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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

