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

