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ACROSS
1 Woman who
turns up in Rick’s
gin joint
5 41st or 43rd
president
9 National park in
the Canadian
Rockies
14 __-chef
15 One of Pittsburgh’s
three rivers
16 Like a loud crowd
17 Just swell
19 Itsy-__
20 Generous __ fault
21 Serious romantic
outing
23 Hot beverage
server
26 Personal ad abbr.
27 Sawmill input
28 Pursue and catch
31 South Seas wrap
33 Freshman and sr.
34 Aussie hoppers
36 Affected
coyness, with
“the”
37 Stylist’s
appliance
40 Hot under the
collar
43 Button pressed
for silence
44 Pal of Huck
47 Cellphone
reminders
49 Yosemite granite
formation
52 Dues payer:
Abbr.
53 Chocolate pooch
55 Like Huck and
Yosemite,
nounwise
56 Sitcom with
Richie and the
Fonz
60 Hosp. trauma
centers
61 Outwit
62 Lowe’s rival
66 Ionian Sea island
67 Spellbound
68 Mickey and
Mighty
69 Cheez Whiz
company
70 Shakespearean
villain
71 How many TV
shows are shown,
and a hint to the
seven longest
across answers’
common feature

DOWN
1 “More or less”
suffix
2 Gehrig who
usually batted
after Ruth
3 Baskers’
acquisitions
4 Invite to the
movies, say
5 Gym specimen
6 “Oops!”
7 Father
8 Georgetown
team
9 Youthful
countenance
10 Saharan
11 Very few
12 Slick trick that’s
“pulled”
13 Prepare a
sunny-side-up
breakfast
18 Three feet
22 Bugs and
Rabbits, e.g.
23 Your, of yore
24 Where It.’s at
25 More formal “Me
neither!”
29 Wriggly bait
30 “Ya think?”
32 1921 robot play
35 Span. miss

37 “Ben-__”
38 “Well said”
39 Business review
website
40 Pork knuckle
41 Rigby of Beatles
fame
42 Egg-based paint
44 Some English, at
Wimbledon
45 Cockney abode
46 Body of eau
48 Unhappy

50 Mister Rogers
51 Scale starters
54 Religion 
founded in
Persia
57 Drag on a cigar
58 Flexibility-
improving
discipline
59 Urban haze
63 Swelled head
64 Scot’s “Oh my!”
65 Actor Knight

By Bruce Haight
©2015 Tribune Content Agency, LLC
11/03/15

11/03/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, November 3, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

DEFENSE OF FACULTY
misconduct cases 
Nachtlaw.com 734‑663‑7550

BUSSERS NEEDED AT DG Sorority 
House from 10am to 2:30pm Mon‑Fri 
 

and 4:30pm to 7pm Mon‑Fri. 
Please contact Kathy at 269‑929‑8474.

TIX ‑ WANTED to Buy
Ohio State FB Call Dave (614) 761‑7653

HORSE FARM
Experienced equestrian needed for light 
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look after horses and dogs in exchange for
free rent in new 1 bdrm apt. 
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Email: jchaconas@ccim.net

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THESIS EDITING, LANGUAGE,
organization, format. All Disciplines.
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MAY 2016 HOUSES
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Tenants pay all utilities.
Showings Scheduled M‑F 10‑3
24 hour noticed required
DEINCO PROPERTIES
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DEFENSE OF STUDENT
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Nachtlaw.com 734‑663‑7550

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FALL 2016 HOUSES
# Beds Location Rent
 9 606 Catherine $5500
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 6 412 N. Thayer $4350
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 6 418 N. State $4350
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 6 605 E. Hoover $4350
 6 605 Catherine $4350
 6 708 E. Kingsley $4500
 6 716 E. Kingsley $4500 
 6 1207 Church $4650
 5 515 S. Fourth $3500
 5 910 Greenwood $4000
 5 1019 Packard $4350
 5 1024 Packard $3500
 4 412 E. William $3020
 4 507 Sauer Ct $2800
 4 509 Sauer Ct $2800
 4 809 Sybil $2800
 4 812 E. Kingsley $3000
 4 827 Brookwood $2800
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TICKETS & TRAVEL

6 — Tuesday, November 3, 2015
Arts
The Michigan Daily — michigandaily.com

TV REVIEW
Welcome but flawed 
‘Supergirl’ premiere

Melissa Benoist 
highlights a shaky 

first effort

By MATT BARNAUSKAS

Daily Arts Writer

Superheroes are more preva-

lent in media today than ever 
before. However, despite the 
growing num-
ber 
of 
film 

and television 
shows 
featur-

ing caped cru-
saders, 
very 

few have had a 
woman as the 
central 
focus. 

While 
not 

excluded in the 
genre, 
female 

characters are 
usually relegated to the sup-
porting cast or serving as mem-
bers of a larger ensemble. Sure, 
Scarlett Johansson’s (“Lucy”) 
Black Widow is a major member 
of the Avengers, but her preva-
lence is overshadowed by the 
likes of the franchise-anchor-
ing Iron Man, Thor and Captain 
America.

However, with its premiere 

on CBS, “Supergirl” puts women 
front and center, not just in 
the lead but also in several key 
roles. While its lack of subtlety 
can be jarring, “Supergirl” has a 
personable lead in Melissa Ben-
oist (“Whiplash”), in spite of the 
show’s early struggles.

As Kara Zor-El, Superman’s 

cousin who landed on Earth 
several years after her famous 
relative, 
Benoist 
brings 
an 

infectious energy to the pilot. 
Kara wants to make a difference 
in the world, yet initially tries to 
do it without her powers. Find-
ing herself the assistant to media 
mogul Cat Graham (Calista 
Flockhart, “Ally McBeal”), Kara 
works hard but knows she can 
do more.

Once Kara embraces her pow-

ers — after saving a crashing 
plane carrying her adoptive sis-

ter, Alex (Chyler Leigh, “Grey’s 
Anatomy”) — she finds new-
found purpose. With a beaming 
smile and ceaseless enthusiasm, 
Benoist displays this transfor-
mation of Kara with a satisfy-
ing charisma comparable to 
the optimism of Grant Gustin’s 
(“Glee”) portrayal of Barry 
Allen on “The Flash.” As Kara 
develops her suit with the help 
of her friend Winn (Jeremy Jor-
dan, “The Last Five Years”), her 
confidence grows as she devel-
ops the powers she has long 
repressed.

Benoist’s performance helps 

carry “Supergirl” even when 
the show begins to drag. It’s 
important 
to 
have 
women 

anchoring superhero franchis-
es today; addressing this fact 
in the pilot isn’t a misstep, but 
“Supergirl” doesn’t exactly soar 
with the execution. Written 
by Ali Adler (“The New Nor-
mal”), the premiere overstuffs 
itself with ham-fisted dialogue 
meant to emphasize girl-pow-
er. Some attempts work fine 
like a woman in the background 
expressing her happiness about 
a new role model for her daugh-
ter. Also, a speech by Flockhart 
about the term “girl” itself has 
the subtlety of a jackhammer, 
but its point isn’t lost.

However, these moments are 

diluted by less than effective 
instances of female foreground-
ing. A bland alien villain yell-
ing, “On my planet, females bow 
before males,” is groan-worthy. 
Winn’s statement to Kara that 
“You look really pretty without 
your glasses,” is ripped straight 
out of cheesy high school movie.

“Supergirl” ’s focus on Kara’s 

role as a female superhero stems 
from a lack of representation 
of comic book heroines on the 
screen. However, the show 
puts too much of a burden on 
itself to illustrate this relation 
in its plot, which weighs its 
message down. Kara’s female 
identity will probably remain 
a 
central 
focus 
throughout 

the series’ run, as it should, 
but “Supergirl” can definitely 

find more effective and defter 
ways to get its message across. 
“Agent Carter,” showed that 
comic book settings could look 
at issues of sexism and female-
empowerment with a relatively 
mature lens, and hopefully 
“Supergirl” can continue this 
tradition.

“Supergirl” also struggles 

in other aspects of its initial 
development. A brief sisterly 
rivalry between Kara and Alex, 
who happens to be a secret 
agent, is never fully explained. 
Other characters like Cat and 
Winn lack defining dimensions, 
becoming relatively flat in 
their portrayals. Meanwhile, 
the whimsy of the pilot, while 
enjoyable, can detract from 
more dramatic scenes, sparking 
a laugh where one shouldn’t be 
and preventing any seriousness 
from coming across.

However, by bringing Kara 

to the forefront and making 
Superman a faceless, distant 
influence, “Supergirl” is able 
to define its heroine’s role. 
Kara isn’t just a female ver-
sion to Superman as her name 
suggests, but rather, she is a 
continuation of a legacy. She’s 
a powerful being and a force 
to be reckoned with no matter 
what gender she is.

“Supergirl” still has some 

growing pains to work through 
before its full potential and 
message are realized. But, with 
Benoist anchoring the show in 
bright optimism, “Supergirl” 
can potentially establish roots 
and carve out a place for itself 
among the growing retinue of 
television superheroes.

B-

Supergirl

Series Pre-

miere

Mondays at 8 p.m.

CBS

‘Supergirl’ puts 
women front 
and center, in 

several key roles.

EVENT PREVIEW
Danish quartet in A2

By DAYTON HARE

For The Daily

The string quartet is one of the 

most iconic and enduring genres 
in classical music. Its history 
stretches back 
to the Classical 
Period in the 
18th 
century, 

and the quartet 
has been ubiq-
uitous 
ever 

since. 
Musi-

cians’ mythos 
attribute 
the 

quartet’s 
invention 
to 

the composer 
Joseph Haydn, 
but this is not 
entirely true — he certainly did 
more for it than any of his pre-
decessors, but he wasn’t the first 
to write for an ensemble of two 
violins, a viola and a cello. Over 
the course of his life, however, 
Haydn wrote a mystifying quan-
tity of quartets — around 69 — and 
when his younger friend Wolf-
gang Mozart took up the pen to 
emulate the elder composer, the 
genre was permanently affixed to 
the tradition of Western Classical 
music.

In the centuries following, 

nearly every major composer (and 
innumerable minor ones) wrote 
quartets. Wherever one looks, a 
string quartet can be found, often 
central in the works of any given 
composer; the late quartets of 
Beethoven are sometimes ranked 
as masterworks on par with the 
9th Symphony — the only sur-
viving chamber composition of 
Giuseppe Verdi, the great maestro 
of Italian opera, is his String Quar-
tet in E minor — when Schoenberg 
first revealed his radical theory 
of free atonality to the world, he 
chose to do it through the medium 
of his String Quartet No. 2.

With so many masterworks, it’s 

hardly surprising that some of the 
best ensembles performing today 
are string quartets. For much 
the same reason, however, many 
ensembles today neglect those 
quartets written by contemporary 
composers. The quartet that will 
be performing in Rackham Audi-
torium on Friday is not one such 

negligent ensemble.

The Danish String Quartet is 

internationally renowned. Only 75 
percent Dane, despite their name 
— their cellist is Norwegian — the 
four Scandinavians are known for 
their superb technical and musical 
ability. On Friday, they’ll be pre-
senting a program containing old 
favorites of the genre (Haydn and 
Beethoven), but also a relatively 
new work by respected contem-
porary British composer Thomas 
Adès. While one might expect that 
string quartets have been writ-
ten for so long now that any new 
venture into the genre is bound to 
be anachronistic and unoriginal, 
Adès’s Arcadiana dispels any such 
notion with its enchanting music.

“I had this idea to write this 

particular piece about these sort 
of imaginary idylls from various 
points in art and culture,” Adès 
said of Arcadiana in an interview 
with The Michigan Daily. “I was 
23 or something like that when I 
wrote it … It was a period when I 
had my first job as composer-in-
residence at the Hallé Orchestra, 
in Manchester.”

Adès spent the early part of his 

life in London. When he started 
his job in Manchester, it was the 
furthest he had ever lived from 
his home, an experience which 
worked its way into Arcadiana.

“I was actually living in the 

countryside — again, which was a 
first for me, a very remote place — 
writing this string quartet,” Adès 
said. “I don’t know why I wasn’t 
writing orchestral pieces, I think I 
just was preferring to write this.”

Conventionally, string quartets 

have four movements. However, 
for much of the 20th century this 
tradition has been regarded by 
composers as being more of a sug-
gestion than a rule, and Adès’s 
view is no exception.

“There are seven movements (in 

Arcadiana), and the second move-
ment is like a kind of electronic 
mashup of The Magic Flute (by 
Mozart),” Adès said. “The fourth 
movement is very much a tango 
— I was listening to Pizzola at the 
time, as we all were, and I was 
enjoying the kind of odd things he 
was doing with tango … the sixth 
movement has a kind of Elgar 
‘ancestry’, I suppose you would say, 

to use a very pompous word.”

When talking about the final 

movement of the piece, Adès refer-
enced his personal experiences in 
Manchester as being a great influ-
ence on it.

“It was a very cold winter … I 

remember one morning waking up 
and looking out the window, and it 
(the cabin where Adès lived) was 
surrounded by fields, and it had 
snowed during the night — and of 
course I had never had that expe-
rience, living in London you don’t 
wake up and see a whole white 
field of snow. And the last move-
ment was definitely sort of born 
that morning.”

In addition to the memory of 

that morning, Adès was inspired by 
mythology and literature when he 
composed the final movement.

“It (the last movement) is called 

‘Lethe’ — the river of forgetfulness 
in Greek Mythology, where the 
departed souls trail their hands 
in the water and they forget their 
whole life,” Adès said. “And it was 
a little from the end of a story by 
(James) Joyce, called ‘The Dead,’ 
which is the last story of ‘Dublin-
ers’, and ends with this beautiful 
passage about the snow falling over 
all the living and the dead.”

“All the movements have things 

like (Adès’s experience with the 
snow) associated with them. In that 
way … it’s a very personal piece,” 
Adès said of Arcadiana.

The piece is also notable for its 

technical challenges, employing 
several methods of playing not fre-
quently found in older repertoire.

“The quartet who commissioned 

it and played the first performance 
… the Endellion Quartet … we had 
an interesting time in the first 
rehearsals,” Adès said. “Because it’s 
demanding instrumentally.”

Despite the difficulty of the 

piece, it continues to be performed 
with some frequency.

“Actually, oddly enough, this 

piece is almost one of my most 
played 
pieces,” 
the 
composer 

remarked. “Many quartets now do 
it — like the Danish String Quartet, 
who are coming (to the University 
of Michigan), and who I just heard 
play it in Copenhagen and actu-
ally play it stunningly. And you’ll 
see, they make it look easy — and 
believe me, it’s not.”

Danish 
String 
Quartet

Friday, Nov. 

6 at 8 p.m.

Rackham 

Auditorium

$24-$50

By MELINA GLUSAC

Daily Arts Writer

This week, Daily Music Writers 

are looking back on the first albums 
they ever loved. Today, Melina 
Glusac remembers Regina Spektor’s 
Begin to Hope.

The year? 2006. To this fledg-

ling music writer, nothing in the 
world housed more promise — more 
ecstasy — than the CD section in 
Best Buy. I would stroll and stumble, 
extending a lanky arm to caress any 
shiny plastic jacket that caught my 
eye, avoiding the side-eyes of the 
half-blue, 
half-khaki 
employees. 

Who was Joni Mitchell? Fifth-grade 
Melina didn’t quite know. But she 
knew the cover of Blue was cool and 
intense and “funky fresh,” as the 
incomparable 2006-Ciara would 
say, and that was good enough.

So you can imagine my surprise 

upon noticing nifty cover art and 
an artist’s name I recognized — 
that elusive duo — one day in Best 
Buy. I remembered Regina Spektor 
from VH1’s weekly music count-
downs (yes, I am 85 years old), and I 
remembered how much I loved her 
song, “Fidelity.” It, of course, was on 
the album I had in my hand — but 
it was also the only song I knew off 
the album. After 10 minutes of con-
templation, Fall Out Boy’s Infinity 
on High in one hand, pure doubt in 
the other, I decided to purchase this 
doubt, this Begin to Hope thing, too. 
Hey, maybe all the other songs on 
it would be as catchy as “Fidelity.” 
Little Mel decided to carpe diem.

I got home, grabbed a book about 

Paris and sat down to listen. Cue all 
clichéd descriptions of first experi-
encing a piece of art that changes 
your life. Tears, joy, sorrow, rejuve-
nation, blah. Good? Okay. Now onto 
the more vital (nerdy) stuff:

When we delve further into 

Begin to Hope, we find its façade 
of semi-pop piano tunes is not at 
all evocative of Spektor’s depth. 
So we tear that down listen after 

listen, and find that she tickles the 
ivories like no other, but — unlike 
her contemporaries — the tickling 
technique differs stunningly with 
each song. “Fidelity” (still one of 
my favorite music videos) employs a 
choppy, kitschy style and juxtapos-
es the fluidity of “20 Years of Snow.” 
Spektor’s punk tendencies shine 
in “That Time,” which is fun and 
sexual and weird (“Hey, remem-
ber that time when you OD’d? Hey, 
remember that other time when 
you OD’d, for the second time?”).

And no one does slow like ReS-

pekt. “Samson” rips me to shreds 
with every listen, as its Biblically-
infused lyrics continue to feed new 
meanings, metaphors and bits of 
poignant imagery. “Field Below” is 
a diamond in the rough, but soulful 
— and soul, I’ve come to find, is Spe-
ktor’s forte. Her love of jazz beams 
in “Lady,” a wink at Billie Holiday, 
complete with a smoky, Sonny 
Rollins-esque sax solo. Then there’s 
“Summer In The City,” my favorite, 
favorite, favorite. No words here 
— it’s all in the feeling, the slight 
slur in her speech, the desperation. 
Someone stop me, please.

Begin to Hope was everything to 

me, then and now. I mark it as the 
beginning of a “musical awaken-
ing,” an era I’ll probably live in my 
whole life: where music reigns and 
I am its voyager, venturing to for-
eign lands in search of fiery mix-
tapes and the cure for heartbreak. 
Hope also started a lifelong love 
affair with Regina Spektor, whom I 
regard as one of the best songwrit-
ers of our generation. It exposed me 
to her brilliant discography (special 
shout outs to Soviet Kitsch and Far). 
I cried Kim Kardashian-style at her 
Detroit concert my sophomore year 
of high school. Her lyrics pop into 
my head almost every day, at ran-
dom times. But, most importantly 
and existentially, she’s there: The 
CD section at Best Buy is almost 
gone, but Spektor will be with me 
always. 

Love and hope

MUSIC NOTEBOOK

