ACROSS
1 Tablet input
5 Stick (on)
10 Groovy
13 “The Quiet Man”
co-star
15 Take in, maybe
16 Mauna __
17 Insensitive
zealot?
19 Wine bottle figs.
20 Asian capital
21 Where Gauguin
painted “Woman
With a Flower”
23 Lays to rest
26 Eye parts
27 Gung-ho
28 Concurrent with
29 Poetic praise
30 Like Mandarin
Chinese,
linguistically
32 ’80s-’90s slugger
Fielder
35 Popular wine
region
37 Summer Triangle
twinkler
39 All there
40 View
42 Get rid of
44 Rotation meas.
45 Downgrade,
maybe
47 Tot’s indigestion
area
49 Grows
periodically
51 Sad, on the
Seine
52 Sweater wool
53 Rodeo critter
55 Item under a top
56 Reprobate’s
regular
expense?
61 Funny pair?
62 Like Mexico’s
Pyramid of the
Magician
63 Part of UTEP
64 Whiskey option
65 Rested
66 Casual refusal ...
and, another
way, a hint to 
this puzzle’s 
four longest
answers

DOWN
1 Bashful comrade?
2 “I thought so!”
3 1860s White
House boy
4 Tell, memorably
5 Part of UTEP
6 Fronton game
word
7 Kind of deviation:
Abbr.
8 Wobble
9 Unpredictable
10 Golf course
equipment of the
future?
11 Big artery
12 Rationale
14 Genesis mount
18 Like wild horses
22 Duncan of baking
fame
23 Shackles
24 Clay-court legend
25 What many
golfers regularly
engage in?
26 Yardstick
28 Reel, for one
31 Fledgling
launching spots
33 Feedback

34 “I wanna try!”
36 End of __
38 Frying
preparation
41 Self-evident
actualities
43 Least spoiled
46 Ham’s accessory
48 “The Queen”
(2006) star
49 Color in “America
the Beautiful”

50 Like many bar
jokes
53 Blow a fuse
54 Canvas shelter
57 Actress Carrie
who was married
to Dick Cavett
58 Skeletal opening?
59 Toddler’s
downtime
60 Japanese market
letters

By Mark McClain
©2017 Tribune Content Agency, LLC
04/14/17

04/14/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Friday, April 14, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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8123
 
AMELIA CACCHIONE/DAILY

‘Lonely’ quitely compels Reflecting on Michigan 

with Glee Club’s latest

For 
those 
aching 
with 

nostalgia for their cherished 
college 
days, 
for 
students 

finally 
seeing 
summer 

approaching and for those in 
a celebratory mood, the Men’s 
Glee Club Spring Concert at 
Hill will bring people in from 
all 
across 
the 
University’s 

expansive 
campus.

This Saturday, 

the Glee Club will 
be 
celebrating 

the 
state 
and 

University 
of 

Michigan 
as 
a 

part of the larger 
Bicentennial. It is 
a time to reflect 
on another year 
— and another 
century 
— 
of 

groundbreaking 
work.

“I think that 

the bicentennial is a really great 
opportunity to reflect on all 
the things that have occurred 
at the university in the past, 
and all the different ways the 
audience has engaged with 
the university,” said Glee Club 
President Patrick Kiessling. “I 
hope that our concert will help 
highlight those aspects as well 
as inspire people to keep doing 
these great things that we are 
celebrating.”

Casting their net over all 

of the Ann Arbor community, 
reaching 
anyone 
with 
the 

slightest 
affiliation 
to 
the 

University, the Glee Club will 
bring in a dynamic range of 
people for their celebration. 
Showcasing traditional songs 
of 
the 
University, 
songs 

featuring Michigan’s historic 
lumberjack industry, several 
original 
compositions 
by 

University students and faculty 
and songs that “evoke the 
beauty of both the University 
and state of Michigan,” the 
Glee Club will be showing 
their gratitude in the best way 
they know how.

“I hope that the audience 

comes 
away 
from 
the 

experience seeing how vital 
the U-M Men’s Glee Club is 
to the musical scene here at 

Michigan and being very proud 
of their own contributions and 
experiences here at U-M,” 
Kiessling said.

Following the True Blue 

concert by just one week, 
there is a palpable excitement 
surrounding the concert. After 
a successful premiere of “I Will 
Remember My Michigan” by 
alum William K. Brehm at the 
True Blue concert, anticipation 
runs high.

For 
those 

who missed the 
premiere of the 
new 
Michigan 

song, 
the 
Glee 

Club 
will 
be 

performing 
it 

again 
at 
their 

Spring 
Concert. 

For those keen 
on 
catching 

a 
premiere, 
a 

work 
composed 

by 
University 

of 
Michigan 

professor 
of 

composition, 

Kristin Kuster, may just fill 
that niche. A collaborative 
work with music written by 
Kristin 
Kuster 
and 
lyrics 

from 
Glee 
Club’s 
lyric 

submission contest, the piece 
explores different methods of 
composition.

“We 
had 
people 
submit 

lyrics, as long as they had 
any sort of affiliation with 
the University of Michigan 
whether they were a current 
student, an alumnus, a faculty 
member, retiree, we sent out a 
call for lyrics, we got a bunch 
and ended up doing a blind 
collection process,” Kiessling 
said.

With this contest, the Glee 

Club compiled the lyrics of 
an 
undergraduate 
student, 

a graduate student and an 
alumnus. While many of the 
works in the concert will 
appeal to the more traditional 
ear, 
those 
interested 
in 

exploring 
alternate 
music 

forms are bound to be satisfied 
as well.

The Glee Club will also 

perform 
more 
collaborative 

works 
from 
the 
collection 

“Searchlight Soul” by William 
Bolcom.

“Those 
pieces 
are 

particularly interesting in that 

they are works from 2009, and 
they’re set to texts by writers 
who were Michigan students 
at the time, so they’ve got 
some really interesting lyrics,” 
Kiessling added.

Kiessling 
stated 
that 

the concert will largely be 
“engaging with the state of 
Michigan’s history.”

“One of the things that I am 

really the most excited about 
is that we are doing a Motown 
medley, which is a little more 
contemporary than some of the 
pieces that we typically have in 
our repertoire, but it is just a 
lot of fun,” Kiessling said. “We 
have choreography, and some 
really well known songs that 
I am sure our audience will 
really identify with and really 
enjoy.” 

While Kiessling hopes to 

show “how vital the UM Men’s 
Glee Club is to the musical 
scene 
here 
at 
Michigan,” 

it is evident that the Glee 
Club works without borders, 
extending 
their 
influence 

across all of campus. With 
members of all different years 
and disciplines, the Men’s Glee 
Club serves as an icon for the 
University as a whole.

“We’ve 
got 
all 
different 

years, we’ve got grad students, 
freshmen, seniors and from 
all different schools as well. 
I’ve got friends in the business 
school, 
the 
architecture 

school, engineering, and the 
music school, but maybe I 
would have otherwise never 
met,” Kiessling said, reflecting 
on the effect that Glee Club has 
had on his friendships.

In an ensemble of students 

from all over the university, 
the Glee Club is creating ties 
all around campus, making 
a university with a student 
population of 44,718 feel united 
and just a little bit smaller.

With 19 different colleges 

consisting of undergraduate 
students, graduate students, 
faculty 
and 
staff, 
along 

with several local business 
affiliations, 
one 
common 

interest has the power to 
bring 
vastly 
diverse 
and 

extraordinary 
groups 
of 

people together. The Glee Club 
is just one of many that the 
University of Michigan has to 
commemorate.

ISABEL FRYE
Daily Arts Writer

Men’s Glee Club 

157th Spring 

Concert

Hill Auditorium

April 16 @ 7:30 p.m.

General Admission, 

$15 - 20

Students, $5

Lovely Little Lonely is difficult 

to listen to while sitting still. 
It has the kind of undeniable 
pop rock vitality that demands 
movement 
and 

perpetual 
action. 

But 
what 
the 

album does best is 
rooted in its quiet 
components, such 
as 
the 
shorter, 

mostly instrumental interludes 
that 
“Lovely,” 
“Little” 
and 

“Lonely” 
deliver, 
and 
the 

intentional lulls in some of 
the more intense songs on the 
album. Formed in 2007, right at 
the cusp of the emo renaissance 
of the early 2000s, The Maine 
quickly rose to prominence 
alongside several of the “new 
wave” alternative rock bands 
that floated into being at the end 
of the 2000s. The sixth studio 
album the band has released, 
Lovely Little Lonely comes after 
2015’s slightly less pop oriented 
American Candy and has much 
of the same energy and balance 
that is characteristic of The 
Maine.

“Don’t Come Down” starts at a 

medium pace that quickly builds 
in intensity and complexity. 
With a vibrant, infectious spirit 
and bouncy instrumentals, the 
first track is equal parts pop 
and rock. Unlike more standard 
styles of alternative rock, the 
bass used in the track is light 
and almost weightless, which 
highlights the carefree sound of 
the piece rather than deepening 
and darkening it the way most 

rock basslines do. The lyrics 
themselves are relatively simple, 
which isn’t necessarily a bad 
thing: “When you are next to me 
and the music is loud / Singing 
‘Hey Nineteen’ somewhere in 
the crowd / We are up so high 
/ They can’t touch us now / We 

are 
thousands 

of feet from the 
ground” 
lead 

singer 
John 

O’Callaghan 
sings. 
“Don’t 

Come 
Down” 

makes great use of rhythm, 
using 
short, 
snappy 
lyrical 

passages that really power the 
piece.

“Bad Behavior,” the first 

single released from the album, 
has the same bouncing beat as 
“Don’t Come Down,” but the 
cheery sound of the song hides 
an 
underlying 
unhappiness. 

At multiple points, the lover 
is compared to a drug, adding 
a depth to the piece that 
distinguishes it from a typical 
love song: “Oh, I inhale you in 
small doses / But adore you like 
the roses / When you’re bad for 
me, yeah.”

Lovely Little Lonely is meant 

to be listened to in order, all the 
way through; it’s the only way 
to fully appreciate the graceful, 
seamless transitions that occur 
between tracks. “Bad Behavior” 
cumulates in a single, striking 
beat, then follows with hovering, 
wispy sounds before “Lovely” 
echoes into being. “Lovely” has 
a fluid, underwater soundscape, 
and is characterized by an 
intentional blurring that makes 
listeners feel as if they’re 
listening through a haze of fog. 

The lack of lyrics make for a 
pleasant, quieter break from 
the first two intense songs 
before transitioning into “Black 
Butterflies and Déjà Vu.”

“Black Butterflies and Déjà 

Vu” is by far one of the most 
memorable tracks on the album; 
it’s no wonder it was the second 
single to be released. Contrast 
plays a huge role in the song, 
and most of it centers around 
variations in how the chorus is 
sung: “I lose my voice when I 
look at you / Can’t make a noise 
though I’m trying to / Tell you 
all the right words / Waiting on 
the right words.” At times, the 
electronic instrumentals fall 
back and O’Callaghan’s voice 
becomes a tender croon, and 
at other times, his words are 
filled with a fiercely desperate 
longing.

The transition into “Little” 

is every bit as smooth as the 
ones that came before. Unlike 
“Lovely,” “Little” has a far 
more ghostly feeling, along 
with a whistling, eerie vocal 
overlay. Rather than completely 
stopping the flow of the album, 
“Little” makes listeners feel as 
if they’re suspended in time 
for a little bit; once again, the 
lull provides a nice pause, 
heightening 
the 
emotional 

impact of the songs both before 
and after. Ultimately, it’s the 
quiet calm of these passages 
that brings the album together 
as a cohesive whole; by giving 
space for the smooth and the 
intensity to complement one 
another, 
these 
sections 
fit 

together like a puzzle, and 
Lovely Little Lonely becomes 
one. 

SAMANTHA LU
Daily Arts Writer

Lovely Little Lonely 

The Maine 

8123

R.I.P

2017—2017

HERE LIES THE ARTICLE 
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WRITTEN HAD YOU 
JOINED DAILY ARTS.

Regretful? Good, you should be. To 
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arts@michigandaily.com to join.

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