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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