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By Roland Huget 
©2019 Tribune Content Agency, LLC
04/18/19

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

04/18/19

ANSWER TO PREVIOUS PUZZLE:

Release Date: Thursday, April 18, 2019

ACROSS
1 Onetime capital 
of the Mughal 
Empire
5 Pop star
9 Idea, at times
14 Apparently are
15 Bering Sea port
16 Center for Auto 
Safety co-founder
17 Part of the 
supreme Hindu 
trinity
18 Penny pincher
20 Trooper’s outfit?
22 Moan and groan
23 Knot used to take 
up slack
26 Garden nuisance
30 Prof.’s helpers
31 Overly
32 Fill with affection
34 Relax completely
37 Like lambs and 
rams
38 Amorphous sci-fi 
beings, and a hint 
to what’s hidden 
in the four other 
longest answers
41 Pizzeria allure
42 Refreshers
43 Snapper?
45 Chinese 
restaurant 
general
46 The Mighty 
Mighty Bosstones 
music genre
49 One logging on
50 Prankster’s 
weapon
54 Miniseries based 
on a Haley novel
56 Sucked (in)
57 Project wrap-up
62 Voice quality
63 Old saw
64 Throw off
65 Poetic black
66 Ins and outs, with 
“the”
67 Like yellow 
bananas
68 Slight damage

DOWN
1 Give a hand
2 “Memoirs of 
a __”: Arthur 
Golden novel

3 Musical shows
4 Floor
5 Business mag
6 Self-critical cry
7 Seamaster 
watchmaker
8 Come to know
9 Clouseau’s rank, 
briefly
10 Rock the boat
11 Periodontist’s 
org.
12 Come down 
with
13 Long starter, 
once
19 Toll road
21 Passing muster
24 Footprint maker
25 Raise on a 
pole
27 Many an oil-rich 
ruler
28 Many ages
29 Death Row 
Records 
co-founder, 
familiarly
33 “You’re way over 
the line”
34 Tantrum while 
playing Xbox

35 Old conductance 
unit
36 Ice cream buys
38 Mmes., in 
Madrid
39 House-shaped 
browser button
40 School group
41 Puncture prefix
44 Each
46 Disco light
47 Passionate about
48 Passionate

51 Upper regions of 
space
52 “Likewise”
53 Blabbed about, in 
a way
55 World Cup 
cheers
57 Go __: succeed
58 Rite answer?
59 Short snooze
60 Bit of a draft?
61 Côte d’Azur 
saison

HAPPY thursday!

enjoy the sudoku 
on page 2

Last 
Thursday 
evening 
I went out to the Michigan 
Theater with some friends 
to 
see 
the 
19th 
annual 
M-agination 
film 
festival. 
After some quick hellos, we 
all took our seats and waited 
on the films to start. Having 
been aware of the production 
of several of these projects 
throughout the year, I was 
excited to see the results.
The first short film that 
came on was a James Bond 
parody entitled “Icebreaker,” 
written and directed by LSA 
junior and Daily Arts Writer 
Ian Harris and Engineering 
senior Charles Rivkin. The plot 
comprised of an evil genius 
business-frat dude trying to 
rid the world of icebreakers 
because he never knew what 
to say for his fun fact. The film 
relied heavily on poking fun at 
Greek life and privilege, among 
other University of Michigan 
memes. It would have marked 
a nice, light-hearted note to 
begin the festival on if many 
of the films to follow didn’t 
fall victim to the same trite 
nature.
Another short entitled “Cut 
Throat,” written and directed 
by LSA freshman Macy Goller, 
detailed the life of a chef who 
had never used a knife, only 
to discover that her finger, 
which she chopped off, was 
the secret ingredient to the 
ziti recipe her father had 
been looking for his whole 
life. Although it was clear 
from the start it wasn’t meant 
to be taken seriously, it was 
an attempt at exaggeratedly 
corny humor that could have 
been done by middle schoolers. 

Its nonsensical plot wasn’t 
compensated for by likability 
or humor.
Before I continue, I’ll make 
this clear: I’m in full support of 
M-agination’s mission. Giving 
students 
the 
equipment, 
advice and platform to realize 
an idea they never would have 
gotten to convey otherwise is 
an important aim. Plenty of us 
have ideas for films, scenes, 
lyrics or drawings in our 
iPhone’s notes that will never 
pan out. M-agination provides 
the 
opportunity 
for 
these 
seeds to blossom.
On Thursday night, though, 
I saw few flowers. The films 
mostly all shouted, “We were 
just having fun making this!” 
While they were intended 
for a wider audience, they 
only seemed to land for those 
in the audience who had 
participated in their making. 
I’m not putting down groups of 
friends who were just having 
fun doing something creative, 
but that shouldn’t have been 
the only objective here.
I know these were all shorts, 
but you should be able to say a 
lot more in a five minute short 
than you ever could in a five 
minute speech. A picture is 
worth a thousand words, so 
what’s a film worth with the 
added temporal dimensions 
of speech, music and an ever-
changing picture? A select 
few films followed the English 
class’s golden rule: “Show, 
don’t tell.”
One film that attempted to 
do so was “Detour,” written 
by Stamps sophomore Shira 
Baron and LSA sophomore 
Elizabeth Wilson. In it, two 
friends go on a road trip in 
which they run out of gas and 
are forced to take a detour to a 
gas station. This inconclusive 

plot serves as a metaphor for 
the lead character’s search for 
her sexuality, as all she knows 
for certain is that she’s not 
straight.
Another film that marked 
a slight improvement in the 
festival’s second half over the 
first was “What If?” written 
and directed by LSA sophomore 
Sophie Underwood. In it, a 
girl’s inner monologue plays a 
third character on a first date, 
constantly posing pessimistic 
“what if…?” questions until the 
girl finally asks herself, “so 
what if...?” and gains some self 
belief. Although the date itself 
isn’t convincing, the film’s 
message was more important 
than most.
Maybe the only film that 
kept me immersed throughout 
was 
“What 
is 
and 
What 
Should Never Be,” written 
and directed by LSA juniors 
Andrew Hullman and Colin 
Farmer. A band performs in 
a house of secret Carly Rae 
Jepsen admirers in an effort 
for one of the housemates 
to impress an indie girl. The 
clash that ensues between 
artsy boys and basic boys 
and “high” and “low” art is 
well-shot and paced, avoiding 
dwelling on moments of bad 
acting, scripting or set design 
that kept me constantly aware 
of the production of the other 
films.
Given 
that 
M-agination 
cuts most scripts it receives, 
these films probably lost their 
effectiveness at other points 
in the process. While having 
fun usually brings out the best 
in us, this kind of creativity 
was regrettably nowhere to 
be found on Thursday night. 
Ironically enough, the films at 
the M-agination Film Festival 
largely lacked imagination.

M-agination Film Festival 
is not that imaginative

BEN VASSAR
Daily Arts Writer

‘CHopstix (ft. Travis 
Scott)’

ScHoolboy Q

TopDawg Entertainment

SINGLE REVIEW: ‘CHOPSTIX (FT. TRAVIS 
SCOTT)’

First came a couple of 
ear-grating 
early 
demos 
featuring 
Kendrick 
Lamar 
that leaked last September. 
Then a delay from the slated 
April 4th release in light of 
Nipsey Hussle’s unfortunate 
passing. Finally, ScHoolboy 
Q’s 
“CHopstix,” 
featuring 
Travis Scott, dropped last 
Monday. The final version 
is easier on the ears than 
the leaks, but it’s already a 
candidate for 2019’s most 
disappointing singe.
With a producer as 
talented 
as 
DJ 
Dahi 
chopping up the beats 
(pun 
intended), 
a 
good 
track 
is 
almost 
guaranteed. But this beat 
is shockingly stale — a 
catchy sample is all it has 
going for it. It lacks the 
wacky 
creative 
drumwork 
staple to a Dahi beat (see 
Drake’s “Worst Behavior” or 
Logic’s “Never Enough”). In 
the current hip-hop landscape 
where just about every artist 
has 
top-notch 
production 
behind them, a lackluster beat 
murders all replayability.

Then there’s the case of 
the Travis Scott effect. When 
Scott sings a hook or verse 
for a song, it suddenly turns 
into a Travis Scott song, and 
the original artist becomes a 
guest on their own track. The 
rapper has taken many high-
profile victims: 2 Chainz on 

“4 AM,” Drake on “Portland” 
and Lil Wayne on “Let It Fly,” 
to name a few. It doesn’t have 
to do with the quality of a song 
— all of the aforementioned 
tracks are certified slappers. 
But the Travis Scott effect 
isn’t just in full swing on 
“CHopstix” — the hook is 

boring and sounds like a filler 
track that didn’t make the cut 
for Astroworld.
Lyrically there is nothing 
to say. ScHoolboy Q compares 
a girl’s legs to chopsticks. 
That’s it. No classic Q fire, no 
classic Q grit. Chopsticks are 
cool to use for a metaphor, but 
in the historical context 
of 
the 
West’s 
weird 
fetishization 
of 
Asian 
women 
as 
exotic, 
the 
comparison to a girl’s legs 
is vaguely off-putting. It’d 
probably slide as one line, 
but as the basis for the 
song, it’s a bit off-kilter.
After 
the 
absolute 
banger 
that 
was 
last 
month’s 
“Numb 
Numb 
Juice,” 
ScHoolboy 
Q 
set 
the 
bar 
high 
for 
his next single. All the 
momentum was in his hands. 
But “CHopstix” is Q dropping 
the baton. There’s no telling 
now if his upcoming album 
CrasH Talk will be golden or 
garbage.

— Dylan Yono, Daily Arts 
Writer

TOP DAWG ENTERTAINMENT

COMMUNITY CULTURE REVIEW

On Apr. 16, 2018, Kendrick Lamar’s 
DAMN. was named the winner of the 
2018 Pulitzer Prize for Music. This 
seemingly momentous choice sent 
shockwaves throughout the music 
world.
Up until 2018, the Pulitzer Prize for 
Music had been restricted to classical 
music. Though the prize is intended for 
a “distinguished musical composition 
by an American that has had its first 
performance or recording in the 
United States during the (previous) 
year,” it had previously been awarded 
exclusively to contemporary classical 
music composers and the occasional 
jazz composer. To many, it was the 
height of American “art music” — a 
guaranteed teaching position at a high-
paying university and a publishing deal 
with a major sheet music publisher.
Some would even argue that it 
has traditionally been restricted to 
the more well-established areas of 
contemporary classical music, all but 
avoiding Minimalism until the late 
1990s. It had only been awarded to 
three jazz composers prior to 2018, 
and never any composers of other 
“popular” forms of music.
But many assumed that the 2018 
prize spoke to a new era of the Pulitzer 
Prize for Music. Reactions around the 
music world varied, from the pride of 
the larger public for the newfound 
diversity of the prize to the fears of 
the contemporary classical music 
community at the loss of an important 
prize.
The reactions to the 2018 prize were 
divided, some in the contemporary 
classical music world mourning the 
(presumed) loss of this important 
prize while the larger American public 
applauded the diversification of this 
notoriously insular award.
And even within the contemporary 
classical music world, reactions to this 
decision were largely divided along 
generational lines, with many young 
composers (such as the year’s other 
finalists) celebrating Lamar’s win even 
as older generations feared the loss of 
this important award.
Personally, while I feared the 
effects that the loss of this award might 
have on contemporary classical music 
as a whole, I was also excited to see a 
prominent award confidently embrace 
other genres besides classical music. It 
spoke to the rapid integration of rap 
and hip-hop into the larger American 
cultural lexicon and the dissolving 
barriers between genres.
For the first time since the rise of 
the professional orchestra, it seemed 

as though the hierarchical boundary 
between “art music” and “popular 
music” had no effect on the jury 
as they considered the recipient of 
the award. This was not the first 
instance that the Pulitzer Prize had 
gone to a significant work of hip hop 
— that distinction belonged to Lin-
Manuel Miranda’s “Hamilton,” the 
winner of the 2016 Pulitzer Prize for 
Drama. But in this instance, Lamar’s 
DAMN. was considered alongside 
Michael Gilbertson’s string quartet 
“Quartet,” and Ted Hearne’s five-
movement cantata “Sound from the 
Bench.” His work of hip hop was 
considered against these two works 
of traditionally notated contemporary 
classical music and found to be the 
most musically compelling work of the 
year.
Nearly everyone seemed to assume 
that this marked a new era of the 
Pulitzer Prize for Music. Few seemed 
to think that the award could possibly 
return to the realm of contemporary 
classical music after this bold decision 
by the jury.
But on Monday, the 2019 prize 
was was awarded to Ellen Reid for 
“p r i s m,” a “bold new operatic work 
that uses sophisticated vocal writing 
and striking instrumental timbres to 
confront difficult subject matter: the 
effects of sexual and emotional abuse.” 
The other two finalists were also 
works of art music: James Romig’s 
solo piano work “Still” and Andrew 
Norman’s orchestral work “Sustain.”
Given the response that last year’s 
prize warranted, I assumed that this 
choice would be met with significant 
media attention. The award, after all, 
had been criticized last year for never 
having previously ventured outside 
of contemporary classical music. And 
yet few outside the contemporary 
classical music world seem to care 
about this year’s prize.
The coverage of this award in The 
New York Times is most telling in 
this regard. They ran an article on 
Apr. 11th about the 2018 award and 
the contemporary classical music 
community that was “upended” by 
this decision. But on Monday, when the 
award was announced, it warranted 
little more than a short feature in the 
classical music section of the paper.
The more that I have thought about 
this decision by the prize to return 
to contemporary classical music, the 
less that I have understood it. I had 
taken the previous year’s award to be 
indicative of where the award would 
move in the future. I assumed that 
the prize would continue to judge 
between all different types of music, 
not merely works of contemporary 
classical music.

The 2018 award, however, now 
seems a strange anomaly — a brief 
interruption, if you will — from the 
award’s consistent commitment to 
contemporary classical music. And in 
both the classical music world and the 
larger music-consuming public, this 
seems incredibly unsatisfactory.
In the classical music community, 
the decision to award Lamar the 
award sapped some of its career-
making power. It seems to no longer 
connote 
instantaneous 
academic 
success, and many have shifted their 
focus in this regard towards other 
American classical music awards.
And among the larger public, 
the reversion back to contemporary 
classical music undercuts much of 
the musical diversity that many took 
from Lamar’s win. Statements about 
the unexpected diversification of the 
“art music” and the collapse of musical 
hierarchy from 2018 seem cheap and 
disingenuous after the jury reinforced 
this hierarchy in 2019.
Last night, I texted a friend of mine 
for her thoughts. She’s a music major 
but she doesn’t study composition — 
while she was aware of Lamar’s win 
in 2018 she was unaware of this year’s 
winner.
When I texted her that Ellen Reid 
had won for “p r i s m,” she responded 
with something that caught me totally 
off guard. “A WOMAN,” she wrote.
While my friend was happy to 
see that the prize was awarded to a 
woman, the potential significance 
of this had not yet occurred to me. 
This award, after all, has already 
been awarded to seven other women. 
Though it was groundbreaking when 
Ellen Taaffe Zwilich won the prize 
in 1983, the past ten years have seen 
unexpected gender parity: five female 
recipients and five male recipients.
And though I may struggle to 
understand the jury’s decision to once 
again consider purely contemporary 
classical music for this award, I remain 
encouraged by gender parity that my 
friend identified. Classical music, after 
all, has proven notoriously resistant to 
widespread diversification efforts.
And in my personal struggle to 
come to grips with Lamar’s win, I had 
lost touch with the bigger picture. I 
had become so focused on the cultural 
implications of Lamar’s win that I 
failed to see the Pulitzer for what it is: 
a $15,000 prize awarded annually by 
a few randomly selected composers 
and performers. And in the greater 
music world, it matters little. It is 
the inclusion of new works to this 
homogeneous classical music canon, 
I now realize, that must be celebrated, 
whether they be works of hip-hop or 
works by female composers.

Musing about Pulitzers

DAILY COMMUNITY CULTURE COLUMN

SAMMY SUSSMAN
Daily Community Culture Columnist

6 — Thursday, April 18, 2019
Arts
The Michigan Daily — michigandaily.com

