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