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Arts
Monday, February 5, 2018 — 5A
FOR RENT
3 & 4 Bedroom Apartments
$2100‑$2800 plus utilities.
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
ARBOR PROPERTIES
Award‑Winning Rentals in
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Central Campus, Old West
Side, Burns Park. Now Renting for
2018.
734‑649‑8637 | www.arborprops.com
CENTRAL CAMPUS
7 BD furnished house, LR, DR, 2
baths,kitchen fully equipped, w/d,
int.cable,parking 4 ‑ 5. MAY to MAY.
Contact:706‑284‑3807 or
meadika@gmail.com.
FALL 2018 HOUSES
# Beds Location Rent
6 1016 S. Forest $4900
4 827 Brookwood $3000
4 852 Brookwood $3000
4 1210 Cambridge $3400
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HELP WANTED
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SUMMER EMPLOYMENT
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This Summer – Make lifelong friends.
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ACROSS
1 Closest pal, in IM
shorthand
4 Fish-eating raptor
10 Wretched
14 Period of history
15 Put a new flannel
layer in, as a coat
16 Fruit punches
17 Nonconformist
Harley-riding
groups
19 Picky details
20 Chief Norse god
21 “Hulk” director
Lee
22 Photoshop
creator
23 Longtime “SNL”
announcer Don
25 Rose and
Orange
28 Hoppy brews, for
short
30 Dog command
31 Shake, as with
fear
34 Demeanor
35 “__ on a Grecian
Urn”
38 Places where
critters procreate
41 Camera initials
42 35-Across, e.g.
43 Gulf War reporter
Peter
44 Cancún house
45 Quick cash
sources, initially
46 Honey Ryder and
Mary Goodnight
50 “Fantastic!”
54 Like beer in a
cooler
55 Unit of resistance
57 Lost fish in a
Pixar film
58 Letter before eta
59 Barry, Robin and
Maurice Gibb ...
and a hint to 17-,
25-, 38- and 46-
Across
62 Rowing tools
63 Pine secretions
64 Antonym of post-
65 Gin fizz fruit
66 Remove, as a
chin strap
67 The “S” in iOS:
Abbr.
DOWN
1 Jazz style
2 Mexican artist
Kahlo
3 Fire-walking
mystic
4 Bruin legend
Bobby
5 Nintendo rival
6 Backup
strategies
7 Drummer Starr
8 London’s land:
Abbr.
9 “Okay”
10 Graffiti creator,
perhaps
11 Figure of speech
12 Do not disturb
13 Letters before
tees
18 Curly salad green
22 Child
psychologists’
benchmarks
24 Where to find
columns with
views
26 Millard Fillmore,
partywise
27 Ogle
29 Melodic passages
31 NFL play callers
32 Internet address
33 __ Lingus: Irish
carrier
34 Roaring-lion
studio
35 Washington’s bill
36 Banned pesticide
37 Winter hrs. in
most of Michigan
39 Not far
40 Like heroes
deserving more
recognition
44 Jewel box
45 Hearth
receptacle
46 Obnoxious
clowns
47 Basketball’s Shaq
48 Part of TNT
49 Rich soil
51 Pals, in slang
52 Nail-filing board
53 Kentucky Derby
flowers
56 “American
Beauty” actress
Suvari
59 __TV: Turner
channel
60 Farm layer
61 Telepathy, e.g.
By Jeff Eddings
©2018 Tribune Content Agency, LLC
02/05/18
02/05/18
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Monday, February 5, 2018
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
CHECK OUT OUR COOL
www.michigandaily.com
WEBSITE.
NOW.
BOOK REVIEW
‘Farewell to the Horse’
tells a cultural history
Usually,
when
I
think
of
nonfiction, I think of boring,
textbook-like tomes filled with
page after page of rigid, unrelenting
text. Maybe there’ll be a diagram
or two tossed in there to spice
things up. Maybe the writer will
have tried to break up the book’s
monotony by dividing chapters
up into bite-sized, ever smaller
sections. Though Ulrich Raulff’s
“Farewell to the Horse” is made
up of four smaller sections, Raulff’s
thoughtful
detail
description
pushes the book over the delicate
line that divides boring textbooks
and quirky nonfiction.
Raulff turns history into a story
of sorts, told from the horse’s
point-of-view. In the very first
passages, he details an amusing
scene from his past. It’s the mid
1950s, back when cars and diesel
powered machines were gradually
beginning to replace horses as the
primary means of transportation
and power. Right in front of
Raulff’s eyes, his cousin crashes
a diesel vehicle into a nearby
fence, becoming so entangled that
eventually, the only way to extract
both man and machine is through
a draft horse — the very animal
that the former were supposed to
replace. In a way, it’s also a warning
for us to never forget our roots.
At one point, Raulff discusses
how Paris, though one of the
blooming political, cultural and
social cities of the world, was
also a hell for horses; the city’s
very development was impossible
without the cheap transportation
and power that horses provided.
He details stories of horses in
war, with photographs of their
grand bodies lying sprawled in
abandoned battlefields; in history,
when they served as the true
backbone of the Mongol Empire;
and the role of horses in art as
inspiration, metaphor and subject.
He explores bestiality in art, like
the movie of a pubescent girl, her
horse and their unshakable bond,
or even more specifically, the way
horses show up in Franz Kafka’s
work.
“Farewell
to
the
Horse”
implicitly reminds us of how
far technology, as a whole, has
progressed. As much as our
generation loves gizmos, we were
never alive back when horses were
essential to daily life, and though
some of us have deep attachments
to our cars, rarely, if ever, do most
people experience that working
bond between horse and person.
Carriage rides are novel nowadays,
something fun to do on Christmas
Day or a memorable flourish for
someone’s wedding, but Raulff
implores us to look past the
technical pros and cons of times
long gone and remember the
animals that carried humanity for
so long.
“Farewell to the Horse” isn’t a
nice, light, nighttime read. In fact,
a majority of the population might
find it particularly boring; there are
certainly places in the book where
the reader can be overwhelmed
by the sheer density of words on
the page. As a whole, “Farewell to
the Horse” sometimes feels like
a dictionary; one could flip the
book open to any page and start
reading without really missing out
on what came before. But that’s
where its beauty lies. Sometimes,
instead of a book that transports
us to fantastical worlds, we want
something to ground us in our own.
SAMANTHA LU
Daily Arts Writer
The new release from Liverwright Books goes into depth on
the technological revolution, grounding the reader in today
Revisiting: ‘Glee’ grows
stale with passing time
Contrary to popular belief,
all things do not, in fact, get
better with time. And “Glee”
is most definitely one of those
things. I’d even go so far as to
contend that it should have
been first on the list of relics to
be left and buried in, say, 2012
— at the end of season three.
Don’t get me wrong, though.
“Glee” was an absolute hit
almost a decade ago. A gem
of its time. It gave way to a
national tour, a 3D concert
movie, mountains of tween
merchandise, multiple albums
(full of covers that are still bops
to this day, might I add) and a
die-hard, swooning fanbase of
‘gleeks’ armed with pom-poms
and slushies. It’s just that now,
in revisiting “Glee” after all
these years, it was mostly just a
pretty weird — and oftentimes
cringe-worthy — experience.
Let’s begin by going back
to the era of “Glee” where the
series was endearing and truly
a spectacle. That is, seasons
one through three. It’s a tale
as old as time: A high school
harshly divided between jocks
and nerds finds a motley crew
of glee club members desperate
to enter the popularity sphere.
The characters are all so young
and doe-eyed, struggling to
develop a sense of their own
identities as well as discovering
where they fit in among others
at McKinley High.
There is Rachel, a singer
with
huge
aspirations
of
stardom
and
an
extreme
infatuation with a quarterback,
Finn. Then there’s Kurt, an
extravagant powerhouse who
wrestles with his own self-
expression and coming-out to
his ultra-conservative father.
And there’s also Quinn, the
lead cheerleader, main mean
girl
and
president
of
the
abstinence club — who just
so happens to have gotten
pregnant by a boy who is not
her boyfriend. Somehow, no
matter how different these and
the other characters may seem,
they all end up in the glee club
fighting to win a national title
and trying to prove that show
choir can be cool. That sense of
unity and family is extremely
lovable and is what kept so
many coming back for more
delightful drama.
But there are also many,
many places where “Glee”
misstepped along the way,
and looking back now it’s
hard to believe that more
people didn’t notice. First off,
the musical numbers are all
horribly autotuned. While I’m
sure that was the style a few
years ago, now it only comes
off as very cheesy and ruins
some of the magic of the show.
Also, logistics are pretty much
thrown out the window, as a
majority of the plot meanders
and drags on, and many of
the scenarios are in no way
practical. Why do we rarely
see the glee club practicing the
songs they are actually going
to sing at competitions? How
do they put those numbers
together so quickly? So many
questions, so few answers.
And most problematic of
them all, for being a show
branded
on
heavy
and
diversified representation, it
feels like a lot of the diversity
within
the
characters
is
done simply to check boxes
and label the leads. We see
the gay boy, the Jewish kids,
the lesbians, the soulful and
sassy Black girl and the shy
Asians — but their character
traits are so intensified and
exaggerated that the so-called
“representation”
turns
into
done-for-comedic-effect
stereotyping.
“Glee” had its hot and
cold moments, but I have
never seen a show fall faster
downhill than it did after the
conclusion of season three.
At this point, many of our
favorites had graduated from
McKinley and had moved on
to either travel far away from
Lima, Ohio, enroll in college or
join the military — leaving the
school glee club with a mere
sampling of B-list younger
members and a fresh crop of
eager participants.
Let me say that there are
few things more frustrating
than when a series brings in
new faces to casually try and
replace characters that have
either graduated, died or for
some reason left the show. But
that is exactly what “Glee”
tried to do beginning in season
four — and it failed miserably.
While the show was split-
screened between following
the storyline at McKinley High
and following Rachel and Kurt
in their adventures in star-
studded New York, now “Glee”
had lost a lot of its allure and
simply felt like a flawed spin-
off.
Ultimately, there is no way
to accurately encapsulate all
of the moments where, against
all odds, “Glee” worked. But in
choosing three episodes chock
full of drama, full-out musical
numbers and all the feels, I will
attempt to memorialize “Glee”
for its good times, rather than
its bad.
1.
“Never
Been
Kissed”:
season 2, episode 6
One of the beloved mash-
up contest episodes, “Never
Been Kissed” is a standout
because it actually takes some
of the spotlight off of New
Directions and introduces us
to their competition — The
Warblers of Dalton Academy.
It is here that we meet Blaine
— played immaculately by the
University’s own Darren Criss
— and begin to fall in love.
It is through his passionate
rendition of “Teenage Dream”
and instant draw to a suddenly
introverted
Kurt
that
we
realize just how influential
Blaine
will
be
to
Kurt’s
currently
dwindling
self-
esteem and acceptance of his
genuine self. This episode is
charming not only because
of this budding romance, but
also because it carries the
overarching heartfelt message
that if it takes some time and
a little help from others to
embrace who you are, that’s
perfectly OK.
2. “Nationals”: season 3,
episode 21
It is through “Nationals”
that we are fulfilled as “Glee”
watchers, as New Directions
finally win a national title
and make all of those hours
of binging worth it. It’s a
true rallying cry as all forces
come together, even including
Sue Sylvester to pull out a
win and overcome the odds.
This episode also features
some of the strongest musical
moments of the entire series,
as
the
New
Directions’
nationals setlist may be one of
the greatest, most emotional
musical montages ever filmed.
With no lack of instances
documenting sheer unity and
togetherness, if there is one
episode to be thought of when
immortalizing “Glee” forever,
this should definitely be it.
3. “The Break Up”: season 4,
episode 4
Leading up to a five-week
hiatus
after
its
real-time
premiere, “The Break Up” left
viewers feeling empty and
on the edge of their seats as
everyone’s
favorite
couples
disbanded in a tear-jerking
mosaic. I mean, how could you
not cry when couples that we’ve
seen grow up together — Finn
and Rachel, Kurt and Blaine
and
Santana
and
Brittany
— are forced to say goodbye
and let go of their first loves.
This episode is memorable
not only because of the strong
emotional reaction it provokes,
but also because most of the
heavy
moments
and
deep
conversations are executed in
true “Glee” fashion: through
song.
Each
character
is
released from the bonds that
hold them back to McKinley,
and set free to rightfully chase
their own goals and dreams.
As the spotlight dims on Finn
at the end of the sentimental
group performance of “The
Scientist,” we gain closure
in the fact that the original,
pure and captivating chapter
of “Glee” that we grew such
a fond connection to had now
closed.
MORGAN RUBINO
Daily Arts Writer
Revisiting
“Glee” after all
these years, it
was mostly just
a pretty weird —
and oftentimes
cringe-worthy
— experience
Revisiting is a new series where TV writers watch, or re-watch,
popular TV shows they missed when airing in their prime
“Farewell to the
Horse”
Ulrich Raulff,
translated by Ruth
Ahmedzai Kemp
Liverwright Books
February 1, 2018
Raulff’s
thoughtful detail
description
pushes the book
over the delicate
line that divides
boring textbooks
and quirky
nonfiction
It feels like
a lot of the
diversity within
the characters is
done simply to
check boxes and
label the leads
FOX
TV SERIES