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$2100‑$2800 plus gas and
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Tenants pay electric to DTE
Showings scheduled M‑F 10‑3
w/ 24 hour notice required.
1015 Packard
734‑996‑1991

5 & 6 Bedroom Apartments
1014 Vaughn
$3250 ‑ $3900 plus utilities
Showings scheduled M‑F 10‑3
w/ 24 hour notice required
734‑996‑1991



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CENTRAL CAMPUS
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4 ‑ 5. MAY to MAY.
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FALL 2018 HOUSES
# Beds Location Rent
6 1016 S. Forest $4900
4 827 Brookwood $3000
4 852 Brookwood $3000
4 1210 Cambridge $3400
Tenants pay all utilities.
Showings scheduled M‑F 10‑3
w/ 24 hr notice required
734‑996‑1991

FOR RENT

DOMINICK’S NOW HIRING
all positions FT/PT.

Call 734‑834‑5021.

HELP WANTED

SPRING BREAK: SPI.
Beach Condo.
Info and pictures: 956‑459‑4806.
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TICKETS & TRAVEL

ACROSS
1 Daily bread?
5 Convenient bag
9 Flower that’s a
Buddhist symbol
of purity
14 Unattributed, as
a quote: Abbr.
15 Prof.’s employer
16 Stupefy
17 Checkout line
unit
18 Actress Russo
19 Words to live by
20 1666
conflagration that
destroyed St.
Paul’s Cathedral
23 Military abbr. on
a Beatles album
24 NYC subway line
25 Pup squeak
28 Raphael fresco
depicting Greek
philosophers,
with “The”
33 “__-ching!”
34 Venison source
35 Sunny feeling
36 Seventh-day
activity, in the
Bible
38 __ Gone: gunk-
cleaning product
40 Repeated Doris
Day song word
41 Gave the slip
44 Indian bread
47 At this moment
48 Gypsum used for
casts
51 Subj. for
immigrants
52 Color gradation
53 Coastal inlet
54 Pope
60 Complete chaos
63 Each
64 Rapper whose
name sounds like
a drink
65 Plato’s
marketplace
66 Fodder storage
tower
67 Not this
68 Wooden peg
69 Informal
greetings
70 “Star Wars” guru

DOWN
1 Many a Dickens
child

2 Prefix with social
3 Suffix with party
4 Catch in a net
5 Sports injury on
an artificial
surface
6 First-year law
student
7 Former Yankee
slugger Martinez
8 Should it arise
that
9 De Niro’s
“Raging Bull” role
10 Arabian
Peninsula nation
11 Payroll deduction
12 Action film
weapon
13 College yr.
division
21 Prayer opener
22 Sketch
25 Native of Sana’a
26 Emcees’ duties
27 “Horsefeathers!”
28 Beachcomber’s
finds
29 Like some Friday
work attire
30 Meet portion, or
portion of meat
31 Maine college
town

32 Store posting:
Abbr.
33 Parisian pancake
37 NFL six-pointers
39 Dolt
42 Virtuous
43 Latin god
45 At just the right
time
46 Innocent soul
49 Go over again
50 Uncommon
thing

54 Droning lecture,
e.g.
55 Freckled boy of
old TV
56 Roly-__
57 Eight, in
Ecuador
58 Renaissance
faire quaff
59 Jazzy James
60 “I’ve been __!”
61 Back in time
62 Pledge

By Michael Dewey
©2018 Tribune Content Agency, LLC
01/23/18

01/23/18

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, January 23, 2018

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

Classifieds

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

Rankine on staying in the room

JOSHUA HAN / DAILY

On Thursday, poet, essayist and
playwright Claudia Rankine spoke
in conversation with theatre artist
P. Carl at the Michigan Theater.
The room was nearly full and
buzzing with anticipation to hear
Rankine speak about her new
play, “The White Card,” written in
conjunction with Carl.
“The
White
Card”
began
as an adaptation of Rankine’s
bestselling collection of non-
fiction
poetry,
“Citizen:
An
American
Lyric.”
“Citizen”
extrapolates on the persistent
racial tension between white
and
Black
Americans,
from
racist
micro-aggressions
in
supermarkets to overt racism
in professional tennis, painting
a painful and accurate picture
of the myth of America’s “post-
racial” society.
After touring with “Citizen,”
Rankine decided that she wanted
to create a play that was an
entirely different entity than her
collection. She discovered that the
reading of “Citizen” was the least
interesting part of her tour. She
was more intrigued and inspired
by the responses of the audiences

she was reading to across the
country, from the unwarranted
hostility of white men to the
bravery of young Black women.
She then determined that the
collaborative and communicative
energy of theatre would be the
most beneficial setting for a new
work, one that was written in
response to, what she’d witnessed
in her audiences.
The aim of “The White Card” is
to explore whiteness and to stage
a continuous conversation around
race, one that cannot be avoided
on the premise of “good manners.”
The
play
follows
Charlotte
Cummings, a young Black artist.
Charlotte attends a dinner party
with her husband hosted by white
art dealers in New York City in
hopes of selling her art to them.
The dinner party quickly spirals
into an incredibly racialized and
hostile
environment,
written
to explore the manifestation of
racism in everyday life.
In reading this play, Rankine
said that many young Black
women
asked
the
question,
“Why did she stay in the room?”
Though this made her hopeful,
Rankine was also surprised by
this response. In her experience,
it was very uncommon to leave
during a racist situation. It was

more common to “stay in the
room.” This is the dynamic that
“The White Card” is exploring:
the phenomenon of “staying in the
room.”
Rankine and Carl elaborated
on the difficult situations and
dialogue within the play, with
Carl
claiming
that
Rankine
was writing things that “no
one would ever say.” Carl then
caught himself, realizing that
his experience as a white man
was incredibly different than
Rankine’s experience as a Black
woman — the very theme that the
play is encapsulating.
The play’s parallels to reality
expand beyond Carl’s experience
of collaborating with Rankine
on the work. The economics of
theatre heavily influenced the
writing of “The White Card.” This
economic consideration is difficult
to grapple with in creating a work
about race, given that consumers
of theatre are primarily white, and
the success of a play is essentially
dependent on white people.
Rankine elaborated on this,
speaking of the difficulty of
accurately portraying what it
is to be Black in America while
also attempting to be careful of
the potential discomfort of the
white audiences the play would be

performed for.
“This play is written for white
people and they will be the
audience,” Rankine said. “I can’t
show the worst of them.”
The
anxiety
around
the
writing of the play for the sake
of economics essentially centers
around Rankine’s most prominent
question: “How uncomfortable
can we make white people?”
The
conversation
between
Rankine and Carl around the
process of the play was incredibly
potent.
The
anxiety
around
conversations
about
race
is
omnipresent.
Though
these
conversations are necessary and
important, especially in today’s
political environment, they are
avoided — and this avoidance
is usually in the name of white
comfort.
Rankine and Carl had this
conversation in front of a packed
theater and continued it as white
people began to walk toward the
exit doors. Through “The White
Card,”
the
conversation
will
persist.
White people must face the
discomfort around conversations
about
racial
aggression
to
understand it and to change it.
We, now, must be the ones to stay
in the room.

JENNA BARLAGE
Daily Arts Writer

The University
Philharmonia
delivers intense
performance

Last
week’s
University
Philharmonia
Orchestra
concert at Hill Auditorium
was an impressive display of
orchestral might on two rather
mature and nuanced works:
Beethoven’s
“Symphony
No. 8” and Strauss’s “Der
Rosenkavalier
Suite.”
Both
pieces depict humor, one of
the
most
difficult
aspects
of
orchestral
performance.
While neither piece was quite
as humorous as one would
expect, both were impactful
displays by student musicians
as they learn to play comedic
music.
This
brought
both
pieces to moments of pure
beauty along with occasional
moments of confusion.
Beethoven’s “Symphony No.
8” opened quite strong and
continued in a triumphant, if
slightly unbalanced, vein. The
sudden changes in volume,
for example, were navigated
well. The cellos, in particular,
performed their melody to
great effect.
The second movement, the
comical movement that some
have likened to the beating of a
metronome, was pleasant and
well-executed. The repeating
notes
in
the
brass
and
woodwinds were impeccable,
though slightly overpowering.
The famed 16th-note passage
in the basses (a quick scale-like
passage on the lowest portion
of the instrument where pitch
is virtually indistinguishable)
leapt from the orchestra with
a muddy ferocity unparalleled
in the entire work. It was,
as
Beethoven
intended,
a
startling departure from the
airy texture of the movement,
a
surprising
hint
at
the
frightening textures contained
in some of Beethoven’s other
orchestral works.
In the third movement, the
orchestra struggled a bit to
stay together before finding
sure footing. The triplets in
the cellos at the beginning of
the movement began to fall
apart, though this was quickly
forgotten as the movement

progressed. The fluxuations
between loud and quiet sound
easily captured the audience’s
attention
throughout
the
remainder of the work.
The
last
movement
displayed similar faults and
strengths in interpretation.
While it was the least precise
of the movements, it was also
the
most
captivating.
The
various repeats of the melody
within the movement managed
to feel new and engaging at
every instance. The sudden
C-sharp modulation in the
coda (ending section) was
handled with the appropriate
amount of surprise and then
acceptance. All in all, it was
a fitting end to Beethoven’s
“Little Symphony in F” —
his strangely sophisticated,
comedic little work.

Strauss’s
“Der

Rosenkavalier
Suite,”
the
second work on the program,
also contained a few awkward
moments
in
an
otherwise
eclectic and fun performance.
The huge orchestra required
for this piece led to some
minor balance issues between
strings and brass, though this
was ironed out by the end of
the piece. The cross-sectional
doublings (those not confined
to instruments within the
woodwind, string or brass
families)
also
struggled
a
bit
throughout
the
work,
though they seemed to gain in
confidence as the performance

progressed.
The octave passages in the
bass and low brass, however,
captured the audience and
set the tone for the rest of the
piece. These octave passages
were resonant and powerful,
seemingly
waking
up
the
orchestra and provoking an
impressive performance.
Following
these
octaves,
the solo passages began to
emerge with confidence from
the work. The oboe solos, for
example,
were
impressive.
The
solo
passage
for
the
concertmaster, principal first
violin, principal cello and oboe
were absolutely awe-inspiring.
This moment easily captured
the performance, the trading of
notes between the instruments
beautifully
navigated
with
grace and ease. This created
a beautifully light and fragile
texture
in
an
otherwise
overwhelmingly large work;
a brief respite between vast
complex sonorities.
The
waltz
sections
in
the second half of the work
represented
the
entire
orchestra at their best. The
balance during these waltz
sections was breathtaking —
even the harp could be clearly
heard when it was appropriate.
The slower melodic passages
also sounded incredibly rich
and poignant. The constant
fluctuation
between
slow
melodic content and waltz
sections gave the ending a
confidence and radiance not
felt through the early portion
of the work.
The best moment, however,
came midway through the end
of the work. In preparation
for an unexpectedly low bass
note, conductor Oriol Sans
pointed straight down while
facing towards the section,
a powerful look on his face.
The
basses
responded
to
this gesture, delivering an
appropriately ferocious drop
in register. The smiles on the
musicians’ faces as they played
this low note represented the
feeling of the entire concert:
a
confident
interpretation
of two lighter pieces in the
orchestral repertoire. While it
may be easy to take issue with
some minor interpretational
inconsistencies
in
the
performance, it is impossible
to deny that the orchestra
delivered
an
intense,
captivating concert.

SAMMY SUSSMAN
Daily Arts Writer

COMMUNITY CULTURE REVIEW

It was, as
Beethoven
intended,
a startling
departure from
the airy texture
of the movement

The waltz
sections in the
second half of the
work represented
the entire
orchestra at their
best.

COMMUNITY CULTURE REVIEW

6 —Tuesday, January 23, 2018
Arts
The Michigan Daily — michigandaily.com