Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Foot-in-mouth
incident
6 Blue ox of
folklore
10 Pork or lamb cut
14 Indian or Iranian
15 Tag sale
condition
16 Helen of Troy’s
mother
17 Golf stroke
played from sand
19 Wrinkle remover
20 Remarkable
times
21 Homes of blue-
plate specials
23 “The Simpsons”
creator Groening
26 Apple mobile
platform
28 __ fit: tantrum
29 Readily available
31 Jerry of “Law &
Order”
34 Act division
35 Irritated
incessantly
36 Canadian
Thanksgiving
mo.
39 Hesitant sounds
40 Tire-inflating aid
42 Part of rpm
43 John of England
44 Softens, with
“down”
45 In an unfriendly
way
47 Bitterness
49 Skippers on
ponds
50 Torah teacher
52 Napoleon or
Nero: Abbr.
54 Rainbow flag
letters
55 Digital library
contents
57 Bone-dry
59 Hit the runway
60 Lakota chief at
Little Bighorn,
and what’s
literally found in
this puzzle’s
circles
66 Skin breakout
67 Poker pot starter
68 Longtime NBC
newsman Roger
69 Classic Jaguars
70 Recent returnees
to Los Angeles
71 Oft-poached fruit
DOWN
1 Chatter away
2 Sun Devils sch.
3 First sign of a
shark
4 Faux glow
5 Part of DOE: Abbr.
6 Low voice
7 Blond shade
8 Short life story?
9 Abbr. on a
cornerstone
10 Treatment facility
11 “Wish me luck!”
12 Smells
13 Cultivated violet
18 Roach spray brand
22 Critic’s harsh
words
23 City in northern
Iraq
24 Dried chili pepper
25 Historic
educational
center of Paris’
Latin Quarter
27 “Neener neener!”
30 Clutter-averse
type
32 Vintage cars
named with the
initials of their
company’s
founder
33 Music majors’
degs.
35 River of
Florence
37 Fanzine figure
38 Romantic
rendezvous
41 Org. with a five-
ring logo
46 Brewski
48 Dwellings
49 Agile
50 “Just chill!”
51 Taken __:
shocked
53 Puzzles with
dead-end paths
56 Lasting mark
58 Chain famous for
breakfasts
61 Genetic letters
62 All-hrs. cash
source
63 Belfast-born
actor Stephen
64 McCartney’s title
65 Golf Hall of
Famer Ernie
By Agnes Davidson and C.C. Burnikel
©2017 Tribune Content Agency, LLC
01/24/17
01/24/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, January 24, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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FOR RENT
HELP WANTED
AMELIA CACCHIONE/DAILY
EnspiRED’s latest fashion show.
I couldn’t think of a better
ending to a day of worldwide
activism.
This
past
Saturday
night, student organization
EnspiRED
presented
their
annual runway show in the
main lobby at the Alfred
A.
Taubman
Biomedical
Research Building.
The night began with a
VIP
pre-show
featuring
a
complimentary
buffet,
gift
bags and a live performance by
singer-songwriter Rella. The
pre-show chatter consisted of
attendees complimenting one
another’s outfits and taking
pictures for the ‘gram.
Around 6:45 — the show
was slated to begin at 7
— the speakers cut from
Rella’s velvety vocals to the
thumping, uncensored beats
of hip hop’s current hits (think
“Bad and Boujee,” “Caroline”).
General admission audience
members began filing in from
all entrances. Though most
appeared to be close friends
and family of the EnspiRED
team,
the
excitement
throughout the event space
was palpable.
The
show
began
at
approximately
7:30.
Titled
“Urban
Behavior,”
it
featured
eight
separate
“scenes,” which functioned
as mini fashion shows with
their own individual sub-
themes, ranging from “City
Necessities” to “For Us, By
Us.” The production kicked off
with a dimming of the lights,
and soon the audience was
immersed in a dreamy string
of
Detroit-centered
visuals
created by University student
Corey Johnson. Soon, models
of every race and size were
parading up and down the
runway, eliciting boisterous
cheers
from
the
ever-
involved crowd (think: “YES
CANDACE! GET IT GIRL!” as
the model in question strode
about
in
her
streetwear-
inspired garb).
The clothing was provided
by a wide range of designers,
from
the
Detroit
based-
youngsters at 51/50 to monster
brands like Windsor. Styling
the
outfits
entailed
some
occasional
gender-bending:
Girls strode as confidently
in basketball shorts as their
male counterparts did in pink
pantsuits.
Although
every
look
was beautiful, what struck
me most was the kinship
between model and audience
member. The entire night
felt
remarkably
familial,
especially given the fashion
world’s frequent association
with coldness. Urban Behavior
was less about the clothes, and
more about the sense of unity
that the event fostered.
Midway through the show,
EnspiRED’s
Community
Service Chairs took to the
runway to let everyone know
what the purpose of the event
really was. Everyone in the
organization is involved in
some form of service, the
girls
explained,
and
this
year
EnspiRED
had
come
together to raise funds for
Northwestern
High
School
in Flint. They would even be
holding an activity day at the
school in February with the
intent of preparing students
for their futures.
The
show
closed
with
homage to peaceful protest
in Scene 8, “By Us, For Us.”
Models paraded across the
stage
holding
signs
that
boasted
positive
messages,
such as “Save Our Earth,” “Yes
Means Yes” and the timely
“Feminism is Equality.” Each
provoked a new spurt of cheers
from even the very back row. I
felt like I was re-experiencing
the
Ann
Arbor
Women’s
March, which I had attended
that afternoon, in an even
more diverse, optimistic way.
EnspiRED’s Urban Behavior
was inclusive in the truest
sense. For the first time since
my arrival at U of M, I finally
felt like I was experiencing
genuine
diversification.
The
organization
presents
our campus with a pocket
of beauty seldom found in
a whitewashed, pessimistic
world.
EnspiRED’s runway adds
a dimension to diversity
Student organization’s latest fashion show glamorous and
TESS GARCIA
Senior Arts Editor
What struck me
most was the
kinship between
model and
audience member
I couldn’t think
of a better
ending to a day
of worldwide
activism
INTERESTED IN WRITING FOR ARTS?
MASS MEETINGS — 7 P.M. ON 1/26
AND 1/30 @ 420 MAYNARD
Any questions regarding the application process? Don’t hesitate to email us at
anay@umich.edu or npzak@umich.edu
Quartet for the end of time
My parents are musicians. Not
the cool, rock-band type, with
national tours and color-flooded
light shows and electric guitars. I
know because when I was a kid and
first learned they were musicians,
this was the picture that I had in
mind, and it was — sadly, I thought
— incongruous with what I saw
in day-to-day life. Instead of
shaking hands with famous VIPs
backstage at rock concerts, I spent
many a night of my childhood
sitting bored in the middle
of a concert hall, doodling on
programs while my parents took
formal bows atop a minimalistic
stage. When I was interested in
music, I was interested in the songs
on the radio and old Beatles CDs,
the things I could dance to. Scarcely
did it occur to me that this chamber
music could ever truly impact the
lives of random listeners, or affect
people in the same way that I was
affected by music that made more
sense to me. That these pieces,
from the inventive movements
of
contemporary
compositions
to the symphonies of long-dead
composers, could move people
profoundly, and tell stories that
mattered.
When I was ten years old, I
traveled to Alabama to watch my
mother and three of her colleagues
perform
Olivier
Messiaen’s
“Quartet for the End of Time.” We
arrived at the concert hall early
and, having brought nothing else
with me to do while the quartet
rehearsed, I spent what felt like
hours reading, re-reading, doodling
all over and re-re-reading the
program, which explained the
context in which the piece was
written. It was the story of the
“Quartet for the End of Time” (or,
untranslated, “Quatuor pour la fin
du temps”) that has prompted
me ever since then to allow
music to touch me. That story
made me recognize that music
is a human experience: It is created
by people who are trying to reach
out to the world using the best of
themselves, and, as the listener, I
have the option of reaching back.
Messiaen was a young composer
living in France during World War
II, and in 1940 he was imprisoned
by the German army in a camp
called Stalag VIII-A. It was in
this prisoner-of-war camp that
Messiaen made the acquaintance
of clarinetist Henri Akoka, violinist
Jean de Boulaire and cellist
Étienne Pasquier, all of whom
were fellow prisoners. It was
also here that he composed the
quartet, adding himself as the
pianist. The piece is named, of
course, for the end of the world,
and each movement represents
a
different
stage
in
the
religious cleaving of humanity,
the addled process of love,
destruction and apocalyptic
absolution. The camp guards
allowed
the
musicians
to
perform
this
quartet
for
themselves and for the other
prisoners
using
dilapidated
instruments, and the piece’s
premiere took place in January
of 1941 at Stalag VIII-A, outside
and in the rain.
The idea that people could
relate to music in this way
astounded me. It resonated
with me that a man could
— and did — write an entire
quartet, eight movements of
translated emotion, imprisoned
in a foreign country during
one of the bloodiest wars of
history. I tried to imagine
the musicians playing on the
battered
instruments,
the
guards
who
allowed
them
to play and the prisoners of
war who gathered and saw
the piece first performed in
the middle of the camp. The
thought of all of these people
watching this musical premiere
in the middle of a war made
me think that this event must
have
deeply
impacted
and
revealed
something
about
everyone who was involved in
its manifestation.
In the years since then, I have
been struck many times over by
people’s commitment to music
and deep faith in it as a measure
of humanity. This is true both
of dedicated musicians, like my
parents, and of people whose
lives and careers have nothing
to do with music at all. We all
have songs that we go back to
when life feels so oppressive
that the word “hard” doesn’t
even begin to cover it — songs
that tune us into our own pain,
songs that cleanse us. Only
yesterday, in one of my English
classes, I learned about how
Rosa Parks, upon hearing of Dr.
King’s assassination, reacted
by holding her mother, crying
and listening to Sam Cooke’s
“A Change is Gonna Come”
over and over again. According
to biographer Doug Brinkley,
Parks said that Cooke’s voice
“soothed” her and that his
words were “like medicine to
the soul.”
This
past
weekend,
my
mother performed the quartet
yet again, this time at Michigan
State
University.
Over
the
phone, she told me about how
people were crying — both
the performers and members
of the audience — as they
reached the final movement,
which is meant to represent the
achievement of love and faith
at the culmination of the end
of time. When I think about
it, this is truly one of the most
important things that music
does for people. It reveals our
commitment to creativity and
personhood, brings us together
when there is nothing else to,
and offers us love, strength and
community, even in the face of
the end of the world.
LAURA DZUBAY
Daily Arts Writer
MUSIC NOTEBOOK
It resonated with
me that a man
could — and did
— write an entire
quartet during one
of the bloodiest
wars of history
6 — Tuesday, January 24, 2017
Arts
The Michigan Daily — michigandaily.com
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