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By Bruce Haight
©2019 Tribune Content Agency, LLC
02/28/19

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

02/28/19

ANSWER TO PREVIOUS PUZZLE:

Release Date: Thursday, February 28, 2019

ACROSS
1 Hornet and
Matador
5 Tech-savvy
school gp.
11 Higher ed. test
14 Fail to save one’s
skin?
15 Bring back to the
firm
16 35-state Western
org.
17 Spot to spread
out a ship’s map,
maybe?
19 “The Racer’s
Edge”
20 “American Gods”
actor McShane
21 Shell material
22 Milk by-product
23 Yale’s Mr. Yale
25 Sailors dealing
with a ship’s
cargo?
28 Most warm
30 Barbershop staple
31 Industry mogul
32 Seedy abode
36 Sushi choice
37 Awesome things
near the front of a
ship?
38 Sweetie, in slang
41 Snore
42 Numerous
43 Gave one’s word
45 Often recyclable
tech products
47 Backwards
glance on a ship?
51 Adams who shot
El Capitan
52 Tiny parasites
53 Secluded valleys
55 __ Lanka
56 Imaginepeace.
com artist
57 Strength measure
of the ship cook’s
spirits?
60 Ref’s call
61 “Her cheeks are
rosy, she looks a
little nosey” girl in
a 1962 #1 hit
62 Like crazy
63 Sun, in Ibiza
64 Use a combine
65 Soccer followers?

DOWN
1 Restaurant
review factor
2 Get all preachy

3 Kind of
psychology
4 Criterion: Abbr.
5 Neighborhood
6 Climbing plant
7 One-named
“Hollywood
Squares”
panelist
8 Defamation in
print
9 Web address
10 Spelling event
11 “Jeepers, I
wouldn’t think
of it!”
12 Not for kids
13 2018 awards
event hosted by
Danica Patrick
18 African herd
22 GPS navigation
app
24 QE2 designation
26 Drift off
27 Dutch artist
Frans
29 Gardening tool
33 Punching tool
34 With 42-Down,
like some
bobsleds
35 Harley
Davidson’s
NYSE symbol

37 Stable
environment?
38 Jazz improv
highlight
39 Waiting area
40 Some cosmetic
procedures
41 Hot under the
collar
42 See 34-Down
43 Hammered
44 “No hard
feelings, dude”
46 Winged stinger

47 Vegas
attraction
48 Rubberneck
49 Stan’s slapstick
pal
50 Naval bases?
54 Gloating word
usually repeated
57 Setting at 0
degrees long.
58 “This is so
relaxing!”
59 West Coast
athlete

‘The Bones’

Maren Morris

Columbia Nashville

SINGLE REVIEW: ‘THE BONES’

If you’re into country music
but don’t actually like country
music,
good
news:
Maren
Morris is releasing her new
album GIRL on March 8th.
In case you weren’t paying
attention, Maren Morris is an
artist most famously known
for
her
collaboration
with
Zedd on 2018’s most persistent
EDM earworm, “The Middle.”
Interestingly
enough,
the
song places itself within a
series of Morris’s pop music
collaborations
that
spanned
late 2017 to mid-2018 — it was
meant to be characteristically
uncharacteristic
of
her.
However, GIRL stays true to the
classic pop-country sound she
introduced in her 2017 debut
with Hero. And the exposure’s
done well for promotion — her
release of single “Girl” last
month achieved the highest
debut on the Country Streaming
chart and overall highest weekly
streams for a female country
artist. Now, in the week leading

up GIRL’s release Morris has
released her track titles and
another single, “The Bones.”
“The Bones” follows all the
pop country conventions you’d
expect: A gentle acoustic guitar
intro, lyrics about love and its
tribulations, claps, a dynamic
lead up to the dramatic chorus

— the list goes on. Just think
about the way you felt listening
to Taylor Swift’s Fearless for the
first time 10 years ago and you’ll
know what I mean. This isn’t
to say the song is dated or that
it lacks ingenuity; it’s gorgeous
and deserves all that hype
from the country comunity.
The instrumentals are sparse
and bare, providing special

attention to each instrument
that builds up to the chorus and
the succeeding metamorphosis
throughout
the
following
verses. Morris’s vocal range
is also astounding, shifting to
falsettos effortlessly and adding
some necessary texture to the
song. And these aren’t just any
old lyrics — try getting “the
house don’t fall when the bones
are good” out of your head.
“The Bones” is nothing new,
but it deserves a space after that
throwback Taylor Swift bop in
your next “country” playlist. As
a pop country hybrid, it serves its
genre well in its amiable nature
and capacity to capture feelings
we don’t necessarily have to feel
to understand. So get into the
daydreams only your nine-year-
old self could conjure as you sing
“Call it dumb luck, but baby you
and I / Can’t even mess it up”
into your hairbrush.

— Diana Yassin, Daily Arts
Writer

COLUMBIA

Rest assured, the world is
on fire. From hunger, to war, to
exploitations of the democratic
system in America, everything
is awful. It’s not a secret, but the
world has collectively agreed to
treat it as such. John Oliver wants
to let us all in on the secret as gently
as possible. In the sixth season
premiere of his Emmy-winning
news satire, Oliver takes on what
many
British
parliamentary
members are unwilling
to: Brexit. Like with most
of the abstruse news he
covers, Oliver builds the
horror show that is Brexit
in incremental, satirical
bits. That is, until he lets
it all come crashing down.
Oliver wastes no time
in recounting how the
U.K.
managed
to
get
itself in this mess, first
by comparing the term
“Brexit” to calling an
animal strangling “otter
erotic
asphyxiation.”
Oliver
explains
that
the U.K. was supposed
to move in orderly stages in its
transition. Instead, Prime Minister
Theresa May’s colossal, 585-paged
diplomatic trainwreck of a deal
with the European Union has been
rejected by Parliament. The U.K.
is hurtling towards a March 29th
deadline without a deal, and the
consequences are dire. Some of the
key ones Oliver delineates are the
hard border in Ireland — Google
“IRA Bombings” if you’re unsure
of why this would be a problem —
the lack of medicine, and how to
transport one’s horse to and from

other countries. (Oliver suggests
removing its shoes and putting
in through the X-ray belt at the
airport.)
No good story is complete
without
a
villain,
and
the
antagonist Oliver settles on is Boris
Johnson. Johnson is a member of
Parliament for Uxbridge and South
Ruislip, famous for poem he wrote
about Turkish President Erdogan
having sex with a goat, and was a
prominent figure for the “Leave”
vote in the 2016 referendum. Good
thing his last name is a euphemism
for “dick,” then. Oliver highlights

a ridiculous incident in which
reporters attempted to question
Johnson about the hard border
in Ireland, and Johnson ignored
them. By riding away. Slowly.
On his bicycle. This is probably
because the only question Boris
Johnson can answer, Oliver says, is
“what would it look like if Gordon
Ramsay was tumble-dried on
high?”
Amid all the jokes, though,
Oliver makes sure to remind us of
how grim this situation is. By the
government’s own findings, the

U.K. economy is poised to fall by 3.9
percent in 15 years when they leave
the EU. However, if they leave the
EU without a vote — which looms
closer as a possibility, given that
the EU is done negotiating —
then the U.K. economy could fall
by 9.3 percent. It is, in Oliver’s
words, “like “Pompeii if Pompeii
had voted for the volcano.” If that
wasn’t bad enough, the U.K. is in
position to experience medicine
and food shortages, resulting in
“Brexit Boxes,” which are boxes
containing paint cans of wet meat
for things like fajitas.
Any
light
at
the
end of the tunnel is
quickly snuffed out. The
“Breuinon Boys,” a Dutch
boy-band
whose
sole
purpose is to reunite the
U.K. with the EU, is just
as bad as it sounds. They
are, Oliver says, a “pretty
compelling argument to
leave the EU under any
terms necessary.” At the
end of it, we get a rousing
Churchillian
speech
about how valiantly “We
will fuck ourselves” until
we reach a victory that
tastes like “mummified
chicken fajitas.”
“Last Week Tonight” is bold
and daring. John Oliver isn’t afraid
of anyone and seeks to let us down
as easily as possible, throwing
in jokes to soften the blows. For
everything that’s going wrong in
the world, “Last Week Tonight”
is a brief light in the otherwise
suffocating darkness of endless
news cycles and tragedies. The
world may be falling apart, but
John Oliver is going to help us
understand it — and even enjoy it
a little.

‘Last Week Tonight’ rises
while the U.K. crumbles

MAXWELL SCHWARZ
Daily Arts Writer

HBO

TV REVIEW

Last Week Tonight
with John Oliver

Season 6 Premiere

HBO

Sundays 11 p.m.

I am currently playing bass in
the pit orchestra of Runyonland
Production’s “Merrily We Roll
Along.” Last Sunday, we had our
“sitzprobe” rehearsal. For those
unfamiliar with the term, it’s
German for “seated rehearsal.” It’s
the first rehearsal with the pit and
the cast in the same room, and it’s
a chance for the everyone to focus
only on the music without worrying
about staging, choreography or
dialogue.
Before the sitzprobe, a friend
from the pit told me about
how much he looks forward to
sitzprobes. “It’s my favorite part of
the rehearsal process,” he said. “It’s
by far the most musical part of the
show.”
My friend and I have both played
in a couple of pit orchestras at the
University of Michigan, and we’ve
been through this rehearsal process
many times. We know the drill with
these shows: A week of two to three
hour rehearsals after the sitzprobe,
running through the show each
night until the music becomes
second nature. This is when the
show comes together, individual
scenes being repeated until the
entire play flows seamlessly.
Personally, I’ve always found
the opening night to be the most
exciting part of the process. After
so many rehearsals in front of a
critical production crew, I love
the energy that comes from a live
audience — the laughs, cheers and
applause at the end of every song.
It’s this attention, energy, pride and
adrenaline that makes the whole
rehearsal process enjoyable for me.
But to my friend, the audience
matters little in the rehearsal
process. He does these shows to
make music with strangers in a fun,
collaborative environment. We are
incredibly lucky to have one of the
strongest musical theater programs
in the world here at the University.
There are few other places in the
world where musicians have the
opportunity to work with such
incredibly talented actors and
singers over the course of a week
to pull together a coherent show.
It is this process, and not the final
product, that draws my friend to pit
orchestra jobs.
This got me thinking about
creator-centric art — art made for the
artist’s sake. Terms such as this are
frequently used to discredit certain
artists and artistic movements,
particularly more abstract styles
from the 20th century. I’ve heard

these works described as insular
and inaccessible, their creators
described as self-indulgent and self-
obsessed. Why should a layperson
care about art not written for the
layperson, as many have asked.
As
a
young
musician
and
composer, I heard these criticisms
launched at the dissonant, abstract
music of the post-war European
classical music composers. The
late music of Schoenberg, for

example, is built almost entirely on
serialism. It is inexpressive in the
Romantic sense almost by design
— notes, rhythms and dynamics
intentionally
randomized
past
the point of comprehension. The
composer indulges in logic puzzles
and
restrictive
compositional
processes with little to no regard for
how the music may sound.
In becoming more familiar with
this music, however, I have learned
to get past this criticism. This music
demands a different understanding
than that of pre-atonal music. While
one can choose to view this music as
self-indulgent, one can also accept
these indulgences and move past
them. And though we may view
this music as uniquely inaccessible
and self-indulgent, this criticism
has been levelled at art throughout
history.
In musicology, for example, we
recently studied the Beethoven
piano
sonatas.
To
modern
audiences, they are the epitome
of solo piano music. Nearly every
pianist has played through at
least one sonata. Many can call
up multiple sonata openings from
memory.
These pieces had a very different
cultural connotation when they
were
composed:
They
were
written not for aristocratic social
functions or public concerts but
for private study by the performer.
These pieces, so quintessential
to the public piano concert as
we currently conceive of it, were

once difficult etudes that rarely
saw public performance. They
are harmonically and melodically
complex, both difficult to perform
and difficult to consume. As such,
they were not regularly appreciated
by audiences of the day.
These pieces were criticized
for the exact same reason that
we currently criticize post-war
classical music composers. They
were written for the composer’s
own interests, not for the mutually
accepted standards of “beautiful”
music in fashion at the time.
Another example of this is
Beethoven’s “Große Fuge (Op.
133).” This piece was derided upon
its premiere for being rhythmically
dissonant
and
harmonically
incoherent. Even today, nearly 200
years after the work was composed,
audiences and string quartets still
struggle to fully understand the
piece. It’s a violent conglomeration
of pseudo-atonal gestures, a work
perhaps more at home among the
Ligeti string quartets than the
works of Beethoven’s immediate
contemporaries.
If any piece of Beethoven’s is
self-indulgent
and
inaccessible,
it would be this piece. “And why
didn’t they encore the Fugue? That
alone should have been repeated!”
Beethoven reportedly responded
to the piece’s negative premiere. He
cared little for what the audience
thought of the work as he knew it
was successful. And though it has
taken the music-consuming public
nearly 200 years to fully understand
this work, it is beginning to move
from the realm of self-indulgent
to the realm of expressive and
beautiful.
Some artists create for the sake
of the audience member. Others
create for the sake of creating. Both
styles of creation have their benefits
and their weaknesses. But neither
can be valued over the other, nor
can works created under one be
criticized for this.
My friend in the pit orchestra,
for example, participates in these
pit orchestras for the music making
opportunities. I participate in pit
orchestras for the performances
and the opportunity to present my
work to others. What matters in the
long run, I’ve begun to realize, is the
quality of the art being created, not
the means by which it is created.
If an artist needs to make art for
their own sake, so be it. So long as
it has artistic value, the terms of its
creation matter little.

Art for the artist’s sake

DAILY COMMUNITY CULTURE COLUMN

SAMMY
SUSSMAN

6 — Thursday, February 28, 2019
Arts
The Michigan Daily — michigandaily.com