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