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
Call: #734-418-4115
Email: dailydisplay@gmail.com
2,3,4 BEDROOM APARTMENTS
South Campus Fall 2015‑16
1015 Packard ‑ $1370‑$2680 + Utilities
Call 734‑996‑1991 to sched a viewing
6 BEDROOM HOUSE 511 Linden.
East of CC Little btwn Geddes&South U.
2 Bath, Wshr./Dryer, 2 Prkg. spaces, Pet
& Smoke free. Fall 2015‑16
$3,600 + utilities. 734‑996‑1991
2 BED. A
V
AIL. April 1st‑August 21st
Furnished, Heat & Water & Free Internet
734‑761‑8000 primesh.com
DOMINICK’S HIRING FOR spring
& summer. Call 734‑834‑5021.
RELIEF CAREGIVER FOR medical
foater home, about 25 hrs/mo, $9/hr lo‑
cated in Willis, MI. contact
bizwiz808080@yahoo.com
INTEGRATIVE VETERINARY
HOUSECALL practice is looking for an
LVT or experienced vet tech. We are
looking for someone who not only has
technical skills but who also has a passion
for helping both pets and their families.
The right candidate is creative, organized
and willing to go above and beyond for
our clients. Position is part time but would
consider full time for the right candidate.
Email cover letter and resume to
mt@fourpawsvetwellness.com
WORK ON MACKINAC Island This
Summer
–
Make
lifelong
friends.
The
Is‑
land House Hotel and Ryba’s Fudge
Shops are looking for help in all areas be‑
ginning in early May: Front Desk, Bell
Staff, Wait Staff, Sales Clerks, Kitchen,
Baristas.
Housing,
bonus,
and
discounted
meals.
(906)
847‑7196.
www.theisland‑
house.com
SUMMER OF YOUR LIFE! CAMP
WAYNE FOR GIRLS ‑Children’s sum‑
mer camp, Pocono Mountains, Pennsylva‑
nia 6/20‑8/16. If you love children and
want a caring, fun environment we need
Counselors, Instructors and other staff for
our summer camp. Interviews on UMich
campus March 3rd Select The Camp
That Selects The Best Staff!
Call 1.215.944.3069 or apply at
www.campwaynegirls.com
4 BEDROOM HOUSE Fall 2015‑16
North Campus: Off Fuller by UM Hospital
2 Baths, Wshr./Dryer, 3 Prkg spaces, Pet
& Smoke free. $2300 + utilities
1010 Cedar Bend Dr. 734‑996‑1991
UNIVERSITY TOWERS:
$0 Down Special ‑ No Security Deposit,
No Processing Fee on leases signed be‑
fore 2/28. www.u‑towers.com
PARKING 2015‑16 at “Prime” locations
734‑761‑8000 primesh.com
! NORTH CAMPUS 1‑2 Bdrm. !
! Riverfront/Heat/Water/Parking. !
! www.HRPAA.com !
THESIS EDITING. LANGUAGE,
organization, format. All Disciplines.
734/996‑0566 or writeon@iserv.net
ARBOR PROPERTIES
Award‑Winning Rentals in Kerrytown,
Central Campus, Old West Side,
Burns Park. Now Renting for 2015.
734‑649‑8637. www.arborprops.com
EFF, 1 & 2 Bedrooms Avail Fall 2015‑16
$750 ‑ $1420. Most include Heat and
Water. Parking where avail: $50‑80/mo.
Coin Laundry access on site/nearby.
www.cappomanagement.com
Call 734‑996‑1991
FOR RENT
SERVICES
HELP WANTED
SUMMER EMPLOYMENT
PARKING
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