By Roland Huget ©2019 Tribune Content Agency, LLC 09/30/19 Los Angeles Times Daily Crossword Puzzle Edited by Rich Norris and Joyce Nichols Lewis 09/30/19 ANSWER TO PREVIOUS PUZZLE: Release Date: Monday, September 30, 2019 ACROSS 1 Gull relatives 6 Spots to fast- forward through 11 Cleopatra’s killer 14 Sharply inclined 15 Trip odometer function 16 Chinese steamed bun 17 *Realtor’s client 19 Category 20 Rural stopover 21 __ d’Alene, Idaho 22 “Well, gosh!” 24 Social reformer Jacob 26 *Surface for slicing rye, say 28 Body ink 30 Eye part that may become detached 31 Golf’s Slammin’ Sammy 32 Karma 35 Vegas’ “one- armed bandit” 36 *Vehicle’s rear warning lamp 39 Head or tooth pain 42 Pick out with care 43 Aficionados 47 “Ye Olde” retailer 49 Lose its fizz, as soda 50 *Feline metaphor for an empty threat 54 Pâté de __ gras 55 Goodnight woman of song 56 “The __ Wears Prada”: 2006 film 58 “__ you awake?” 59 Vied for office 60 Certain brain tissue, or what each half of the answers to the starred clues can be 63 Pre-marital (just barely) promise 64 Parisian love 65 Reagan attorney general Ed 66 After taxes 67 Easy victories 68 Medicare Rx section DOWN 1 Tops with slogans 2 Ian Fleming or George Orwell, schoolwise 3 Get the old gang together 4 Old Nintendo game console: Abbr. 5 Job detail, briefly 6 More accurate 7 Change of __: trial request 8 Stars, in Latin 9 Lousy grade 10 Flasher at a disco 11 1797-1801 first lady Adams 12 City near Naples 13 Prodded 18 Stereotypical boxcar hopper 23 1979 Donna Summer hit 25 Local govt. prison 27 Bit of wine sediment 29 “Ghost” psychic __ Mae Brown 32 Winter malady 33 “__ My Children” 34 Shop __ you drop 37 Rapper/actor whose name sounds like a summer drink 38 “Westworld” network 39 Pill for pain 40 Pantomimed act in a parlor game 41 “Sure wish that doesn’t happen” 44 Pool noodle, e.g. 45 “... who is the __ one of all?”: Evil Queen 46 Manned the helm 48 Like the Great Depression, timewise 49 Like the Reaper 51 Figure of speech 52 Hop out of bed 53 Activist Medgar 57 Tanning device 61 Medical ins. plan 62 Scone go-with 6A — Monday, September 30, 2019 Arts The Michigan Daily — michigandaily.com The School of Music, Theatre & Dance presented the String Showcase at Stamps Auditorium this Wednesday evening. Students were chosen by their faculty to perform in the String Showcase; the performers ranged from first year undergraduate music students to graduate students to musicians who have already received their doctorates. That said, I could not tell any difference in talent levels — I was pleasantly surprised by how exceptional the entire show was. The performance showcased a wide range of music. They chose a satisfying balance of classical and contemporary compositions. Although the music was seemingly flawless, the performers struggled to maintain their emotional connection to the music. Sometimes, especially during the first piece, performers would comment on their work with their facial expressions, either smirking or stealing suspicious glances at their fellow performers. It was disappointing to see that their spirit was not fully committed to the music. Exceptions to this critique include the Anthony Green piece and Julius Conus’s Violin Concerto, as both of those pieces contained passion that was missing in the others. In the Julius Conus piece, the intensity given so generously by the violinist Kevin Sung was refreshing. The Anthony Green piece performed by Jonah Lyon and May Tang on violin, Maxwell Moore on viola and Gabrielle Hooper on cello was reminiscent of a classic horror film score, except far more dynamic and exciting. I most enjoyed the percussive and grounded nature of the piece. The finale performed by violist Stuart Carlson and pianist Mi-Eun Kim was especially rewarding because it was to the tune of “Smile” by Charlie Chaplin. The audience hummed along and chuckled to the tune. Ending the show with “Smile” after experiencing all the complexity of the pieces before seemed like a reward for attending. This is not to say that Carlson’s or Kim’s performance was any less nuanced or exceptional as the others. The performance of this song was just so inspiring that my inner ballerina wanted to jump up on the stage and dance. The impulse to twitch along to the music happened a couple other times during the show when the musicians were especially committed. The audience couldn’t help but to be affected physically when the music was especially compelling. Those were my favorite moments. The String Showcase happens monthly, so if you missed this one, there will be another next month. Plus, the event is free. It’s a great way to support artists and learn more about the exceptional work they do on North Campus. SMTD’s String Showcase brought a compelling dynamism for audience NATALIE KASTNER Daily Arts Writer COMMUNITY CULTURE ALBUM REVIEW The answer is no. This isn’t a porn thing. Granted, it could be said the good vibes and jam-worthy beats of The New Pornographers are their own hearty brand of music “porn.” The band’s new album, In the Morse Code of Brake Lights, is quirky, playful and fun. More than that, the album is a breath of fresh air. Here, The New Pornographers manage to find a way to revitalize old themes, injecting their songs with a refreshing sense of wonder and excitement. “You’ll Need A New Backseat Driver” opens the album with a song of roadtrips and journeys — an ode to the forgotten, scoffed-at backseat driver. Singing “If you’re gonna travel and never arrive there / You’ll need a backseat driver,” the backseat driver, while a nuisance, is an essential part of any adventure. “Falling Down The Stairs Of Your Smile” follows this quirky spirit, joking about how love is messy and unexpected — like falling down the stairs. “Too many soapboxes, not enough violins / Too many shipwrecks, not enough sirens,” this playful spirit extends to embracing the unconventional and original, discarding the boring to take the gamble. Autumn, for indie bands, is the golden season for heavy, introspective songs and soul-searching compositions. There often seems to be an implicit agreement that summertime is for “fun” music, leaving fall with all the subdued ballads and slow tunes. The New Pornographers retaliate against this norm. Whether intentional or not, In the Morse Code of Brake Lights holds on tightly to their trademark high-spirited, merry music- making. Don’t confuse this light-heartedness with a lack of substance, however. The New Pornographers don’t sacrifice any symbolism and thematic interpretation in order to keep their light edge. “Higher Beams” in particular touches upon the realm of struggle: “Deep in the culture of fear, we all hate living here / But you know when you can’t afford to leave?” Commentary on the current social climate, perhaps, where 16-year-old girls must scold a disunited congress and a modern day “Red Scare” in the chilling form of anti-immigration sentiment became the monsters under the bed. “You Won’t Need Those Where You’re Going” is the most notable exception — but not the rule — of the album. Singing with a touch of somber lament, “We’re raw footage, still unedited / It’s awkward, rough and repetitive / But it could win awards when and if it’s shown,” love is messy, and difficult, and painful. In this brief, two-minute interlude, The New Pornographers embrace loss, honest and open in their performance and writing — but rather than bringing the mood of the album down, the track makes the rest of the album’s boisterous spirit more tangible in comparison. But music doesn’t have to be sad to be serious. Then again, it might be even more amusing if The New Pornographers were a mopey ballad type of band — their name alone would reach a new level of irony. In the Morse Code of Brake Lights is perfect to combat oncoming winter blues — they bring the sunshine to fall’s crisp, cool weather. For those who like Scandinavian pop and indie bands, like Of Monsters and Men, and off-beat indie bands, like Passion Pit, The New Pornographers are a good addition to any fall playlist. The New Pornographers find sunshine this season MADELEINE VIRGINIA GANNON Daily Arts Writer In The Morse Code of Brake Lights The New Pornographers Concord Records CONCORD RECORDS At times, it can feel as though there are as many courtroom dramas as there are courts. Each series goes to trial, making its case for what sets it apart from the hundreds of other legal dramas. “All Rise,” CBS’s newest effort, attempts to establish itself amongst the likes of shows from Shonda Rhimes or Aaron Sorkin. However, its endeavor in imitation misses Rhimes’ knack for storytelling and Sorkin’s wit and character. “All Rise” follows new judge Lola Carmichael (Simone Missick, “Luke Cage”), and the various prosecutors, public defenders and court employees that surround her as their lives weave in and out of the injustices of a Los Angeles courthouse. Much of the episode follows the case of public defender Emily Lopez (Jessica Camacho, “The Flash”), which involves a young woman who may be wrongly arrested for burglary. However, when she first arrives to the courtroom, she’s pants-less due to the incompetence of the county jail. After a mildly racist breakdown by a bailiff, who then attempts to shoot the judge, the case comes before Carmichael, who intends to right the wrongs of a fatigued justice system. To the show’s credit, its premise is established swiftly and effectively. Within the first five minutes, the basic themes are introduced. We find out that Los Angeles is riddled with crime, but Carmichael pities most criminals for their environment. There’s also the snappy, wise- cracking prosecutor, Mark Callan (Wilson Bethel, “Heart of Dixie”), whom Carmichael has history with as a lawyer and friend. Then, within the course of the thirty seconds it takes to walk through the metal detector and to the elevator, Callan rapidly details all of Carmichael’s likes and dislikes. While the plot may move with equal parts speed and deftness, it fails to connect. Each character on “All Rise” is thoroughly conventional. We have the relaxed, wise judge, the quippy prosecutor, a sensitive public defender and even a charming bailiff trying to rise above his station. The show does deserve credit for its relatively diverse cast, attempting to accurately reflect Los Angeles’ colorful makeup. However, having a diverse cast is not a sufficient substitute for a lacking engaging characters. It feels as though the show also neglects to actively engage its characters. For example, Luke (J. Alex Brinson, “Travelers”) the court officer shoots the insane, racist bailiff who shot at the judge from the above scene. This might make for a rich study in the toll the unfortunate aspects of law enforcement might have on a person. Instead, it’s used as a way to connect characters and move the plot, before being quickly forgotten. It’s as if the show attempts to efficiently cram plot points into the pilot, while the characters just become scenery, flatly rotating around the narrative. While “All Rise” promises a focus on social justice — trying to fix the problems of an unjust court from within — it’s hard to say that it has made good on that promise. The focus of the pilot seemed to be the personal lives of these people, which so far is not very interesting. The moments in which justice is shown to be skewed are few, and they seem to be more dramatic than anything. The pilot for “All Rise” is unimpressive, but that doesn’t mean the show is bad — at least not yet. There are roots here for a very smart and provoking show that tackles the delicate and frightening balance of our justice system. What’s more, it has the opportunity to explore and question the position of minorities on either side of the Judge’s bench. Yet, I’m scared the show will err too much to the side of melodrama, neglecting character study for an overstuffed plot. If “All Rise” can pull off being the show it seems to want to be, it’ll be amazing. But for now, it has a long way to go. ‘All Rise’ falls back down MAXWELL SCHWARZ Daily Arts Writer CBS TV REVIEW All Rise CBS Sundays @ 9 p.m. Series Premiere I could not tell any difference in talent levels — I was pleasantly surprised by how exceptional the entire show was