over again is the tremendous 
sensation of guilt. Guilt from 
believing 
in 
and 
sticking 
with McFarland despite his 
growing derangement, guilt 
for 
never 
compensating 
the hundreds of Bahamian 
workers 
responsible 
for 
building 
the 
festival’s 
infrastructure 
and 
guilt 
over all the hoops jumped 
through, lies told, and vows 
un-kept.
If there is one takeaway 
from the film it is this: We 
live in a world ruled by 
appearance. 
If 
something 

looks perfect, framed within 
the dimensions of our iPhone 
screens, 
we 
mistakenly 
decide that it is perfect. The 

illusion of celebrity, affluence 
and extravagance that Fyre 
promoted with yachts and 
models 
to 
its 
influencer 
millennial 
audience 
is 
ironically the same illusion 
Fyre’s 
management 
team 
fell victim to. Hypnotized 
by 
an 
unshakable 
image 
of 
Fyre 
festival 
as 
an 
ethereal paradise, even as 
its foundation was literally 
crumbling, 
McFarland 
couldn’t awake to recognize 
the nightmarish reality of 
what Fyre truly was.
Like all of the juiciest 
stories, the Fyre Festival 
calamity is something that 
must be seen to believe. 
Netflix’s unveiling of this 
unimaginable 
failure 
will 

drop your jaw to the floor, 
set your mind spinning in 
distress and make you count 
your blessings for the simple 
life in good ol’ Ann Arbor, far, 
far away from the mayhem 
that transpired.

‘Fyre’ wasn’t a mess, even 
though the fest really was

FILM REVIEW

NETFLIX

SAMANTHA NELSON
Daily Arts Writer

Outer Peace

Toro y Moi

Carpark Records

ALBUM REVIEW

“Fyre”

Netflix

Netflix’s 
rendition of the 
Fyre Festival 
catastrophe 
leaves 
audiences with 
mouths agape, 
horrified and 
in a state of 
disbelief that 
such a beautiful 
mess actually 
happened.
McFarland 
couldn’t 
awake to 
recognize 
the 
nightmarish 
reality of 
what Fyre 
truly was.

6A — Wednesday, January 30, 2019
Arts
The Michigan Daily — michigandaily.com

