By Gail Grabowski and Bruce Venzke
©2019 Tribune Content Agency, LLC
03/19/19

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

03/19/19

ANSWER TO PREVIOUS PUZZLE:

Release Date: Tuesday, March 19, 2019

ACROSS
1 Factory work 
period
6 Choral part
10 Stand the test of 
time
14 Hang around
15 Deliberately 
avoid
16 Nabisco nibble
17 Period with 
dreams, e.g.
19 Screenwriter 
Ephron
20 __ Ark
21 Rest area array
22 Timber shaper
25 Subject of 
some weather 
advisories
28 Stars and Stripes 
squad
30 Soup spheres
31 Delivery doc
32 Movie lab 
assistant
33 App annoyances
36 Gp. that isn’t 
gun-shy
37 Apple tablet from 
2013 to 2016
40 Real estate buy
41 Have some grub
42 Ranch grazers
43 Botanical 
swelling
45 Yellow Brick 
Road dog
46 Back-of-book 
lists
48 Summit Plummet 
at Disney World, 
for one
52 Bit of pageant 
attire
53 Fashionista 
Mary-Kate
54 Flowers, in 
Florence
56 Pothole’s place
57 Perform in the 
theater ... and 
what can be done 
to the end of 
17-, 25-, 37- and 
48-Across
62 Drive-__ window
63 Chicago mayor 
Emanuel
64 Scrabble 
10-pointer
65 Diary securer
66 Vein yields
67 Several hairpin 
turns

DOWN
1 Wall and 
Bourbon: Abbr.
2 Kubrick’s out-of-
control computer
3 Dublin’s land: 
Abbr.
4 Faux ally
5 Proofer’s find
6 Bronchial woe
7 Capital of Tibet
8 Yank
9 Ace’s value, at 
times
10 They don’t like 
company
11 Taco truck allure
12 Calligrapher’s 
swirl
13 Wedding 
reception 
highlight
18 Mouth off to
21 Visibly healed, 
as skin
22 Advice to 
sinners
23 Messing of “Will 
& Grace”
24 Restaurant 
survey creator
26 Lexi Thompson’s 
sports org.
27 Sainted fifth-
century pope

29 Mythical horned 
equine
32 Cards with pics
33 Amazon Echo’s 
assistant
34 Mosque toppers
35 Narc’s discovery
38 Cookware items
39 AFB truant
44 Calls it off
45 Ready to drive, 
as a golf ball
46 Figures of speech
47 Hard-to-miss sign

48 Value
49 Hawaiian hi
50 Romanov royals
51 “__ shoe fits ... ”
55 Use a wrecking 
ball on
57 In favor of
58 Former Mideast 
org.
59 Embroidered 
pronoun
60 World Cup shout
61 Jazzman 
Montgomery

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In South Africa, french fries 
are called hot chips.
Of all the incredible lessons 
I learned in my 12 days on a 
theatre culture exchange in 
Johannesburg, 
South 
Africa, 
one of the most interesting and 
lasting is rooted in a common 
South African culinary staple — 
hot chips. When I look back on 
the past two weeks, when the 
world took my life as its own and 
completely spun it around and 
around, shaking my perspective, 
I reflect on the people I met 
who took part in sharing their 
stories with me. On the way 
home during my final moments 
in the continent, I had a lasting 
connection with a stranger about 
hot chips that really widened 
my perception of South African 
culture even further. Maybe 
the lesson I learned about the 
name we give fried potatoes was 
about more than just potatoes. 
Maybe it was about subliminal 
differences embedded in our 
striking similarities. Maybe it 
was about the universality of 
humanity that I’d found and 
recognized in so many people, 
in so many moments, in so many 
cracks in the surface of such an 
incredible country. 
The first time I came in 
contact with hot chips was when 
I ordered dinner on our very first 
night in Johannesburg, jetlagged 
and under the warm African 
sun. The waiter asked me if I 
wanted a side of hot chips or 
mieliepap, which is commonly 
known as “pap.” Mieliepap, I 
learned, is a type of cornmeal 
porridge typically served as a 
side dish to meats and curries, 
and, to my excitement, is gluten 
free. However, on our first night, 
before I got to know the culture a 
bit more, I took the safe route and 
opted for hot chips, picturing a 
plate piled high with warmed up 
Lay’s potato chips. As you can 
probably assume, my expectation 
for warm Lay’s chips was not met 
when my meal was served. Let’s 
blame my misconception on 
exhaustion.
It hit me when my meal was 
set in front of me that a mix of 
ignorance and my American 
identity fueled the image I 
created of hot chips in my mind. 

Hot chips in South Africa are 
essentially the equivalent of 
American french fries. However, 
many differences are hidden 
below the surface. Not only was 
this my first meal in Africa, it 
was also my first realization 
that I was across the world, 
in a country where culture, 
colloquialisms and social cues 
would be completely different 
from those of America. 
The name “chips” makes sense 
historically because South Africa 
was colonized by British rule in 
the 1800s, and the British refer to 
french fries as “chips” and potato 
chips as “crisps.” The food in 
South Africa is an amalgamation 
of flavors that emerged from 
waves 
of 
colonization 
and 
immigration from folks of Dutch, 
Italian, Greek and British origin 
in the 1800s. Much of the food 
additionally 
has 
Indonesian, 
Portuguese 
and 
Mozambican 
influence, 
and 
the 
culinary 
scene has developed into a 
melting pot of different cultures 
and traditions. Some popular 
ingredients and dishes include 
chicken wings and fried chicken, 
seasoned with piri piri sauce, 
malva pudding (a sweet spongy 
apricot pudding), ostrich pate 
(which I was not adventurous 
enough to try), pumpkin fritters 
and fish and chips. Fish and chips 
is a widely popular dish in South 
Africa and all over the United 
Kingdom. Nomenclature aside, 
chips and french fries are the 
same thing, right? If you’d told 
me before ordering, I would’ve 
thought 
that 
the 
gloriously 
golden, unhealthy slices of fried 
potato can’t vary too much from 
place to place. This is not unlike 
how I never realized that much 
of our American culture would 
be vastly incongruent with South 
African culture, despite the fact 
that we have commonalities 
through the English language. It 
took traveling all the way across 
the world to come face to face 
with a realization that, while I 
think I may understand another 
country, I can never truly know a 
reality until I meet it face to face.
In South Africa, hot chips can 
be compared to American steak 
fries — a thicker cut potato with 
a lighter fry and a center that 
tastes more like a baked potato 
than a french fry. Still, they can’t 
fully be compared to American 
steak 
fries, 
due 
to 
unique 

seasoning, how they’re served 
and how often you can find 
them. First and foremost, hot or 
“slap” chips (the Afrikaans name 
for french fries) are normally 
covered in salt and vinegar, or 
a dusting of cajun seasoning. 
Rarely are they found without 
some sort of added flavor. They’re 
much larger and softer than the 
french fries we’re used to in the 
United States, fried lightly with 
a fresher taste. Hot chips can 
accompany nearly every entree 
and are found on every menu I 
encountered throughout my time 
in South Africa.
A scenario that sticks out 
prominently 
when 
thinking 
about hot chips is a fiasco I 
experienced 
in 
McDonald’s. 
In South Africa, McDonald’s 
includes 
not 
only 
a 
vegan 
menu, veggie burgers and lime 
chocolate milkshakes, but also 
hot chips. I began to realize no 
menu in South Africa was quite 
complete without the staple 
“hot chips” listed under side 
dishes. On the menu, our favorite 
American fried delicacy is still 
labeled “french fries,” but to my 
shock, they actually taste like 
potatoes. I can’t put a finger on 
what 
American 
McDonald’s 
fries taste like, but in South 
Africa, something about them 
tastes … better. McDonald’s is 
generally known for its salty, 
thin, crispy french fries, hidden 
in the bottom of a white paper 
bag. However, in South Africa, 
this beloved side dish is thicker 
and slightly softer, and its flavor 
replicates the starchy vegetable 
from which it originates.
I spent many of my meals eating 
piri piri chicken wings and hot 
chips because, as a tourist who’d 
never been to Johannesburg, I 
was told to steer clear from any 
fresh vegetables and fruits that 
had been washed in water that 
could potentially not agree with 
my stomach. For a foodie who’d 
been ultimately thrilled at the 
prospect of trying new cuisine in 
South Africa, I was discouraged 
by the many internet articles 
and other tourists who advised 
me to be careful about what I 
was eating to avoid spending my 
week depressed and alone on the 
hotel toilet.

South African cuisine

DAILY FOOD COLUMN

Read more at 
 MichiganDaily.com

ELI RALLO
Daily Food Columnist

The rage of gamers is a force 
powerful enough to plummet 
sales, topple studio executives and 
make some game publishers file for 
bankruptcy. So, when “Anthem,” 
an experience hyped up to be so 
good it would pacify the screams 
of every dissatisfied gamer, 
actually turned out to be 
trash, anger ignited like 
never before. The failure of 
“Anthem” is the most recent 
instance in a long history 
of studios promising an 
experience that their game 
doesn’t deliver on.
To 
provide 
some 
background, “Anthem” is an 
online shooter-looter where 
the player inhabits an Iron 
Man-like mechanical suit 
on a distant planet populated by 
aliens and monsters. The game 
was developed by Bioware and 
published by Electronic Arts. 
The truth is there are redeeming 
qualities to “Anthem”: The combat 
is engaging, the graphics are 
polished and the flight mechanics 
are responsive. However, when 
you’re a studio like Bioware whose 
past projects include Game of 
The Year winning franchises like 
“Mass Effect,” you are held to a 
different standard. Like many 
great studios, Bioware succumbed 
to its hubris and expected gamers 
to swallow any explosion heavy 
sci-fi experience they could scrape 
up. Despite this, the failure of 
“Anthem” is not entirely Bioware’s 
fault. There is plenty of blame 
to go around, and while some 

can be placed on the forces that 
were out of the studio’s control, 
some can also be pointed at bad 
experimentation by Bioware.
It should not be forgotten 
that “Anthem” was published by 
Electronic Arts. The video game 
colossus dominates the market 
and, therefore, has a powerful 
hand in dictating what its studios 
can and cannot do. It’s no secret 

that Electronic Arts tries to 
squeeze profit out of every pixel in 
their games. Yet, in “Anthem,” this 
corporate greed translates into 
painfully annoying gameplay that 
frankly pisses people off. Not only 
are players constantly prompted 
to 
engage 
with 
“Anthem”’s 
microtransaction system (in-game 
purchases with real money), but 
the game feels like its purposely 
crafted to hold back content so 
the player either comes back at a 
later date or buys their fun with 
real money. If you take a look at 
pre-release footage of “Anthem,” 
the world looks vibrant, populated 
and dynamic. Once players got 
their hands on the actual game, 
it becomes very clear that the 
pitch that was sold to them was 
a lie, and most of the content was 

withheld by Electronic Arts for 
monetization. It can never be 
known how much Electronic Arts 
had its fingers in the development 
of “Anthem,” however, it does give 
Bioware a little bit of absolution 
since Electronic Arts tends to ruin 
any games it senses could maybe 
become a cash cow.
Though Electronic Arts did 
have significant influence in the 
making of “Anthem,” at 
the end of the day, it was 
still Bioware’s game. In my 
opinion, Bioware tried to 
experiment with features 
that just aren’t their specialty 
and paid a steep price for 
it. Past projects like “Mass 
Effect” and “Dragon Age” 
have always had an emphasis 
on narrative, branching story 
arcs and multidimensional 
characters in addition to 
fun gameplay mechanics. 
In “Anthem,” the story takes a 
backseat and puts multiplayer front 
and center. Bioware has never been 
known for it’s multiplayer and as a 
result, “Anthem” suffers for it. This 
isn’t to say multiplayer is a bad 
function to implement, but when 
you have a massive world and lots 
of emphasis on lore without a story 
to back it up, everything just seems 
flat. Accordingly, players are much 
less likely to stay, which in turn 
keeps multiplayer lobbies empty 
and renders the whole system 
useless.
The failure of “Anthem” is 
probably not the end of Bioware, 
but it’s definitely a wake-up call. 
Unfortunately, 
Electronic 
Arts 
will still be the money machine, 
and “Anthem” will barely affect its 
profits. 

Bioware stumbles with 
profit-hungry ‘Anthem’

BIOWARE

VIDEO GAME REVIEW

Anthem 

Bioware

PlayStation 4, Xbox One, 
Microsoft Windows

ELI LUSTIG
Daily Arts Writer

The London Philharmonia’s 
performance for the University 
Musical 
Society 
in 
Hill 
Auditorium this past Thursday 
was a tour de force in late-19th-
century 
German 
orchestral 
music. After a Tuesday night 
performance 
of 
conductor 
Esa-Pekka 
Salonen’s 
“Cello 
Concerto” 
and 
Stravinsky’s 
complete ballet version of “The 
Firebird,” the orchestra settled 
on two staples of the repertoire: 
Schoenberg’s “Verklärte Nacht” 
(“Transfigured 
Night”) 
and 
Bruckner’s “Symphony No. 7 in 
E Major.”
Few orchestras possess the 
broad dynamic range of the 
London Philharmonia. At the 
beginning of the “Verklärte 
Nacht,” the quiet end of the 
strings that were on display 
— the first few notes were just 
barely audible, seeming to grow 
out of the hushed, expectant 
silence that enveloped the hall. 
(“Verklärte Nacht” is written 
for string orchestra.)
From this quiet beginning, 
the piece quickly blossomed 
into an active, highly complex 
texture. Fragmented melodic 
lines in various keys were 
passed around the orchestra. At 
one point, a solo line was passed 
from the concertmaster to the 
principal second, then to the 

principal viola and finally the 
principal cello. Had I closed my 
eyes, I would have no idea that 
the line was moving between 
instruments — the line moved 
seamlessly 
and 
effortlessly 
between instrumentalists.
One 
common 
pitfall 
in 
performances 
of 
“Verklärte 
Nacht” is the dissonance of the 
harmony, as it sometimes begins 
to overpower the searching, 
complex melodic textures that 
lie hidden under the surface. Yet 
at no point in this performance 
did I begin to feel as though the 
piece was losing momentum. 
Salonen managed to keep the 
orchestra’s 
intensity 
intact, 
preserving a gradual crescendo 
over nearly 20 minutes of music, 
even as minor, local zeniths 
came and went.
Towards the end of the 
piece, Schoenberg returns to 
the tonal harmonies of his 
immediate 
predecessors 
and 
tonal contemporaries. Salonen 
chose to emphasize this return 
to tonality by slowing the tempo 
slightly, relaxing for a brief 
moment in unexpected triadic 
harmonies.
While I have listened to 
this piece many times before, 
this was a fresh take that I 
found interesting and oddly 
compelling, 
particularly 
given the Bruckner piece that 
followed. Though Schoenberg 
is normally viewed as a highly 
innovative 
serialist 
figure, 

this performance made his 
music seem almost derivative 
in regards to that of Mahler, 
Bruckner, Wagner and other 
late-19th-century 
German 
composers. The opening of the 
piece had been highly dissonant; 
the ending was arresting and 
beautiful.
After the intermission, the 
strings returned to the stage 
with 
the 
percussion, 
brass 
and woodwind sections for 
Bruckner’s “Symphony No. 7 
in E Major.” After the timbral 
simplicity of the first piece, the 
addition of these sections was a 
little overwhelming — I found 
myself reacting in shock to the 
volume and power of the first 
chord, goosebumps forming in 
reaction to an otherwise simple 
beginning.
This 
symphony, 
perhaps 
Bruckner’s 
most 
famous 
and 
successful 
orchestral 
work, is known for its lower 
brass parts, particularly the 
four Wagner tubas that he 
features prominently in the 
second movement. And in this 
performance, 
the 
orchestra 
did not disappoint. After a 
moving yet more restrained 
first 
movement, 
the 
lower 
brass upped the ante in their 
confident, 
commanding 
opening.

England meets Germany 
with London Philharmonia

COMMUNITY CULTURE REVIEW

SAMMY SUSSMAN
Daily Arts Writer

Read more at 
 MichiganDaily.com

6 — Tuesday, March 19, 2019
Arts
The Michigan Daily — michigandaily.com

