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ACROSS
1 With 69-Across,
filmmaker born
12/1/1935 who
directed and
wrote five films in
this puzzle
6 Apparel
10 Sacramento’s
state, briefly
13 “Most certainly!”
15 Language that
gave us “khaki”
16 Spanish she-bear
17 Look that way
18 With 59-Across,
1980 film by 
1-/69-Across
20 Suffers from
21 Sneaky tactic
23 Kosher
24 Diagnostic
machine
26 Make __ for:
argue in favor of
27 2011 film by 
1-/69-Across
31 Being kept cold
32 Sardinian six
33 1971 film by 
1-/69-Across
36 1973 film by 
1-/69-Across
42 Junio, por
ejemplo
44 Low voice
45 1995 film by 
1-/69-Across
52 Like a softly
blowing fan
53 Nincompoops
54 Windy City
airport
55 One of the
deadly sins
56 Camp bed
59 See 18-Across
61 Camden Yards
ballplayer
64 Spanish gold
65 Sit for an artist
66 Have a place to
call home
67 “__ the 
ramparts ... ”
68 Figure (out)
69 See 1-Across

DOWN
1 Genie’s offer
2 Most fit for service
3 Keats works
4 __ Bums:
Brooklyn Dodgers
nickname

5 “Despite that ... ”
6 Tailor’s inserts
7 Major
thoroughfares
8 Nutritional meas.
9 Sack material
10 Mountain lion
11 Birthplace of St.
Francis
12 Coffee drinks
with steamed
milk
14 Hip-hop
headgear
19 Prefix meaning
“ten”
22 “That’s awful!”
24 Ancient Peruvian
25 Personal
bearing
27 Unruly group
28 Words before
flash or jiffy
29 Cacophony
30 Zip, in soccer
scores
34 Novelist Tan
35 Smooth, as a
transition
37 Black, to a bard
38 “CSI” actor
George
39 Tire pressure
meas.
40 S.C. clock setting

41 Fish eggs
43 Husbands and
wives
45 Cow sound in
“Old MacDonald”
46 Response from
another room
47 Supermodel’s
allure: Var.
48 Prefix with scope
49 Annoying types
50 Info on a store
door: Abbr.

51 Helicopter
component
56 Slinky shape
57 Merrie __
England
58 High schooler,
typically
60 Letters that
promise payback
62 Stephen of “The
Crying Game”
63 Alcatraz, e.g:
Abbr.

By Jeffrey Wechsler
©2015 Tribune Content Agency, LLC
12/01/15

12/01/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, December 1, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

have 
fun 
doing 
the 
sudoku.

xoxo

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Arts
The Michigan Daily — michigandaily.com

thing that I didn’t even really 

have to think about, I just felt 
like I wanted to do it, so I did 
it,” Andres said.

Andres — who was in St. 

Paul, supervising the premiere 
of his new piano concerto The 
Blind Banister — studied piano 
with Eleanor Hancock in New 
York for many years, from his 
childhood through high school, 
before becoming more serious 
about composition in their later 
time together. Andres began 
his serious composition studies 
during high school, taking les-
sons through the Juilliard pre-
college program.

“I guess the composition 

sort of gradually became more 
and more important to me as I 
studied it more seriously, until 
the writing and the playing 
were sort of on equal footing, 
and feeding into each other,” 
Andres said.

“After high school I decided 

to go to Yale, rather than go to 
a conservatory,” Andres said of 
his post high school education, 
explaining how he earned both 
his undergraduate degree and 
master’s degree from the uni-
versity.

“It was just sort of a gut 

feeling I had at the time that I 
would have found a conserva-
tory kind of stifling,” he said 
of his decision to attend a uni-
versity rather than a conser-
vatory. “I don’t do well with 
bureaucracy or authority … and 
conservatories tend to be very 
rigid atmospheres … (addition-
ally) I always knew I wanted to 
be a professional musician, but I 
also wanted to study more than 
just music.”

The piece being performed 

this Wednesday was composed 
by Andres for the Takács Quar-
tet, which was formed in 1975 
and is the quartet-in-residence 
at the University of Colorado 
Boulder. Discussing the piece, 
Strong Language, Andres spoke 
about its inspiration.

“In many ways it was inspired 

directly by the quartet’s play-
ing. I went to hear the Takács 
Quartet a little less than a year 
ago in New York, and I knew 
I was about to start writing a 
piece for them, so I was kind of 
looking for things … that made 
their playing especially their 
own,” Andres said.

“And what impressed me 

about their playing was their 
sense of gesture — being con-
veyed by four different people 
— that was so unified and so 
clear, so that it almost seemed 
like the music was taking on 
these physical forms,” the com-
poser explained. “I got the idea 
that the piece would have these 
very simple gestures that would 
be elaborated upon and varied 
over the course of the three 
movements.”

Andres composed the cen-

tral movement of the piece 
before the first and last, begin-
ning with music that was “very 
still and quiet, and then gradu-
ally expanded outward in both 
directions, little by little, so 
that by the time it ended … it 
was this very grand and expres-
sive, (with a) leaping melody,” 
the composer said.

According to Andres, the first 

movement of Strong Language 
works in a similar way. The 
movement is built on initially 
unaccompanied 
arch-shaped 

melodies which repeat and 
grow more elaborate through-
out the movement.

“Each time that melody is 

repeated these kind of sub-
strata, these layers of decayed 
material kind of pile up under-
neath it, so each time the mel-
ody gets more embellished and 
more harmonized, and more 
just kind of noisy,” Andres said.

“That movement is called 

‘Middens,’ which is a type of 
archeological 
site 
which 
is 

basically an ancient trash pile 
— this kind of process of lay-
ers piling up over the ages,” the 
composer said.

Andres draws on classical 

tradition for the structure of 
Strong Language’s last move-
ment. The final movement is 
“a chaconne, or a passacaglia, 
based on a sequence of chords 
in the bass that are repeated 
in a cycle,” Andres said. The 
chaconne is a variation form 
that was very popular during 
the Baroque period in the 17th 
and 18th centuries, but fell out 
of favor until composers such 
as Britten and Shostakovich 
revived it in the mid 1900s.

“It starts with hearing those 

chords and these very quiet, 
diffuse noises in the upper 
strings,” Andres said. “And 
eventually those noises fill in to 
become this perpetual motion 
cycling 
rhythm. 
The 
lower 

strings take on a melodic role 
underneath that, and that ends 
up leading to these reminis-
cences of the other two move-
ments in the end.”

Composed in the spring of 

this year, Strong Language was 
premiered less than a month 
ago by the Takács Quartet, who 
will be performing it again on 
Wednesday at 7:30 p.m. in Rack-
ham Auditorium. Also on the 
program will be favorites from 
the 18th and 19th centuries, by 
Haydn and Dvorák, respectively.

LITERATURE COLUMN

Literary hipness

A

s soon as the calendar flips 
to Dec. 1, I begin to ponder 
my upcoming New Year’s 

resolutions. For most of my life, 
my resolutions were oriented on 
self-improve-
ment. My 
past resolu-
tions include 
“stop losing 
shit,” “stop 
being late 
to literally 
everything” 
and “stop 
eating 
so much 
Nutella.” These resolutions had 
an unsurprising expiration date of 
about a month.

But in 2015, I made a new 

kind of resolution. I decided that 
instead of trying to change myself, 
I would plunge into something 
that I actually love to do. My 2015 
resolution was to read a book a 
week for the whole year, 52 books 
in total.

Of course, when the person 

with whom you’re negotiat-
ing resolutions with is yourself, 
it’s easy to become indulgent. I 
quickly realized during the finals 
of winter semester that there 
would be some weeks when I 
just couldn’t swing it. So I made 
up for the school year lapses in 
excess over the summer, furiously 
reading when I should have been 
selling ice cream in an non-air-
conditioned shack in August.

And December has arrived 

again. When I realized this col-
umn was coming out on Dec. 1, 
I wanted to highlight and share 
all the thoughtful and insight-
ful books that had been written 
and published in 2015. I flipped 
through the planner where I write 
the book of the week on the top of 
the page. I frowned and searched 
again. Out of the 48 books I had 
read so far this year, almost none 
of them came out in 2015.

Looking back on the year, this 

made sense. My freshman year 
of college exposed me to new 
authors and styles. There seemed 
to be an endless number of classics 
that should have been fundamen-
tal to high school reading that 
somehow I had skipped. I wanted 
to read Jeffrey Eugenides, Junot 

Díaz and Joan Didion. I was so 
busy reading the defining books 
of generations before mine that it 
didn’t even occur to me to keep up 
with contemporary fiction.

When I recently realized this 

mistake and all that I had been 
missing, I ran to the library and 
checked out some of what had 
been previously vetted by The 
Washington Post and The Nation-
al Foundation as “The Best Books 
of 2015.”

Thankfully, since I only had a 

few days to read them, the books 
I chose are spectacular works. 
I started with “Girl Waits With 
Gun” by Amy Stewart. Based on 
real events from 1914, the novel 
tells the story of the three Kopp 
sisters who live by themselves 
on a farm. Their lives, previously 
private and quiet, change forever 
when a scurrilous factory owner 
crashes his car into their buggy. 
When the protagonist and leader 
of the sisters, Constance Kopp, 
demands restitution from the 
factory owner, he and his foul 
friends attempt to dissuade her 
with intimidation and threats of 
physical harm. The swaggering 
pursuits of male dominance por-
trayed in this book unfortunately 
have not changed and are still evi-
dent in our society today. The dif-
ference in “Girl Waits With Gun” 
is the entirely badass response of 
the Kopp sisters, especially for 
their time period.

I started “The Turner House,” 

by Angela Flournoy, within min-
utes of finishing “Girl Waits With 
Gun.” While it was necessary 
for me to meet my deadline and 
travel home for Thanksgiving, I 
wouldn’t recommend the rapidity 
of this turnaround. “The Turner 
House” requires and deserves a 
clear head to receive its gifts of 
wonderfully complex characters 
woven into inter-generational 
story lines. The portrayal of the 
Detroit-based African-American 
Turner family begins in their 
house on Yarrow Street when 
Cha-Cha, the oldest of the 13 
Turner children, encounters a 
ghost. or “haint,” in his room. We 
fast-forward through the years 
with them 
— the Turners are all 

grown up with their own demons 
haunting them in every room. 

Their history hinges upon the 
history of Detroit, with each anec-
dote, based on the events of the 
city, illustrating the importance 
Flournoy gives to the phrase “the 
personal is political.” Families like 
the Turners are an underrepre-
sented, but entirely accurate and 
necessary portrayal of the post-
nuclear family in contemporary 
literature.

One of the books I read that 

was published in 2015 was Harp-
er Lee’s “Go Set A Watchman,” 
the controversial prequel to 
“To Kill A Mockingbird.” I have 
already extensively discussed the 
novel in this column (long story 
short: read it, it’s worth it), but 
the book allowed me to see my 
prejudice against contemporary 
fiction. While “Watchman” was 
published in 2015, it had been 
declared a classic long before 
publication. I now see myself for 
what I truly am 
— I confess to 

being woefully unhip to recent 
fiction. I’m only halfway through 
two books that I wanted to read 
for this column, Adam Johnson’s 
“Fortune Smiles” and Sandra 
Newman’s “The Country of Ice 
Cream Star.” Other books that a 
less honest literature columnist 
would have claimed to have read 
would be “Purity” by Jonathan 
Franzen, “H is for Hawk” by 
Helen McDonald and “Serving 
Pleasure” by Alisha Rai, a self-
published erotic novel that has 
garnered a shocking amount 
of literary attention. In 2015, I 
focused on the classics of the 
past when I should have spent 
an equal amount of time looking 
ahead to the future.

But literary hipness is a transi-

tory state. And fortunately, the 
beauty of resolutions is that there’s 
always next year. So for 2016, my 
resolution is, again, to read a book 
a week. The catch is that the book 
has to have been published within 
the last five years. My predic-
tion is that this resolution will 
have everything 
— tears and joy 

and challenges and rewards, but 
mostly just a lot of reading. Check 
back in 12 months.

Lerner is finishing a jar of 

Nutella. To scold her, e-mail 

rebler@umich.edu.

REBECCA

LERNER

TV NOTEBOOK
Friendsgiving

By DANIELLE YACOBSON

Daily Arts Writer

Even though my family immi-

grated from Russia to the United 
States over 20 years ago, American 
traditions haven’t really stuck. I’ve 
missed out on most all-American 
viewing experiences, like “Charlie 
Brown,” football and the Macy’s 
Thanksgiving Day Parade. Instead, 
my family spends the day nurs-
ing our food babies on the couch 
while marathoning all 10 “Friends” 
Thanksgiving episodes. Each year, 
we watch Joey’s head get stuck in a 
turkey, swoon over 2001 Brad Pitt 
and wonder how Monica was able 
to lose 100 pounds in just one year. 
We laugh at the jokes we already 
know the punchlines to and get 
teary-eyed every time we hear, “It’s 
always been you, Rach.” “Friends” 
has filled any void that the all-
American traditions I’ve missed 
out on creating and have made “I’ll 
Be There For You” the theme song 
to my Turkey Day each year.

I don’t know anything about 

football. Sue me. However, the 
Thanksgiving episode in season 
eight taught me that randomly 
yelling at the screen is an excellent 
strategy to get out of helping with 
holiday meal preparations. I’ve also 
discovered that football breeds 
competition, and nobody does it 
better than the Gellers. Though my 
family is void of any sibling rivalry, 
Ross and Monica’s compares to that 
of Michigan and Ohio State. Season 
three’s “The One with the Foot-
ball” is infinitely better than any 
real football game I could suffer 
through, filled with pantsing and 
flashing — going so long you could 
buy a pretzel.

One thing my family excels at 

(along with the rest of America) is 
overeating. However, my Thanks-
givings are always European-ified. 
My grandma bakes cabbage pie 
instead of pumpkin and stuffing 
simply doesn’t exist in the Russian 

vocabulary. Yet again, “Friends” 
comes to the rescue with every 
Thanksgiving food delicacy I could 
dream of. Monica cooks up three 
different kinds of mashed potatoes 
in “The One with the Late Thanks-
givings” (season 10) and Joey 
demolishes an entire turkey while 
killing the fashion game in mater-
nity pants. Even watching Rachel 
screw up her trifle (which, accord-
ing to Ross, “tastes like feet”) has 
become a Thanksgiving day tradi-
tion.

The best holiday “Friends” 

episode, “The One with All the 
Thanksgivings” 
(season 
five), 

captures the universal spirit of 
the holiday: reminiscing with the 
people that have seen you at your 
best and worst. In Rachel’s words, 
“It’s Thanksgiving, and we should 
not want to be together, together.” 
“Friends” provides the heavy dose 
of nostalgia necessary for family 
gathering by reminding everyone of 
their most embarrassing moments. 
The appearance of fat Monica and 
pre-nose job Rachel will inevitably 
give you cringe-worthy flashbacks 
to high school and maybe even 
evoke some long-forgotten secrets 
to come out of hiding.

Just as the characters on screen 

change from season to season, so 
do the wonderful people that I sur-
round myself with on the holiday 
dedicated to complex carbohy-
drates and pumpkin spice every-
thing. Just last year, my younger 
cousin was covering his eyes at 
the kissing scenes. Now, he’s tak-
ing pointers from Joey and asking 
girls out on dates of his own. With-
out fail, the love that the “Friends” 
gang radiates out of the screen fills 
my own living room, making our 
yearly marathoning one of my most 
coveted traditions. We laugh, we 
cry, we try to keep the food coma 
from taking over our conscious-
ness. And through it all, we’re 
reminded that “Friends”-giving is 
truly something to be thankful for. 

ANDRES
From Page 1

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