Listener Crossword 4267: Solution Notes

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German Serial Composition by Quinapalus

Puzzle explanation

The theme of the puzzle is Frequency-Hopping Spread Spectrum, found under FHSS in Chambers. This is a technique for reducing interference in radio communications invented by actress Hedy Lamarr and composer George Antheil, patented by them in 1942 and still in use today. The technique involves scrambling a message by transmitting it in pieces using an apparently random sequence of different radio frequencies agreed in advance by the participants. It was inspired by the synchronised pianos in Antheil’s Ballet Mécanique.

Five clues, in which an f “hops” before solving, led to White Cargo and Samson and Delilah, two of Lamarr’s films. Misprint corrections spelt out “sort columns by frequency”, Ecstasy (an early Lamarr film) and “bit of screen crumpet” (which could be interpreted as S+CRUMPET or “spread” SPECTRUM).

The tune below the grid was the upper voice of the subject from Karlheinz Stockhausen’s serial piece Mantra, for two pianos, some electronic equipment and other instruments. The initial grid (shown here) needed its columns sorted by the frequency (pitch) of the notes in the tune, so that HEDWIG KIESLER (Lamarr’s real name) could be completed in the second row. Then erasing one line changed an E (Ecstasy) to F (frequency), completing FREQUENCY HOPPING SPREAD SPECTRUM in rows 5-8. The puzzle’s title cryptically indicates Algiers, Lamarr’s first US film. The puzzle was published on the 99th anniversary of her birth, 9 November 1914 (the editors have seen a photograph of Hedy Lamarr’s passport showing that date).

Clue explanations

Conventions: * = anagram, < = reversal

No Misprint/“hop” Answer Explanation
Across
1 (S)ound EUPEPSY homophone of (YOU + PEPSI)
6 c(O)nical SHAWM WHAM’S *
12 (R)ice GROWER ROW in GER
13 (T)avern BARMAID BARM(y) + AID
15 (C)hopped EATEN BEATEN − B(uzz)
16 n(O)t INEARTH (IN THE + (p)RA(m)) *
18 MCMX(L)VII UNECE UNE + CE
19 f(U)n OPIE O’ + PIE
21 (M)ining IPOH HOPI <
23 A(N)gus’s PENDS P + ENDS
24 (S)ea SEI (IE + S) <
26 (B)ad DARNS RAD < + N/S
29 appl(Y) PCAS PCS around A
33 (F)lower TEES homophone of TEASE
36 c(R)imps CREPY PERCY *
39 fu(E)l SEA COAL CASELOAD * − D
40 (Q)uality WOOZY WOO + Z + Y
41 st(U)ck AGROUND A + G + ROUND
42 (f)ending → bee-f SAMSON SAM(i) + SON
43 tre(E)s NAGAPIES NAGA + PIES
44 mea(N) LEAST LET around A’S
45 s(C)um DROSS D. ROSS; ref. Diana Ross
46 (f)lake → f-lips DELILAH (HELD + A + L + I’) *
Down
1 (Y)ard EDGER (h)EDGER(ow)
2 (E)ggs PROTEIN ROTE in PIN
3 spa(C)es PLENUMS EN(s) in PLUMS
4 hor(S)es’ SIRINGS SINGS around IR
5 (T)urned SÉANCE (A SCENE) *
6 w(A)ll SKREEN KERNES *
7 (S)enses AWARE ((cam)ERA WA(s)) <
8 Monk(f)ish → f-risky WHITE WITH * + E
9 Brin(Y) MED 2 meanings
10 (B)orn IRAQ AIR * + Q
11 B(I)ggar’s SWEYED S + W + EYED
13 (T)own BIELEFELD (FILLE DE CHAMBRE) * − CHARM *
14 al(O)ha MAUI M(aybe) A(loha) U(ttered) I(nvitingly)
17 (F)ive HEH HE + H(ousing)
20 light-sen(S)ing PEC CEP <
22 (C)rack ONE NEO- with letters “cycled”
25 (R)oad IMPASSE (MISSHAPE − H) *
26 lin(E)s DRYWALL (DR + W + ALL) around Y
27 Visibl(E) AT HOME HOT * in ÂME
28 (N)o REPOSAL POS in REAL
29 Dan(C)e’s PAS PARADISO − (RADI, O)
30 d(R)y SECO S + ECO-
31 abo(U)t SCOUPS SUPS around CO
32 (M)use URANIA UNIT − NIT + RAN + I + A
34 (P)une REGAR RAGER <
35 scar(f) → f-other CARGO (s)CAR GO(lfer)
37 b(E)asts DZOS S(n)O(o)Z(e)D <
38 ki(T) SYNTH homophone of SIN + TH’; ref. song and album by Kraftwerk
41 (f)und → le-f-t AND LAND − L
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