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.

