Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Did one part of a
typical triathlon
5 Overwhelm
10 Camera output
14 Tuscan
waterway
15 Smoothes
16 1899 gold rush
town
17 It’s nothing to
Noelle
18 Pines, e.g.
19 Wavy lines, in
comics
20 Start of a quip
23 Stuff in a sack
24 Dough shortage
consequence
27 “Chicago P.D.”
detective
Lindsay
29 Quip, part 2
34 Speaks
36 Durango day
37 Rotation meas.
38 Quip, part 3
42 Pranks, in a way,
informally
43 Browser’s find
44 Privileged groups
45 Quip, part 4
49 Wrapped up
50 See 52-Down
51 Swiss waterway
53 End of the quip
60 Hook for landing
large fish
63 Wines named for
an Iberian city
64 Pivot around
65 Plot measure
66 Mexican
Academy of Film
award
67 McCain’s alma
mater: Abbr.
68 Casino device
69 Spider’s web,
e.g.
70 Jury member
DOWN
1 Asian garment
2 Legal paper
3 Once more
4 Yosemite’s El
Capitan, e.g.
5 Scrape
6 Affection
7 Europe-bound,
perhaps
8 Athletic contest
9 “Hey, you!”
10 Common
nocturnal
disturbance
11 Wordless opinion
12 Te-__: cigar
brand
13 __ stirpes: estate
law term
21 Good-sized
combo
22 First name in
childcare writing
25 How many learn
26 High hat
27 Rages
28 Brawl in the sticks
30 Former “Access
Hollywood”
anchor Nancy
31 When repeated,
mutually
advantageous
32 Most liked,
casually
33 Versatility list
34 Eye opener?
35 Close
39 NW Penn. airport
40 Ecuadoran gold
region
41 Cheers
46 Tuition add-on
47 Abbr. in some
Canadian place
names
48 LDS part
52 With 50-Across,
flier’s option
54 Therapeutic
resorts
55 Ambivalent
56 One of a tenor’s
repertoire
57 Word suggesting
options
58 Ancient
character
59 Sentence
component
60 Yakking
61 German gripe
62 One way to sway
By Alan Olschwang
©2016 Tribune Content Agency, LLC
11/18/16
11/18/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Friday, November 18, 2016
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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6A — Friday, November 18, 2016
Arts
The Michigan Daily — michigandaily.com
Three bodies, one boxing ring,
several dimmed lights and an
immeasurably ambitious project.
Through
dance,
Zimbabwe-born
choreographer
Nora
Chipaumire
explores
the
stereotypes
and
realities of African
masculinity using
moving bodies as
chimeras
of
her
estranged
father,
in a Detroit exhibit
this weekend.
Since graduating
from the University
of Zimbabwe and
completing an M.A
in Dance and M.F.A
in
Choreography
&
Performance
from Mills College,
Chipaumire
has
continued
to
create
work
deconstructing
notions
of
the
African male and female body,
gender roles and the limits/
capabilities of art.
Her
ongoing
project
and
engagement with these questions
is one the rest of the world,
thankfully, although late to the
game, has come to recognize.
“The
Black
Lives
Matter
movement emerged after I had
already been in this process,”
Chipaumire said in an interview.
“I feel like the rest of the world
caught up with what I was
interested in. So then there’s
the question, especially on an
American landscape: Why is the
black male so feared? Why is that
black male such a threat?”
I asked how her commitment
to exploring these questions
precipitated.
“It was coming to America,
and it being put to me that, ‘No,
you’re not Black, you’re African.’
” she said. “There was a clear
distinction between the two in
the larger consciousness. Within
the Black universe, there are
much
clearer
understandings
of who is who. And I think that
kind of nuance is what the greater
majority misses.”
Chipaumire’s
work
explores,
beyond
what
it
means to identify
as
one
thing,
what it means to
identify as many.
Her
new
piece,
“Portrait of Myself
as my Father,” is
an extension of a
2013 work, “The
Rite
of
Spring,”
which
focused
on
the
female
African
body
as
society’s figurative
sacrificial lamb.
“I was curious
what happens with
the black African
male
body,
and
I found that the
discovery
of
my
father’s body kept
it really personal
and in a private arena. I don’t do
work in which I’m not complicit,
it has to be meaningful to me and
teach me something” Chipaumire
said. “Hence, trying to draw pull
out, tease out and sculpt out this
portrait of my father as this site
of male African masculinity,
black masculinity, as the site of
sacrifice.”
Currently based in New York,
Nora and the two male dancers
who perform as her father, have
been on tour for three months
with the work, beginning in
their home-base in Brooklyn,
traveling to Europe and finishing
with their finale in Detroit this
weekend. The group has been met
with standing ovations in nearly
every city, an honor that is both
recognized and reciprocated by
the artists.
“There’s so much at stake for
us three Black bodies in the space,
especially given this timeframe
that
we’re
in
this
week,”
Chipaumire said. “And there’s
just this thing where the audience
stands up for you in recognition
of the effort they have seen you
unleash, so we bow to them in
recognition of their work too.”
The week’s political climate
was an inevitable corner in which
our conversation could not avoid
brushing. However, Nora and
her dancer’s work challenge the
understanding of many on this
matter too: she doesn’t want to
talk about her blackness, her
femaleness, her belonging to the
global South. The conversation is
flipped.
“For all us that always expected
that white is might, well, there it
is. I no longer as a person from
the global south have to concern
myself with describing myself
to you” she said. “This is really
ripe, the study of otherness, that’s
gone. We are not othered; we are
people.”
So, with fierceness, conviction
and
passion,
the
project
continues. While Nora plunges
further into the arena of both
personal and projected identities,
she poses a challenge to many of
the rest of us: “You need to tell us
who you are,” she said. “I think
that’s the beautiful unexpected
consequence of this whole Nov.
8 conundrum that we all find
ourselves in.”
With
such
an
alarmingly
refreshing note of positivity, a
testament to the power of art, we
can all agree that’s a beautiful
thing indeed. “Portrait of Myself
as my Father” will offer more of
the same.
Chipaumire’s ‘Portrait’
of African masculinity
GRACE HAMILTON
Daily Arts Writer
Her ambitious project tackles stereotypes and fatherhood
“Portrait of
Myself as my
Father”
Downtown Boxing
Gym
6445 E. Vernor,
Detroit
Friday and
Saturday, Nov. 18
and 19 at 8 p.m.
Sunday, Nov. 20 at
2 p.m.
$40
COMMUNITY CULTURE PREVIEW
Her work explores
beyond what it
means to identify
as one thing.
MUSIC NOTEBOOK
Some months ago, I ended
up submerged in the depths
of
the
Internet,
blaring
Taiwanese rap alone in my bed
— the laptop was warm on my
stomach, my fingers buzzing
from their ferocious browsing.
Had I ever listened to such a
genre before? No, but I am glad
I happened to stumble upon
it. My ears were warm with
the sensation of experiencing
something new.
Having
been
in
this
explorative, albeit horizontal,
position for an embarrassingly
long amount of time, I had
managed to traverse countless
pages and consumed a bounty
of music that I had never
before known.
Basking
in
my
newest
findings, I realized the wealth
of music that was out there
waiting for me just beyond the
sheen of my screen. Obviously,
the Internet is a perfect way
to listen to bands you already
know, check out some that
you’ve vaguely heard of, or
find a few that are entirely
new. With the expansion of
streaming
services,
online
releases and YouTube, music is
more accessible than ever.
But what I experienced then
was more than that — it was a
titillating process of discovery,
a hunt without an end. I was
sucked down the rabbit hole.
We have all been there —
some casual browsing that
oh-so-easily slips into a full-
fledged
information
binge.
You know, when you end up
on Salem Witch Hunt sites for
two hours and find yourself in
a really peculiar headspace …
or something. In my case, an
innocent visit to spin.com led
to some innocuous clicking on
Wikipedia.
Several Wiki pages later,
things got out of control and
the power of the hyperlink
dawned on me. You could
be clicking forever, one idea
leading endlessly to the next.
Sometimes
this
perusing
is mindless, yielding nothing
more than a brief distraction
from other goings on. It’s
easy to find yourself treading
familiar ground or reliving
previous favorites; you get
caught up in the rush of
nostalgia. Which is all well and
good, but only for controlled
blips of time. Listening to the
same music forever would
be like only ever eating your
favorite
childhood
food:
exciting initially, but soon
nauseating.
But in special instances,
magical sound bites are found
— the kind of music that makes
you think, This is it. Sure, there
are plenty of duds out there.
But for every few misses there
is a glorious home run. You
unearth something you never
knew you needed.
Music can reveal things
within yourself you didn’t
know how to express, or even
knew you wanted to express
in the first place. That’s why
stepping out of your comfort
zone is so essential: it allows
you to explore that little quiver
hidden in your depths. It
brings that desire to light.
The uncovering of these
minute calls to action is one
of
the
Internet’s
greatest
offerings. It allows a user
to simultaneously find new
information
and
facets
of
themself.
These
nuggets
— a new favorite song, an
inspirational new artist — are
what make music so exciting,
so transcendent. So let your
freaky
fingers
work
their
magic. No wormhole too deep,
no soundscape off limits.
CARLY SNIDER
Daily Arts Writer
How the Internet Music Wormhole
can give us all the magic we need
One of the Web’s greatest offerings is the uncovering of new art
COMMUNITY CULTURE PREVIEW
The act of composing music
is oftentimes both an act of
discovery and of imitation.
As a part of his
or her process,
a composer may
sit
down
and
explore
new
sound-worlds,
or perhaps they
may mimic the
sonic
events
around
them.
Frequently, they
may do both in
the same piece.
Once in a while,
they may do so
with the same
sound.
This dualism is no paradox,
and
the
result
of
such
exploration and recollection
can be exhilarating. Friday,
one such example will be
performed by the University
of Michigan School of Music,
Theatre & Dance Symphony
Band — American composer
Steven Mackey’s “Ohm.”
“This is my first [piece for
a concert band],” Mackey said
in an interview. “I’ve written
a lot for orchestra. I realize
it’s a very different animal —
orchestra and concert band
— so it was great. It was a
challenge, but it was fun.”
Mackey is one of the most
successful
and
respected
composers
active
today,
with
works
commissioned
and performed by some of
the leading ensembles in the
nation. Well-known for his
dramatic works — such as
“Lonely Motel,” which was
composed for the ensemble
Eighth Blackbird and won a
Grammy in 2011 — Mackey’s
entry into the classical music
world was non-traditional.
“I started music when I was
about nine or ten,” he said. “But
I started just playing guitar,
and in my teen years played in
bands. I was very serious about
the electric guitar, but I didn’t
read music until I was 20, and
I hadn’t heard any classical
music until I was 19. When
I did hear classical music, I
thought, ‘Wow, that’s what I
should be doing,’ and that was
in college, at the University of
California Davis.”
Mackey went on to continue
his education with a Masters
degree from State University
of New York at Stony Brook
and a doctorate from Brandeis
University,
both
in
music
composition.
At
present,
Mackey teaches as a professor
of
music
at
Princeton
University.
Viewing
music
as a means to
express
the
eccentricities of
human existence,
Mackey
composes
works that are
both
explicitly
and
implicitly
dramatic.
“I
think
that I have a
predilection that the reason
I’ve done dramatic music is
because I have an interest
in making things happen,”
Mackey
said.
“I’ve
always
found
music
to
be
this
wonderful mystery. You know,
how can varying frequencies
at varying intervals of time
mean anything at all, let alone
convey all this drama and
excitement and expression?
“And so, being in search
of that — finding things that
really feel like they happen,
finding notes that change the
destiny of a piece, the little
turns of phrase that really
make an impact — has been an
interest in all my music. I think
that’s led me to write dramatic
music, music explicitly for
the stage, but I think that’s a
sort of driving force in all my
music.”
Mackey’s
piece
for
concert band, “Ohm,” while
not
explicitly
dramatic
in
a
theatrical
sense,
is
no
exception.
Throughout,
the
drama is in some ways found in
the contrasts within the music.
Taking its germinal idea from
two different sources, the
music lives out a dichotomy.
“Like a lot of my music,
it starts from an accidental
discovery
or
experiment,”
he said. “In this case I was
thinking about all of these
wonderful
low
instruments
at my disposal, — you don’t
usually
have
a
contrabass
clarinet and bass clarinet and
contrabassoon in an orchestra.
Meanwhile, I have a son …
who is very interested in Star
Wars
and
lightsabers
that
kind of stuff. The sound of the
lightsaber, the vroomv, must
have been in the back of my
mind, because I ended up kind
of creating that at the opening
of the piece.”
Taking
inspiration
from
the central sound in the piece,
Mackey’s choice of title also
reflects a duality, in addition
to being a pun.
“It’s a very electric sound,
so the title of the piece is a play
on words between ohm, o-h-
m, which refers to electricity
and that kind of lightsaber
vroomv — and of course more
metaphorically,
electricity,”
Mackey said.
“I think it’s a pretty exciting
piece, it gets rockin’ as it
goes, so there’s that kind of
electricity. But also, a lot of the
piece has this undercurrent
of low pedal tones, one note
just sort of, ‘om,’ like the
meditation phrase o-m, so
it’s a play between those two
contradictory forces, the o-m
of serenity and the o-h-m of
electricity.”
In explaining his process
of composing “Ohm,” Mackey
drew attention to the fact
that
composition
is
very
much an exploratory process,
saying often, musical gestures
and
ideas
are
generated
unintentionally.
“In this case, it’s not that I set
out to make that sound, it’s that
I was kind of fooling around
with it — I call it ‘digging in the
garden,’ when I’m beginning
a piece,” Mackey said. “I
don’t know what I’m doing or
where I’m going or what I’m
looking for sometimes, I’m
just seeing what I can unearth.
And I unearthed something
that had that electric quality,
that lightsaber quality, and I
recognized it.
“I probably wouldn’t have
been drawn to it when I
discovered
it,
as
strongly,
had I not been living this
fascination with my son. Yes
I’m inspired by sounds around
me, but partly I’m just inspired
by what I discover when I’m
sketching work.”
In addition to Mackey’s
“Ohm,”
—
which
was
commissioned by a consortium
of
bands
—
Friday’s
performance
will
feature
compositions by Robert Beaser,
Steven Stucky, Percy Grainger
and a David John arrangement
of Ginastera.
DAYTON HARE
Daily Arts Writer
SMTD Symphony Band presents
Mackey’s ‘Ohm’ during Friday show
The composer’s piece creates new sound-worlds and contrasts
SMTD
Symphony
Band
Friday, Nov. 18 at 8
p.m.
Hill Auditorium
Free