Classifieds

Call: #734-418-4115
Email: dailydisplay@gmail.com

ACROSS
1 Photoshop maker
6 Late __
9 Average Joes,
e.g.
14 Fishing needs
15 Bill’s future,
maybe
16 Troy story
17 Dutch vodka
brand
19 Coin receivers
20 Round orders
21 Extraction target
22 Hide in a crowd
23 Piano part
24 End of an Ernie
Banks
catchphrase
about
doubleheaders
27 State bordering
six others and
the Canadian
mainland
29 Beam
30 Beats Electronics
co-founder
31 Rebuke
35 Checks out
36 Powerful Detroit
group
38 Powerful pair
40 Parliament of
Israel
41 Former Texas
Rangers
manager
Washington
42 Grafton’s “__ for
Alibi”
43 2014 Olympics
city
47 NCAA hockey
semifinal group
52 Chuckle online
53 Borneo swinger
54 Jessica Rabbit
feature
55 Composer __
Maria von Weber
56 Mascot once
awarded a
Doctor of Bovinity
degree
57 Traditional golf
pants, and a hint
to why certain
puzzle answers
are wrong
59 Santa __
60 Charged particle
61 Bhopal locale
62 Burdens
63 Sitter’s charge
64 In dire straits

DOWN
1 Caustic potash,
e.g.
2 Fought, in a way
3 Company with a
Taco Club
4 Contests whose
competitors
stand in place
5 Course for some
U.S. arrivals
6 Tease
7 Gutter sites
8 Woolly mama
9 Lose
10 Way behind
buildings
11 Hostile place
12 Swallow one’s
pride
13 Campus org.
revived in 2006
18 Un-friend?
22 Grass
components
24 Bound
25 Finicky sort
26 Marks with two
intersecting
lines
28 Confused
sounds
32 Blues singer in
the Rock and
Roll Hall of Fame
since 1987

33 Word before
repeat
34 Sensitive subject
for some
35 Reject
36 Clinton’s
instrument
37 A tie may be
partly under one
38 Pound sound
39 Toyota model
42 Trojan who
survived the sack
of Troy

44 First name in
impressionism
45 Plain awful
46 “Amen to that!”
48 Rumble in the
Jungle setting
49 Inuit home
50 More than
skinny
51 Bounty title
55 Pine __
56 Outside: Pref.
57 Casino area
58 Shark feature

By Tony Caruso and C.C. Burnikel
©2016 Tribune Content Agency, LLC
12/09/16

12/09/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Friday, December 9, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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6 — Friday, December 9, 2016
Arts
The Michigan Daily — michigandaily.com

W

hen he died at age
50 in 1911, the Aus-
trian composer and

conductor Gustav Mahler left
us all of his
sympho-
nies, except
one. After
nine titanic
works in
the genre,
unrivaled
by any of
his contem-
poraries,
Mahler
left a tenth
unfinished, carrying to the
grave all the unfulfilled poten-
tial of a master’s last work.

He wasn’t alone in this.

Many composers throughout
history — Beethoven, Schubert,
Bruckner and Dvorák come to
mind — have suffered from the
so-called “curse of the ninth,”
in which Mahler himself was
a believer. He feared that if he
were to try composing a tenth
symphony he would somehow
stumble into death, like those
before him. He even went so
far as to call a piece of music
which was by all rights a sym-
phony — “Das Lied von der
Erde” — something that avoid-
ed numbering it as such.

But by 1910, he did start

working on another symphony,
and in the end, he was right. It
killed him.

The period in which he was

composing the 10th can only
be described as Mahler’s dark
night of the soul. It’s not that
his life up to that point hadn’t
been difficult. It had. He was,
after all, a Jewish man from a
humble family trying to build
his career in the same Vienna
where a young man named
Adolf Hitler was coming of
age.

Before that, Mahler’s early

years had been filled with
personal tragedy, first when a
younger brother, Ernst, died of
illness, and again when anoth-
er younger brother, Otto, shot
himself. Both of these events
made lasting impressions on
him.

But it wasn’t until his last

years that Mahler faced his
greatest emotional trials.
In 1907, his daughter Maria
Ann succumbed to sickness,
dying at only four years of age.
Immediately on the heels of
this loss, the grieving compos-
er was diagnosed with a defec-
tive heart (a literal broken
heart, as it were). A few years
later, he discovered his wife
Alma was having an affair, and
sought the help of the psycho-
analyst Sigmund Freud to cope
with his depression.

It was against this emotion-

ally tumultuous background
that Mahler began composing
his last, incomplete symphony.
Of the five planned move-
ments, only the first is fin-
ished, the latter four existing
only as piano sketches. If you
don’t already know it, I urge
you to listen to at least the first
movement. Really, go listen. It
will tear your heart out in the
most beautiful way possible,

strange as that sounds.

The music is Mahler’s

most harmonically anxious,
the elastic tonality stretched
almost to the sort of break-
ing point that few, like his
friend Schoenberg, dared to
traverse. Aching, yearning
melodies soar and strain over
the orchestra, violent 10-note
chords stand like Kubrickian
monoliths and in the middle of
it all, there on the manuscript,
Mahler’s marginalia betrays
his mental anguish. In looping
cursive hand, at the moment
of supreme torment, the words
“für dich leben! für dich ster-
ben!” — “To live for you! To die
for you!”

I assume that the message

is addressed to Alma, but in
a way it is also addressed to
us. It’s somewhat paradoxical
that, as the vessel for his most
personal emotional expression,
Mahler chooses to write for
such a large and public group
of people as an orchestra. But
that was what he knew, hav-
ing written orchestral music
for decades, and being one of
the greatest conductors of his
day. And the verbal message
was written down right there,
where no one would hear it
but anyone who engaged with
the music — with Mahler’s
emotional expression, so to
speak — would be able to find
it. It’s there on the manuscript,
as part of the composer’s
thoughts. It’s in the score.

Many people casually

believe that the score — that is,
the paper and the notes them-
selves — and the music are
synonymous, but I don’t think
this is correct. Others would
say that music is organized
sound, frequency and duration
mapped on to space and time.
Perhaps in the past, this defi-
nition would have sufficed. But
writing today, in a time after
composers like John Cage, who
eschewed control and organi-
zation, I can’t even feel secure
in a seemingly innocuous
descriptions such as that.

At the last, then, some

would fall back to the sound
itself (organized or otherwise),
the longitudinal and trans-
verse waves, the timbre and
amplitude. They would point
at it and say, “see, there is the
answer — that, surely, is the
music.” Maybe so. But to me
music is something more, an
intangible existing half on the
exterior and half within, resid-
ing somewhere just over the
horizon of understanding, in
the place triangulated between
the Heart, the Mind and the
Will. If it were simply vibra-
tions in the air, why bother?

The point is, for some rea-

son or another, we believe that
music expresses something.
We don’t know why, whether
it’s some physiological or
psychological reaction, some
inherited cultural framework
or learned social behavior,
but when most of us listen
to music, we feel. And so in
Mahler, the music isn’t what
we have on the page. Even if
we had the symphony in its
entirety, I would still believe
that when Mahler died, the
music died with him, because
the music — the true music —
was something unutterable
carried inside his grief. It was
an emotional state which,
through his craft, he tried to
replicate on the page and in
our ears, to create a roadmap
to his torment.

The idea of music (and art

generally) as a personal means
of expression has increased
and diminished throughout
history. In a Classical music
context, after the longstanding
traditions of religious expres-
sion began to decline, the
concept of the composer-as-
protagonist in a work of music
began to take shape around
Beethoven, whose music was
associated with Sturm und
Drang — storm and stress.

Perhaps one day this men-

tality will again abate, but
200 years after the death of
Beethoven, it still remains.
And I’m not surprised in the
least. After all, it’s a very com-
pelling model, in all areas of
art. Just a few days ago, I fin-
ished reading Book 1 of Karl
Ove Knausgaard’s six-part
autobiographical novel “My
Struggle.” It’s a book con-
structed out of ordinary life,
out of — if not commonplace
— at least nonextraordinary
events, with the drama coming
solely from the pain of the cre-
ator. And it was beautiful.

So I imagine the idea of per-

sonal expression will endure,
in music and other arts. Even
composers like Cage, who
encouraged us to abandon
this sort of solipsism, still
expressed at least something.
Even writing out of silence and
chance, he had a message. In
his words, “I have nothing to
say / and I am saying it / and
that is poetry / as I need it.”

At close of day, each of us

feels that there is an impor-
tance, an urgency, to our own
experience. The travails and
hardships, the happinesses and
exultations, all are deemed
momentous. For artists like
Mahler, it is the same, and
when they sit down to cre-
ate they will pour it all out
onto the page. Flowing down,
mingled together, the salted
griefs and blinding ecstasies
will ignite the artistic flame,
and at the moment of creation
will be born an art that is fun-
damentally, irrepressibly and
unequivocally human.

Hare is buying Adidas Superstars.

To teach him how to tie them,

email haredayt@umich.edu.

‘To live for you! To

die for you!’

When a great composer passes away, where does the music go?

CLASSICAL MUSIC COLUMN

DAYTON
HARE

DO YOU HATE THE ARTS SECTION?

GOOD NEWS! IT’S ABOUT TO CHANGE.

APPLY AND JOIN US!

EMAIL YOUR BELOVED COMRADES AT

ANAY@UMICH.EDU AND

NPZAK@UMICH.EDU FOR DETAILS

Many believe the
score and music
are synonymous,

but I don’t.

He’s a man! He’s a musical!

He’s an episode of Drunk History!
Alexander Hamilton (1757 – 1804)
died over 200 years
ago, but his legacy
lives
on.
Today,

“Hamilton”
is
a

sensation
that’s

sweeping
the

nation, just like the
revolution its titular
character
helped

lead
240
years

prior. It seems like
everyone has caught
the “Hamilton” bug,
including Comedy
Central’s
“Drunk

History.”

The episode begins with Lin-

Manuel Miranda (“Hamilton”)
walking the streets of the Upper
West Side with host Derek Waters
before quickly transitioning to the
apartment where he (Miranda)
currently lives. It’s a fitting opening,
given that the story of Hamilton is
centered around where he came
from and where he ended up. In
the first few minutes, as viewers
settle in for a 22-minute romp
through history with Broadway’s
best, Miranda prepares for an
afternoon of drinking his way
through Hamilton’s life.

Waters sets the episode up

perfectly when he asks Miranda,
“Do you want to get drunk?”

It’s a treat to watch Miranda

— a Pulitzer Prize winner and
MacArthur Genius — share the
intimate details of Hamilton’s
life while inebriated. The musical
“Hamilton” is incredible and
moving on its own, but there are
parts of history that simply can’t

translate to the stage. “Drunk
History” provides audiences with
what they can’t get from other
sources.

An excellent example of these

minute details comes early in the

episode,
when

Miranda describes
Hamilton’s
journey from the
West
Indies
to

Colonial America.
A
horrible

hurricane “f**ked
up the Caribbean”
and
sent
the

young,
orphaned

Hamilton packing
his bags for more
prosperous shores.
On his way – and
this is where it gets

interesting – the ship caught fire.
As in, he rode a flaming vessel to
the land of opportunity. This is
“the kind of shit you can’t do in
the play,” Miranda says, further
coloring the rich history of
Hamilton’s life.

Both the hurricane and the

flaming ship emphasize the poetic
irony of Hamilton’s death. At a
young age, he survived disease,
natural disaster and freak flames.
Once older, he lived through a war.
It was a single bullet, borne out of
rash decisions and high-school
level feuding, that killed him.

The musical does a great job

of emphasizing the tragedy of
Hamilton’s death. Interestingly,
so does “Drunk History,” yet
in a completely different way.
Miranda’s drunk musings about
the lives of both Hamilton and
his killer, Vice President Aaron
Burr, somehow resound with deep,
heartbreaking emotions.

The sporadic and blatantly

honest storytelling in “Drunk
History” points out a central truth
about Hamilton: From the start of
his life to the end, he was a wildly
gifted, incredibly troubled genius
who cared so much about his
legacy and his name that he let it
end relationships and eventually,
his life.

Miranda
shares
another

important fact that isn’t mentioned
in the musical. Prior to his fateful
duel with Burr, Hamilton wrote
and sent a series of letters claiming
that he had no intention of shooting
Burr, and that if Burr shot him,
then it was Burr who was the bad
guy. His final act forever sealed the
fate of Burr – writing his place in
history as a villain and Hamilton’s
as a martyr.

Over bites of Dominos pasta,

Miranda observes that, “whether
Hamilton lived or died, he won the
duel.”

The
Hamilton
special
of

“Drunk History” is a pleasure to
watch and a gift for viewers, fans
of Miranda especially. Watching
him narrate the story is the closest
most audience members will ever
get to hanging out with (not to
mention getting drunk with) a
truly remarkable artist. Like the
musical, it’s a fresh take on a story
that is centuries old.

Other highlights of the episode

include a stellar cast re-enacting
the
history,
a
rendition
of

Semisonic’s “Closing Time” from
Miranda and a surprise FaceTime
break with both Questlove and
Christopher Jackson (“Hamilton”
’s original George Washington).

The 22-minute episode doesn’t

feel nearly long enough. For the
sake of concise storytelling and
Miranda’s liver, however, it’s just
right.

COMEDY CENTRAL

More like drunk herstory.

EMILY BICE
Daily Arts Writer

‘Drunk’ Hamilton a hit

TV REVIEW

A+

“Drunk History”

“Hamilton”

Season 4, Episode 9

Comedy Central

Tuesdays at 10:30

p.m.