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