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By David Alfred Bywaters
©2019 Tribune Content Agency, LLC
04/19/19
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
04/19/19
ANSWER TO PREVIOUS PUZZLE:
Release Date: Friday, April 19, 2019
ACROSS
1 Bonkers
5 Raucous animal
sound
9 Sambuca
flavoring
14 Not up
15 Ire
16 Trio in the logo
of a national
motorists’ group
17 Flatfish family
founders?
19 Acquires
20 Shirt with a
slogan
21 “Metamorphoses”
poet
22 Mindless way to
learn
23 When doubled, a
German spa town
25 Barbershop levy?
26 Broadway
restaurant
founder
28 Energizes
30 Upscale
32 Go bad
33 Pairs
37 NFL pass,
complete or not
38 Rabbit
monopolizing the
entrance to the
warren?
41 Fez or fedora
42 Pedi concerns
44 Day in Durango
45 N, in a TV
content warning
47 Directions
50 Laconic
51 Part in a Humpty
Dumpty biopic?
54 Come to
56 Turf grippers
57 Die, e.g.
58 Pet’s attention-
getter, perhaps
61 Great deal of,
slangily
62 Mutant tree trunk
with extraordinary
powers?
64 Concerning
65 God with a quiver
66 Carrot (always) or
stick (sometimes)
67 On edge
68 Used to be
69 Tavern array
DOWN
1 Final
2 Vowel-rich
woodwind
3 Have a party,
say
4 One was written
on an urn
5 Valorous
6 Five stars, e.g.
7 Like fine Scotch
8 Fist-pumper’s cry
9 Sock pattern
10 Minimally distant
11 Jerk
12 One-night-a-year
flier
13 County not far
from London
18 Fashionable
22 With 52-Down,
paper since
1872
24 Sunday paper
barrage
25 Friend of Tigger
26 “Go away!”
27 Choir voice
29 Mountain nymph
31 Mountain
melodies
34 Draining effect
35 Equine eats
36 Eyelid problem
39 Triangle side,
say
40 Site of unwanted
suburban
vegetation
43 Low cloud
46 Trafficking org.
48 Go around
49 Daze
51 Dazzling effect
52 See 22-Down
53 Mount
55 More than a little
plump
57 Medical research
objective
59 Natural soother
60 Dampens
62 Put in stitches
63 Product of Bali
FOR RENT
SERVICES
SERVICES
HELP WANTED
Anderson .Paak’s soul side
is back. It never actually left,
but it did go on an extended
vacation. After the release of
his acclaimed album Malibu
and a collaborative album
with Knxwledge in 2016,
.Paak took some time away
from recording and went on
tour as the opening act for
Bruno Mars. Last fall, he
dropped his highly-
anticipated
album
Oxnard, which, in
an interview with
Consequence
of
Sound, he claimed
he
“dreamed
of
making
in
high
school, when I was
listening
to
(Jay-
Z’s) The Blueprint,
The
Game’s
The
Documentary
and
(Kanye West’s) The
College
Dropout.”
With
the
star-
studded Oxnard, the
crooning,
smiling
.Paak
was
gone,
replaced by a slick-
talking,
rapping
.Paak, and the album
suffered greatly for
it. .Paak’s voice and delivery
are his bread and butter, and
by reshaping his sound to rap,
his best attributes were lost.
With the release of Ventura,
however, the Anderson .Paak
we all know and love has
returned
with
a
slightly
altered version of signature
sound. Where Oxnard was
braggadocious
and
highly
manufactured,
Ventura
is
nurturing and organic. Every
song on the album is there
because it is the song that
fits most naturally and not
because it’s the one that will
get the most streams. Ventura
stands in such stark contrast
to Oxnard that it’s almost
surprising
the
same
man
created both of them.
Ventura starts off with
a
strong
one-two
punch
consisting of “Come Home”
featuring
the
elusive
André
3000
and
“Make
It Better” featuring none
other than the great Smokey
Robinson.
If
that
doesn’t
capture
your
attention,
nothing
will.
Both
songs
are absolutely sensational.
“Come
Home”
is
.Paak’s
take on soul à la Motown.
It’s warm, it’s inviting and
it sounds beautiful — not
to
mention
André
3000’s
hard-hitting, loved-up verse.
“Make It Better” keeps the
ball
rolling,
highlighted
by boom-bap drums, funk
inflected guitar and bass and
a sparkling string section.
This combination lays the
groundwork
for
.Paak
to
work his magic as he sweetly
pleads with his partner to
work out their issues. Smokey
Robinson,
though
used
sparsely, makes his status as
a legend clear as he assists
.Paak on the final chorus.
Unlike on Oxnard, Anderson
.Paak utilizes his features
sparingly on Ventura, and it
pays off. The features don’t
take over each song. Rather,
they act complimentary to
.Paak, and the results are
wonderful.
As
the
album
moves
forward, more and more funk
sounds are introduced. Lead
single “King James” features
an expressive bass line that
harkens back to Earth, Wind
& Fire’s Verdine White. The
song itself is an ode to Lebron
James and his willingness to
spark change despite his high
profile. The song “Jet Black”
is exactly what new age funk
is supposed to sound like;
it stays true to the spirit of
funk while using modern
production techniques. It’s
familiar, but at the same time,
it’s still fresh. This can be
said for the entire album. It’s
comforting and warm, but it’s
unlike anything else out at
this time. Ventura
bridges the past with
the future in a way
that everyone can
enjoy.
“What
Can
We
Do?” provides the
album with a smooth,
easy-going
closer.
Anderson
.Paak
brings his A-game as
he goes line for line
with
a
previously
unreleased
verse
from
the
late
Nate
Dogg.
The
two men float all
over
the
track’s
prominent
twangy
guitar
sample.
.Paak
perfectly
incorporated
Nate
Dogg’s verse. It feels
like the two were in the studio
together when this song was
recorded. In a way, it feels
like a passing of the torch.
Anderson .Paak occupies a
lane similar to the one Nate
Dogg did before his untimely
death: Both men are singers
that carry themselves like
rappers, so it acts as a perfect
close to an album that leans
so heavily on its influences.
Ventura does exactly what
it is supposed to do. It shows
that Anderson .Paak is more
than
capable
of
making
cohesive, enjoyable albums
that bridge the gap between
old-school soul and new-
school R&B. Ventura stands
as .Paak’s tribute to the
sounds that have influenced
him so much. It is a wholly
enjoyable album in which
Anderson .Paak displays his
full range of talents.
.Paak has a return to form
ALBUM REVIEW
JIM WILSON
Daily Arts Writer
Ventura
Anderson .Paak
Aftermath Entertainment
Don’t see “The Aftermath.”
Where
do
I
start?
The
screenplay is uninspired and
predictable. The plot is dull and
straightforward,
borrowing
heavily from the litany of other
WWII films. The film tracks
the
developing
romance between
Stefan
Lubert
(Alexander
Skarsgård,
“Straw
Dogs”)
and Ms. Morgan
(Kiera Knightley,
“Atonement”),
after
Colonel
Lewis
Morgan
(Jason
Clarke,
“Zero
Dark
Thirty”) and his
wife
requisition
Lubert’s house in
Hamburg
after
the Allied Victory.
What appears to
be a half-hearted
attempt to infuse
the
film
with
meaning through an aversion
to Naziism is unsuccessful,
leaving “The Aftermath” weak
and soulless.
Much of the drama in the
film seems exploitative against
the post-war backdrop. Out
of pity, Lewis allows Stefan
and his daughter Freda (Flora
Thiemann,
“Tigermilch”)
to
stay in the house but asks that
they relocate themselves to
the cold attic. Lewis is always
out, conducting his military
work on the streets of Hamburg
— streets populated by now-
homeless Germans searching
for loved ones in the rubble
and ashes. Ms. Morgan, lonely
and missing her son who died
during
the
Blitz,
ends
up
having sex with Herr Lubert
on the dining-room table after
her dinner party guests bid
goodnight.
This rendezvous flourishes
into an affair after the Colonel
is called away to the “Russian
Zone” to deal with an unnamed
Nazi who offers nothing in
terms of plot development,
aside perhaps from an attempt
at
showing
the
Colonel’s
merciful nature. While he’s
away, Rachel and Stefan don
very stylish outfits and go
stroll in the woods to Lubert’s
well-furnished
cabin.
Here,
they have more sex. During
one of these trysts, the viewer
is treated to an unexpected
and very full-frame shot of
Alexander Skarsgård kissing
Kiera
Knightley’s
nipples.
Rachel and Stefan plan to run
away to the Alps once Lewis
returns from his trip. They
make it all the way to the
train platform before Rachel
gets cold feet and runs back to
her husband, now that he has
proved to her that he actually
does miss his dead son. This
overused “running away but
turning back at the last second”
business plays as predictably as
you might imagine.
The acting is terrible, though
the
lackadaisical
screenplay
might have something to do
with that. In particular, Jason
Clarke
gives
a
passionless
performance.
Skarsgård
manages to inject fervor here
and there, but he leans into
stereotypical German stoicism
at the expense of originality.
Knightley too, adds little of
herself to the role; the romantic
arc
between
Rachel
and
Stefan could easily be plopped
into another setting without
changing
a
thing. The Nazi
drama is mere
ornament.
I
found
myself
looking at my
watch
after
only an hour. I
feel that it isn’t
often that I see
a truly bad film.
Some
things
just
don’t
speak
to
me
(like the recent
“Mandy,”
starring
Nicolas
Cage)
but I appreciate
the
aesthetic
or
literary
value. This one,
though … yikes.
I’ll
give
director
James
Kent (“Testament of Youth.”)
one compliment: The filming
locations are gorgeous. The
German forest and chic cabin,
the
beautiful
wood-paneled
great room with a Mies van der
Rohe chair and Steinway piano,
the river views from the balcony
– all gorgeous. Honestly, stitch
the b-roll together and you’d
have a lovely short film. And a
thank you to casting director
Arwa Salmanova; Alexander
Skarsgård and Kiera Knightley
are at the very least nice to look
at.
“The Aftermath” is a flop.
If you’re into cheesy romance
and WWII period pieces, be
my guest. If you’re after a
thoughtful and original work
of art, this is not the film you’re
looking for.
‘The Aftermath’ is a total
and utter mess of a movie
FILM REVIEW
ROSS ORGIEFSKY
Daily Arts Writer
The Aftermath
Michigan Theater
Fox Searchlight Pictures
Sunday
afternoon
at
the Michigan Theater, the
Monterey
Jazz
Festival
concluded its month long
U.S. and Canada tour. The
Monterey Jazz Festival has
been around for over 50 years,
putting
together
diverse
and international millennial
talent who are blazing trails
for the future of top level
jazz music. Having originally
come to this concert to see
millennial
jazz
prodigy
Cecile McLorin Salvant, I
was excited when I gazed at
the merchandise table and
saw multiple artists’ albums
for sale.
Salvant,
winner
of
the
Thelonious
Monk
International
Jazz
Competition as well as three
Grammy awards for “Best
Jazz Vocal Album,” held down
the majority of vocals. She
started by looking out into
the house. “Take a moment
to appreciate who’s around
you,” said Salvant. Her voice
held
incredible
vibrancy
and control, as she expertly
flipped from a classic swing
number to an acapella folk
song. Intermittently, Salvant
would leave the stage, and the
charming
drummer-singer,
Jamison Ross, would take
over vocals.
It
was
clear
that
the
ensemble
adored
their
art form. They all were in
conversation,
joking
with
each other and the audience
the entire time. They weren’t
afraid to address the audience
directly as they explained
their backgrounds and why
they chose to perform the
songs that spoke to them as
artists.
The
ensemble’s
ability
to storytell was incredibly
impactful. They were able
to communicate such depth
of
emotion
through
their
intermingling
sounds
that
the audience gave a standing
ovation
mid-show.
There
were a multitude of times
that I found my steely self
blubbering like a baby during
arrangements. They weren’t
a typical, male dominated
jazz band either — a woman
in front of me exclaimed
“They’re all women!” once
they filled onstage.
Melissa
Aldana,
tenor
saxophone player, was the
first female instrumentalist
and first ever South American
to win the Thelonious Monk
Competition. Aldana played
her original composition “El
Castillo” from her time spent
at Lincoln Center in New York
City. Immediately following
was
five
time
Grammy
nominated
piano
player
Christian Sands. Sands played
an arrangement of Puccini’s
“Tosca” along with the help
of bass, played by Tokyo born
Yasushi Nakamura, and Ross
on drums. The arrangement
left everyone in the audience
on their feet.
The show concluded with
Canadian born trumpet player
and singer songwriter Bria
Skonberg heading a rendition
of Valaida Snow’s “High Hat.”
Snow was a Black female
instrumentalist most known
for trumpet and vocals in
the ’30s. People were nearly
jumping out of their seats
while singing and dancing
to the ending of a perfectly
thrilling performance.
Monterey Jazz Fest looks
toward the genre’s future
COMMUNITY CULTURE REVIEW
NATALIE KASTNER
For The Daily
They were able to communicate such depth of
emotion through their intermingling sounds that the
audience gave a standing ovation mid-show.
6 — Friday, April 19, 2019
Arts
The Michigan Daily — michigandaily.com