ACROSS
1 Mutinous Kubrick
computer
4 High-end violin
9 Sextet for Henry
VIII
14 British verb suffix
15 “Some glory in __
birth ...”: Shak.
16 Ginsburg
associate
17 Sprightly dance
18 Shepherdess’
movie role?
20 Sharp-wittedness
22 Gore, once
23 Jeweler’s movie
role?
29 Met previously
30 “I’m listening ...”
31 Delta deposit
32 False flattery
34 Robbins’ ice
cream partner
36 ER personnel
39 Horse trainer’s
movie role?
41 Org. concerned
with the AQI
42 Crankcase
component
44 Sends out
46 Boyfriend
47 Bearing
48 Meat pkg. letters
52 Weightlifter’s
movie role?
56 Chamber group
often including a
piano
57 Under control
58 What 18-, 23-, 39-
and 52-Across
exemplify?
63 Loafer front
64 Madison Square
Garden, e.g.
65 Cookbook verb
66 Decorative vase
67 H.S. hurdles
68 Heavy metal
cover
69 Del. clock setting

DOWN
1 Take by force
2 “... based on my
abilities”
3 Peanut, for one
4 Fifth cen. pope
called “The
Great”

5 “Come to think of
it ...”
6 Stephen of
“Breakfast on
Pluto”
7 Succor
8 Hungry for
success, say
9 Track transaction
10 “No thanks”
11 Google Maps
directions word
12 Sea-Tac approx.
13 Protein-rich bean
19 Org. that funds
cultural
exhibitions
21 Litter peeps
24 Cruise stop
25 Italian
archaeological
attraction
26 Puma competitor
27 Paper holder
28 Italian tourist
attraction
33 CFO’s degree
34 Invite as a
member of
35 Verizon
competitor
36 Unruly groups
37 The Lord, in
Lourdes

38 Response to
freshness?
40 “You got that
right!”
43 Campsite sight
45 Very
47 Peak near
Olympus
49 Lincoln
Memorial
feature
50 Bloodmobile
visitors

51 Zealous
53 Black-and-white
sea predators
54 Narrow inlet
55 __ management
58 Bug on the line
59 Timeline parts:
Abbr.
60 Shooter 
lead-in
61 Sealing goo
62 Periodic table
suffix

By Jeffrey Wechsler
©2015 Tribune Content Agency, LLC
02/25/15

02/25/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, February 25, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

Classifieds

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6A — Wednesday, February 25, 2015
Arts
The Michigan Daily — michigandaily.com

NEW DOOR

“Are we Simon and Garfunkel yet?” “I don’t know, do you have an afro yet?”
Tears for Fears is 
still revolutionary

30th anniversary 
of synth pioneers’ 

biggest album

By BRIAN BURLAGE

Daily Arts Writer

Roland 
Orzabal 
and 
his 

classmate John Baker stroll 
through the streets of Bath, 
England. It’s 1978 and they’re 
both 16 years old. 

As they traverse the rich, 

antiquity-begotten city, they 
talk about that night’s show: a 
short half-hour gig at the local 
pub. The last time they played 
the venue they were nearly 
ridiculed off stage, as attend-
ees were quick to pounce on the 
youth and naivety of the “Baker 
Brothers” band. 

But tonight would be dif-

ferent, the two friends agreed. 
They would first find a new 
name for the band, and it had 
to be something simple, some-
thing American maybe. The 
group was, after all, descended 
from the new wave and the 
mod revival. New wave music 

was just starting to split from 
punk, and the Americans were 
taking an early charge. Orzabal 
and Baker thought for a while, 
and they eventually settled on 
something familiar: the movie 
“The Graduate.” They’d been 
opening with Simon and Gar-
funkel’s “Mrs. Robinson” pretty 
consistently, and it made sense 
to stick with something iconic. 

And so it was. The Baker 

Brothers became Graduate.

After releasing an album that 

achieved moderate success (it 
was a strange but catchy con-
tribution to early ska music), 
the group toured in Spain and 
Switzerland. They continued 
to negotiate with the new wave 
movement, but when electron-
ics came to prominence as 
viable means of music making 
around 1980, Graduate quickly 
dissolved.

Orzabal and Curt Smith were 

members of the camp that saw 
the emergent realm of syn-
thesizers and computers as an 
avenue for exploring human 
emotion. They were, in their 
earliest days, fascinated by the 
idea of primal therapy – a psy-

chological treatment developed 
in the 1970s by psychiatrist 
Arthur Janov.

Janov believed all painful 

experiences in childhood are 
shaped by long-term repression, 
and that much of the anxiety 
and neuroses we face as adults 
comes from this avoidance of 
trauma. As part of the doctrine 
of his larger primal therapy 
theory, he states that he and 
his colleagues “have found a 
way into those early emotional 
archives and have learned to 
have access to those memories, 
to dredge them up from the 
unconscious, allowing us to re-
experience them in the present, 
integrate them and no longer 
be driven by the unconscious. 
For the first time in the history 
of psychology, there is a way to 
access feelings, hidden away, in 
a safe way and thus to reduce 
human suffering.”

What’s most interesting, and 

what was also most relevant 
to Orzabal and Smith, is the 
notion that previous emotions 
can be summoned to the pres-
ent moment. In the present, 
they can be experienced and 

approached in an entirely dif-
ferent light. These ideas of emo-
tional access, self-address and 
re-learning childhood are what 
captivated Orzabal and Smith 
most while they were forming 
their new group. They believed 
that music had a responsibility 
to perform this kind of conjur-
ing, to draw out the personal 
and individual emotions of lis-
teners.

Similarly, it was the place of 

computers and modern tech-
nology to assist with music’s 
emotional summon. The devel-
oping electronic mode prom-
ised access to a range of human 
emotions not yet touched or, 
in light of primal therapy, 
not yet recalled. Orzabal and 
Smith resolved to pursue this 
infant frontier. They added Ian 
Stanley and Manny Elias to the 
group, as both were renowned 
for their work with program-
ming. 
The 
foursome 
called 

themselves Tears for Fears. 

With their debut album The 

Hurting, the group found three 
major hits in “Mad World,” 
“Change” and “Pale Shelter.” 
The true genius of the work, 
however, can be heard in Stan-
ley’s careful ventriloquizing of 
the keyboards through comput-
erization. In “Mad World,” he 
pushes the song’s tone toward 
an absurdist blend of the sinis-
ter with the frightened. It’s as 
though the speaker’s deep fear 
of madness in the world makes 
him simultaneously superior to 
it, outside of it or without it. 

Echoes of Stanley’s imagi-

native programming can be 
heard in the jadedness of “Pale 
Shelter” or the indecision of 
“Change.” He lifts their oth-
erwise synthetic overwhelm 
into a state of dark ethereality, 
one in which elements of post-
punk conjoin with new wave 
to create a sense of comfort-
able isolation in the listener. 
Listening to Tears for Fears’ 
early work with The Hurting is 
like floating alone through the 
night sky and feeling somehow 
cocooned by the clouds. Stan-
ley’s skillful programming and 
engineering efforts, combined 
with Orzabal’s flair for grandi-
ose songwriting, would set the 
framework for their next and 
greatest album: Songs from the 
Big Chair.

Thirty 
years 
after 
its 

release, Songs from the Big 
Chair remains one of the most 
beloved, 
iconic 
and 
unap-

proachable pop albums of the 

’80s. For every 50-something 
music collector concerned only 
with the album’s place in Pho-
nogram Records history, there’s 
a 
self-conscious 
15-year-old 

newly exposed to the pangs of 
love and the deep melancholy 
recoiled within the music. 

The album’s detractors con-

sistently note its artificiality 
and its residence in surface-lev-
el sound. The synthesizers are 
too prominent and the melodies 
are too exuberant to promote 
any kind of intellectual reso-
nance. Perhaps the lyrics are 
too flat, the melodies too broad, 
the themes too toned and cheap. 
It was halfway through the 
decade of decadence, many crit-
ics claimed. What’s one more 
MIDI-programmed 
album 

going to do for the new wave? 
Who would care?

The answer: teenagers. 1985 

was the year designated by 
the United Nations as “Inter-
national Youth Year” mostly 
as a marketing ploy, but also, 
as some would argue, because 
few things mattered more than 
getting the new ‘digital’ gen-
eration onboard. The Internet’s 
Domain Name System – its cen-
tralized operation as a direc-
tory – was instituted on Jan. 
1. For the first time, a patient 
with an artificial, computer-
ized heart lived long enough 
to leave the hospital. “Back to 
the Future” was released and 
became the highest grossing 
film of the year. Super Mario 
Bros. was introduced to the 
public, as was the newly minted 
Nintendo Entertainment Sys-
tem. Microsoft issued its inau-
gural version of Windows. This 
was, perhaps, the first year in 
which world leaders recognized 
that the emerging generation 
would not be like them; instead, 
they would be brought up in the 
age of computers.

And so, teenagers felt the 

music of Songs from the Big 
Chair not as any kind of inflat-
ed new wave pop hysteria, but 
as a vessel, a connector that 
mapped their own malaise and 
confusion onto the strange new 
world of electronics. The album 
captured the precise moment 
at which youth and technology 
shared, for the only time in his-
tory, the same uncertainty about 
the future. It brought together 
teenage girls who wanted to 
understand themselves in the 
eyes of teenage boys. It showed 
young men how to be sensitive 
without losing their sense of 
cool or self-confidence. Mostly, 
with its rich layers, synthetic 
intensity and timeless melo-
dy, Songs from the Big Chair 
reflected back to teenage listen-
ers what they were most afraid 
of seeing in themselves: fear of 
not living up to expectations, no 
matter how grand. 

This is why when, on the 

opening track “Shout,” Orzabal 
belts, “In violent times / You 
shouldn’t have to sell your soul 
/ In black and white,” it’s like 
a release. He’s talking about 
the career-induced existential 
crisis we all know we’re heir 
to as members of the digital 
age, but the one we all hope to 

avoid anyway. This is also why 
his calm statement “I’m talking 
to you” seems to hit with extra 
weight. It’s because the noise 
and the fury of the world that’s 
barking orders still can’t extin-
guish the light the music holds 
in front of us. Tears for Fears 
know as well as we do that this 
isn’t escapism. It’s not romanti-
cism. It’s revolution. 

The immortal “Head Over 

Heels” and “Everybody Wants 
to Rule the World” each boast 
similar 
sentiments. 
Under-

neath the wash of treble tones 
and obvious air of romance on 
“Head Over Heels,” Orzabal 
unleashes the wisdom of some-
one who understands youth 
but who realizes that he can-
not help them. He sings, “But 
traditions I can trace against 
the child in your face / Won’t 
escape my attention / You keep 
your distance with a system 
of touch.” In other words, the 
songs achieve in a smaller sense 
what the album achieves in a 
larger sense: a sort of comfort-
able isolation. 

Perhaps the most endur-

ing of the album’s great hits 
is “Everybody Wants to the 
Rule the World,” a so-’80s-it’s-
beyond-’80s song that, once 
again, 
professes 
melancholy 

beneath the array of ebullient 
beats and bars. Its prescience 
into 
the 
modern 
Internet-

infested world, with all its secu-
rity issues and cyber attacks, is 
tucked perfectly between witty 
observations and pop-anthem 
declarations. “Welcome to your 
life / There’s no turning back / 
Even while we sleep / We will 
find you,” Orzabal sings. These 
verses sound like they could 
have been written yesterday 
about any one of a dozen online 
privacy breaches and hacks, 
only he goes a step further and 
offers a way out of the watch: 
“There’s a room where the light 
won’t find you / Holding hands 
while the walls come tumbling 
down / When they do I’ll be 
right behind you.” The message 
here is simple, if not entirely 
understated. Tears for Fears 
believes in one defense against 
the inevitable overcrowding of 
the digital era: human emotion. 

Take this into account with 

the album’s inspiration, a 1976 
television film called “Sybil,” 
which is about a girl with 16 
different personalities. The girl 
feels as though she can know 
herself only when she’s sitting 
in the ‘big chair’ of the analyst. 
She feels safe there – from her 
mother, from other children and 
even herself. 

Songs from the Big Chair, like 

the analyst’s big chair, swallows 
listeners up. Its oversized, over-
stuffed songs, which are too com-
fortable for some but just right 
for others, tower over us and, by 
doing so, obstruct any sight of 
the horizon or the sky. This is 
the world in which we live, the 
album seems to say. It’s not a bad 
world, nor is it condemning or 
unwelcoming. It’s just big and 
full of expectation. These emo-
tions and feelings, though grand, 
tall and overstretched in some 
places, are ultimately true. And 
above all, they’re yours.

Songs from 
the Big Chair 

swallows 
listeners up

This isn’t 

escapism. It’s not 
romanticism. It’s 

revolution.

WE TALK 

TO FAMOUS 

PEOPLE.

E-mail adepollo@umich.edu and chloeliz@umich.edu for 

information on applying.

COME WRITE FOR 

DAILY ARTS

 IT’S NO BIGGIE.

MUSIC NOTEBOOK

