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HELP WANTED
ACROSS
1 Alan of “Tower
Heist”
5 Partridge family
tree?
9 Eliot’s Bede
13 He shared the
AP Driver of the
Century award
with Andretti
14 Consumed
16 Con __: tempo
marking
17 Museum figure
18 Chat at the
supermarket
checkout?
20 Bigelow offering
22 “Utopia” author
23 Request on “ER”
24 Marsh bird with
uncontrollable
urges?
28 Oldest Japanese
beer brand
29 Discounted by
30 Cut out
31 Trivial amount
33 __ science
37 Paella veggie
38 Way into Wayne
Manor?
41 “Eureka!”
42 Legendary first
name in skating
44 Northwest
Passage
explorer
45 Cinco times dos
46 Noodle bar order
49 Fulfill
51 Work of a major
opera house
villain?
55 Animal house
56 Pertaining to
57 SHO-owned
cinematic
channel
58 Attract ... or, as
three words,
sequence
change with a
hint about 18-,
24-, 38- and 51-
Across
62 Not at all tough
65 Skye, for one
66 Card worth a
fortune?
67 Stir up
68 Slender
swimmers
69 Sweet tubers
70 Winter coat
DOWN
1 Laughlin in Tex.,
e.g.
2 He often batted
after Babe
3 Like “The Hunger
Games” society
4 Tackle
5 Wood fastener
6 Ringing organ?
7 Physics class
topic
8 Cringe
9 Youngest of the
“Little Women”
10 Article of faith
11 Arcade giant
12 Exxon follower?
15 Guts
19 Giant in little
candy
21 GI’s address
24 Typical Hitchcock
role
25 Celestial bear
26 Take from a job
27 Johannesburg’s
land: Abbr.
28 Finishes (up) the
gravy
32 Former SSR
34 Go ballistic
35 Taking something
badly?
36 Unclear
38 Mismatch
39 __ Coast
40 Repeated word in
the Beatles’ “She
Loves You”
43 National Ice
Cream mo.
45 Aids for romantic
evenings
47 Hedger’s last
words
48 42-Across’
homeland
50 Vietnamese
holiday
51 __ Bauer
52 Part of a song
53 Collectively
54 Anne of comedy
59 Director Craven
60 Danube Delta
country: Abbr.
61 Drying-out
hurdle
63 __-mo replay
64 Taxus shrub
By Mark McClain
©2017 Tribune Content Agency, LLC
09/15/17
09/15/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Friday, September 15, 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
6A — Friday, September 15, 2017
Arts
The Michigan Daily — michigandaily.com
CLASSICAL MUSIC COLUMN
Music as a members
only club
It’s really not controversial
to say that classical music has
a PR problem. As one might
imagine to be the case for a
genre several centuries old,
it’s managed to acquire quite
a reputation over the years,
baggage
generally
having
something
to
do
with
its
perceived elitism and general
snobbery. Some of which is
valid, of course, but mostly
it’s wildly overblown in the
popular imagination: At least
in today’s classical world, for
every
tuxedo-toting,
nose-
thumbing type there’s an equal
number of open and laid-back
individuals who just want to
relax and enjoy making music.
Naturally the two groups are
locked in a sort of eternal battle
for the soul of the genre, and
invariably the demographics
of the latter group tend to
skew younger and the former
older (though obviously with
exceptions).
Much
of
this
isn’t readily visible to large
segments of the public —
the days of classical music’s
skirmishes being fought across
the culture pages of your
local newspaper are largely
over — and honestly it isn’t
nearly as dramatic as I make
it sound, but nevertheless this
vague ideological conflict is
important, because while the
genre is nowhere near death
(no matter what the histrionics
of the would-be horsemen of
the cultural apocalypse might
lead you to believe), its growth
and appeal are both limited by
the way it’s perceived.
Sometime in the past (I don’t
remember where) I referred
to the programing practices
of
most
major
orchestras
as being demonstrative of a
sort of “antiquated museum
culture” with a stranglehold
on the art form — which I
largely still believe — but that’s
only part of the problem. Of
course it’s an issue that most
orchestras
overwhelmingly
program music by mostly male,
mostly white and mostly dead
composers. And of course this
has a lot to do with the culture
in which the genre developed,
and it’s been said many times
before (at this point as almost a
sort of mantra among the woke
of the classical community),
but
it
remains
almost
as
relevant as upon its
first
utterance. This programing
disparity is a problem in-and-
of-itself, but one of the other
issues involved has to do with
the appearance this reality
projects.
Classical
music,
perhaps
more than most genres, suffers
from being a kind of members-
only club. Or, at least it suffers
from those who would make
it so. There is a particular
demographic who would pick
up my column, read “classical
music is elitist,” and respond
“good.” For a variety of reasons
— its long history of patronage
by European aristocracy, the
expense involved with large-
scale musical presentations,
dependence
on
wealthy
donors, etc. — classical music
has a strong association with
the
economic
and
societal
elite, and for those who might
seek to somehow differentiate
themselves
from
everybody
else, it can serve as a useful,
class-marked area of interest.
Consequently,
concert
production can often take on a
character of conservatism and
passive exclusion. Usually it’s
small things, like dirty looks
directed at someone who claps
between movements, a mild
distaste for the neophytes who
haven’t learned the rituals,
but cumulatively it creates an
atmosphere that isolates the
art form from the world at large
and stifles its engagement with
contemporary society. More
often than not it seems that
the musicians themselves (at
least in my experience) are
discontent with this state of
affairs, and it’s more a product
of the patrons and/or donors,
but the developments in this
war of ideas will likely provide
the future direction of the
genre.
Part
of
this
ideological
combat broke out into the
foreground of a few very
particular and niche online
communities
last
weekend.
Two Facebook groups, one
the much older “Pretentious
Classical Music Elitists” and
the other the younger “Prelude,
Fugue,
and
Shitpost,”
got
into a little scuffle over the
stuffiness of classical music.
Doubtless you can sort out
where the battle lines were
drawn. But these two groups
are
fascinating
because
they serve as almost perfect
archetypes of the two schools
of thought. The former’s name
was originally meant to be
tongue-in-cheek, but over the
years it seems as if many of
its members didn’t quite pick
that up. There is plenty of
valuable musical discussion
to be had there, and there are
lots of subsections within it
of interest, but on the whole
its tastes tend to constitute
a
staid
and
conventional
veneration of the Classical and
Romantic eras, coupled with
an embrace of the “elitist” title
and a certain looking-down
on other musical genres. This
rubbed the vaguely anarchistic
members of PFS the wrong way,
and they began a campaign
inside PCME to shitpost in
exaggerated, imitation PCME
manner in order to knock the
other group down a peg.
PFS is a curious bunch:
Mostly students at university or
conservatory, they constitute a
kind of anti-elite elite, that is
to say, they’re not not elitists,
but their elitism is directed
towards the breaking down
of old systems of thought, and
their musical tastes tend to be
an aesthetic free-for-all. In a
certain sense they remind me
of some of the American and
British communists of the ’30s,
the anti-bourgeois bourgeois
intellectuals
common
at
literary cafés and universities
before everyone realized that
Stalin was a homicidal maniac
who only cared about his own
power.
The meme war was brief,
and retribution was swift:
deletions, bannings, the lot. It
was mostly over in a weekend.
Ridiculous as it was, though,
the
event
says
something
interesting about the place
that classical music culture
(particularly among the young)
is in today. If the young in PFS
are any indication, the genre
is due for its own Glasnost
and Perestroika, and perhaps
this will lead to a wider
appeal. In certain modes of
thinking, there is a conflation
of seriousness of the self with
seriousness of the art. If you
hold yourself too cheaply, the
thinking goes, then the art
you make will come out cheap
as well. And perhaps there’s a
certain truth in that, but at the
same time, if you take yourself
too seriously in any art form
there’s a very real danger that
it will implode in on itself and
become
directionless.
And
that’s the quickest path to
irrelevancy.
DAYTON
HARE
‘Marie Curie’ is not as
inspiring as its subject
FILM
“Marie Curie: The Courage of
Knowledge” is all grace. Filled
with soft colors, a delicate
score and a subtly compelling
lead performance by Karolina
Gruszka
(“Salvation”),
the
story drifts gently through
the brilliant scientist’s life,
floating along through her
most intimate moments. We
follow Curie through the death
of her husband, her greatest
discoveries, her eventual affair
and her lifelong struggle to
be recognized by the brutally
male-dominated
scientific
community. Gruszka’s Curie
is icy, her face impassive
and unreadable but for a few
moments of raw emotionality
that
peek
through
the
necessarily
hard
facade.
There’s a quiet vulnerability
to
her
performance
that
grounds the otherwise airy
and ethereal film. But there’s
a fundamental dissonance at
the heart of the movie. “Marie
Curie” has a lot it wants to say
about love, curiosity, science
and life’s trials — but it’s so
self-consciously artful that it
ends up saying very little at
all. It’s a very pretty film, but
its substance is lost in all the
paper-thin, gossamer beauty.
ASIF BECHER
Daily Arts Wrtier
There is a
particular
demographic who
would pick up
my column, read
“classical music
is elitist,” and
respond “good”
“Marie Curie:
The Courage of
Knowledge”
Society for Arts,
The
Michigan Theater
‘Marie Curie’ is a film that attempts to say a lot but fails
in doing so, coming off as self-absorbed and insubstantive
Read more at
MichiganDaily.com
It was recently announced
that
Nike
would
be
collaborating with Off-White,
one of the hottest streetwear
brands
around.
This
collaboration comes only a few
weeks after Nike ended their
partnership
with
VLONE,
another popular streetwear
brand, after sexual assault
allegations
surrounding
its co-founder, A$AP Bari,
surfaced.
The
collection
will feature familiar Nike
sneaker silhouettes with an
added twist from Off-White
mastermind,
Virgil
Abloh.
None
of
the
designs
are
particularly groundbreaking:
The shoes are simply popular
models (Jordan 1s, Blazers, Air
Prestos, etc.) with the word
“AIR” printed on one side and
the branding “OFF-WHITE
for NIKE / (Insert Model
Name
Here)
/
Beaverton,
Oregon USA / c. 2017” on the
other.
Collaborations like this one
help draw attention to existing
Nike models, an initiative
that’s extremely important as
Nike continues its competition
with other sneaker brands.
Even though these sneakers
will be released in scarce
numbers,
the
collaboration
will bring consumers’ eyes to
the existing shoes that Nike
offers as an alternative for
those who fail to cop. Soon
you’ll
see
people
wearing
Nike’s VaporMax or Air Presto
sneakers as a “poor man”’s
Nike x Off-White.
If
you’re
interested
in
picking up a pair of the
sneakers, good luck (unless
you’re willing to pay $1000+).
These sneakers are guaranteed
to sell out instantly and be
resold at 5-10 times the price.
If you somehow manage to
get a pair, consider buying a
lottery ticket, because you
must be quite lucky.
NARESH IYENGAR
Daily Arts Wrtier
STYLE
OFF-WHITE
Nike releases sneaker
collab with Off-White
HEY YOU.
ARE YOU A NERD WITH AN
UNHEALTHILY LARGE VINYL
COLLECTION?
If you are, join arts!
Email arts@michigandaily.com for more info