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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. 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Now Renting for 2016. 734‑994‑3157. www.arborprops.com FOR RENT HELP WANTED SERVICES 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