I was a huge band nerd in 
high school. I spent my summers 
going to band camps, playing in 
wind ensembles, learning about 
the repertoire, playing under 
various conductors and just 
enjoying the music. I’ve been 
playing in wind ensemble for the 
past 10 years of my life, and it’s 
a type of ensemble that I truly 
believe is underappreciated.
Largely 
overshadowed 
by 
orchestras, I think that — unless 
someone ever played in a wind 
ensemble at some point — people 

wouldn’t be able to tell you much 
about what they are. Because 
their origins stemmed from 
early marching bands, wind 
ensembles didn’t gain legitimacy 
until the second half of the 
20th century, and even then, 
they were viewed as an inferior 
orchestra.
But if there’s any place to 
experience a wind ensemble, it’s 
at the University. The Midwest 
has a tradition of great band 
programs, and it’s largely thanks 
to our obsession with football.
Where 
there’s 
a 
football, 
there’s a marching band.
Midwestern 
schools 
like 
the University, Michigan State 

University, Illinois and Iowa 
have long-lasting legacies of 
great band and wind ensemble 
programs 
because 
of 
this 
emphasis on football. Because 
football became so popular, 
schools started to put more 
funding into band programs, 
which helped to promote the 
inclusion of wind ensembles in 
many music schools across the 
Midwest.
The 
University’s 
band 
program, 
in 
particular, 
is 
particularly 
well-known 
because 
of 
its 
dominant 
tradition. Conductors like H. 
Robert Reynolds solidified the 
place of wind ensembles and 

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ACROSS
1 Scratch __:
woodworking
tools
5 Split wide open
9 Green “Sesame
Street” character
14 Scallion relative
15 Sea predator
16 Asian city
translating to
“place of the
gods”
17 *Protection for a
press feeding
frenzy?
19 Tight headgear
20 Masseur’s
workplace
21 Word with fly or
about
22 Shining example
24 What a burglar
hopes not to be
26 *Result of
nodding off at an
auction?
27 *Sandwich-centric
extremists?
30 Fort Collins sch.
31 Merits
32 Italian capital
34 Dilute
38 Letters for John
Smith?
39 Besmirch
42 Dudley the
Dinosaur’s org.
43 Books with test
answers
45 Twitter’s bird, e.g.
46 One with a title
48 Cry of discovery
50 *Where to read
all the latest
computer port
news?
52 *Female
employee of a
tech giant?
56 Poems of praise
57 Lincoln output
58 “No seats” sign
59 Egg producer ...
and product
62 Tuesday dish?
63 Rating reduction
responsible for
the answers to
starred clues
66 Expect
67 Northern
terminus of I-79
68 Lute family
members

69 ATM features
70 Kind of lily
71 Tendency

DOWN
1 Help for the poor
2 Sob
3 Acting on bad
advice
4 __ jump
5 Explode
6 Parched
7 Chem. pollutant
banned in 1979
8 Canvas support
9 Elvis hits, e.g.
10 Decathlon event
11 Chocolate
substitute
12 “Me too”
13 Lost it
18 Elder hostile?
23 River through
New Mexico
25 Seaside eagle
26 Immobilizing law-
enforcement tool
27 Nose, slangily
28 Camp sight,
perhaps
29 Forrest Gump,
for one
33 Some are
tributarios
35 Cordial greeting

36 Notion
37 Not
40 Budget competitor
41 Cylindrical
sandwich
44 Took care of
things
47 Sorrow
49 Construction site
apparatuses
51 World’s third-
largest island
52 Tiny bits

53 Serious fight
54 Former
Portuguese
territory in China
55 Aconcagua’s
range
58 Way more than a
sip
60 Paradise
61 Animal home
64 Willamette Valley
state: Abbr.
65 Obstacle

By David Alfred Bywaters
©2018 Tribune Content Agency, LLC
02/16/18

02/16/18

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Friday, February 16, 2018

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

Classifieds

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

I’ve never seen the Detroit 
Opera House as lively as it was 
last Saturday night. It was the 
second day of the largest snowfall 
of the winter season, and, while 
waiting in line outside the Opera 
House entrance, I could sense 
the solidarity that the weather 
had created. Some guests stood 
shivering in short miniskirts and 
pencil heels, others had given 
up and worn their bulky snow 
boots, but we had all braced the 
outdoors and made it here. After 
trudging through slush and 
unplowed sidewalks, we were all 
ready.
From Feb. 8 to Feb. 11, the 
American Ballet Theatre came 
to Detroit to perform one of the 
most classic love stories of all 
time: 
Shakespeare’s 
“Romeo 
and Juliet.” The 1938 ballet, 
composed by Sergei Prokofiev 
is a classic in its own right, 
and these shows demonstrate 
its 
timeliness. 
They 
were 
co-sponsored by the University 
Musical Society, accompanied 
by the Michigan Opera Theatre 
Orchestra and conducted by 
Charles Barker. For Saturday 
night’s show, Romeo was played 
by David Hallberg, a principal 
dancer with the ABT since 2006, 
and Juliet was played by Isabella 
Boylston, principal since 2014. 
Principal dancers for the other 
showings 
included 
Misty 
Copeland, Herman Cornejo, Hee 
Seo, Cory Stearns, Stella Abrera 
and James Whiteside.
So much of Shakespeare’s 
genius lies in his dialogues, 
and I was worried about how a 
ballet with no speaking would 
be able to represent this. I had 
never been so wrong. Whatever 
Kenneth MacMillan’s rendition 
of “Romeo and Juliet” lacked in 
dialogue, it made up for in raw, 
heartbreaking emotion.
The 
contrast 
in 
Romeo 
and 
Juliet’s 
personalities 
was apparent 10 minutes into 
the 
three-hour 
production. 
Boylston, as Juliet, gracefully 
leaped across the stage in a baby 
blue dress, playing pranks on her 
beloved Nurse, played by Nancy 

Raffa. At one point, Boylston 
jumped right into the Nurse’s 
lap, soliciting laughs from the 
audience. Sitting there, with her 
arms wrapped around the Nurse 
and her feet curled under her 
thighs, Boylston was the perfect 
picture of childlike innocence. 
She hadn’t met Romeo yet, thus 
her life was untainted with 
messy love affairs and broken 
hearts.
The moment that Romeo and 
Juliet met each other was the 
moment that I realized how 
wonderful this production was 

about to be. When Hallberg 
laid his eyes on Boylston for the 
first time, he just stared. The 
stage was full of whipping skirts 
and laughter, but the section 
of the stage that Hallberg and 
Boylston occupied was frozen in 
time. Hallberg was awestruck; 
it seemed as if every limb of his 
body was focused on Boylston. 
Boylston’s 
naivety 
suddenly 
disappeared, and she adopted 
a sense of beautiful dignity 
instead. For a full thirty seconds, 
I couldn’t tear my eyes away 
from the couple. Finally, they 
both realized that their love 
was forbidden. After dancing 
tentatively with each other, 

Hallberg and Boylston parted 
with a sense of unfinished 
business.
Every subsequent time that 
Hallberg and Boylston met, 
varying emotions were reflected 
through their dancing. After 
meeting at the ball for the second 
time, Hallberg and Boylston 
embarked on a passionate and 
slow dance, each reveling in each 
other’s bodies and movements. 
Both afraid of being caught by 
their families, their dance was 
filled with haste and passion, 
like they wanted to squeeze out 
their last moments together 
before time ran out. In the 
famous balcony scene, Boylston 
and Hallberg’s slow movements 
dripped with romance and love. 
Boylston held her arabesques 
for what seemed like minutes at 
a time, letting the audience soak 
in her form and grace. When 
Romeo realized that he would be 
banished from Verona, Boylston 
and Hallberg’s dance was filled 
with sorrow and longing for a 
better fate.
All 
this 
built-up 
emotion 
crescendoed beautifully in the 
final scene of the play. Romeo, 
upon seeing Juliet’s body and 
thinking she was dead, stopped 
moving. Hallberg’s face worked 
with emotion and his limbs 
froze. The audience could sense 
his helplessness and desperation 
at 
seeing 
his 
lover 
dead 
without warning. He rushed to 
Boylston’s body, held her in his 
arms and faced the audience 
head-on. It felt like the audience 
wanted to call out to Hallberg 
and help him; his pain seemed 
unbearable.
After 
Romeo 
committed 
suicide, 
Juliet 
awoke 
from 
her slumber and saw Romeo’s 
lifeless body beside her. Sitting 
on the crypt in a pale pink slip, 
aghast that she could have 
caused this, Boylston was the 
picture of vulnerability. This 
one scene perfectly captured the 
whole production. Brimming 
with sentiment, sorrow and 
love, the ABT sprinkled more 
emotion into a play that was 
already heartbreaking to begin 
with. “Romeo and Juliet” was 
ravishing for the eyes and even 
more touching for the heart.

American Ballet Theatre 
retells ‘Romeo and Juliet’

TRINA PAL
Daily Arts Writer

WIKIMEDIA COMMONS 

COMMUNITY CULTURE REVIEW

The moment 

that Romeo and 

Juliet met each 

other was the 

moment that I 

realized how 

wonderful this 

production was 

about to be

Concert band continues 
wind ensemble tradition

RYAN COX
Daily Arts Writer

marching bands in the musical 
environment of the University. 
And the University’s Concert 
Band 
continues 
this 
legacy 
today.
In their most recent concert, 
titled 
“Inspirations,” 
the 
ensemble played pieces from 
a variety of composers, with 
works written over the past 
80 years. A lot of these pieces 
were standards in the wind 
ensemble 
repertoire, 
like 
Morten Lauridsen’s “O magnum 
mysterium” 
and 
Leonard 
Bernstein’s 
“Overture 
to 
Candide.” However, pieces like 
“Shoutout” by the University’s 
own Roshanne Etezady and 
“Fever” 
from 
“Lost 
Vegas” 
by another School of Music, 
Theatre & Dance Professor, 
Michael Daugherty, showed off 
works that will soon join the 
ranks of these classic, revered 
wind ensemble pieces.
I was familiar with a lot of 
the music on the program, and 
even have had opportunities 
to see and play some of these 
pieces in high school. But I had 
never heard these pieces played 
so cleanly and so expressively. 
One of the last pieces I played in 
high school was “English Folk 

Song Suite” by Ralph Vaughn 
Williams, and it was also one 
of my least favorite pieces I 
had ever played. Every time we 
rehearsed that piece, I wanted 
to get up and leave. However, 
when 
the 
ensemble 
started 
with the opening theme to the 
march, I couldn’t help but hum 
along. It was just played in a 
way that engulfed me into the 
performance. Every rhythm was 
carried throughout the hall with 
style. The dynamic range was 
huge; I felt like I had to lean in to 
hear their quietest pianissimo. 
The group brought new life to a 
piece that was essentially dead 
to me.
It was also nice to hear some 
Bernstein on the program, the 
ensemble no doubt celebrating 
the centenary of his birth. 
However, 
while 
there 
were 
many prolific composers from 
the past in attendance, two of 
the composers on the program 
were 
actually 
University 
professors who attended the 
concert. After their pieces were 
performed, 
both 
Roshanne 
Etezady and Michael Daugherty 
were invited to take a bow with 
the ensemble after their pieces 
were performed.

Etezady’s 
piece, 
while 
short, was filled with opposing 
rhythms and tonalities that 
seemed to capture my attention 
for what seemed like much 
longer than the three minutes 
the piece lasted. Daugherty’s 
piece felt explicitly modern, 
featuring both the saxophone 
and trumpet sections (as well as 
several other sections) to create 
a soundscape that captured 
the excitement and jazz of the 
Las Vegas strip. I couldn’t help 
but smile when the saxophone 
section stood up in the middle of 
the piece and shredded through 
a technically demanding soli.
With all of these contrasting 
styles, it did seem a bit hard for 
me to adjust my ears to some 
of the more drastic changes, 
but I think the program order 
made sense, and I appreciated 
the ideas director Courtney 
Snyder had, both in regards to 
programming and conducting.
After playing in this ensemble 
for the past three semesters, it 
was an exciting experience to 
see it from the other side of the 
stage. With “Inspirations,” the 
University’s concert band shows 
that the wind ensemble is alive 
and well in the music world.

COMMUNITY CULTURE REVIEW

Disagreement is central to the 
art of fashion. Debates among 
industry 
insiders 
determine 
what’s cool, what’s not, what’s 
tasteful and what’s excessive. 
Yet there are a few things upon 
which they concur indisputably. 
Naeem Khan is one.
A 
humble 
New 
York 
Fashion Week veteran, Khan 
is known for his intricate 
detailing 
of 
classically 

feminine silhouettes. At his 
Fall Winter 2018 collection, he 
maintained his reputation as 
New York Fashion Week’s most 
exciting evening connoisseur, 
juxtaposing 
American 
and 
Spanish 
influences 
through 
his creations and their musical 
accompaniment.
SZA’s Ctrl boomed across 
the gallery space before the 
production 
began. 
Hoards 
of ageless women posed for 
photographs 
bathed 
in 
the 
runway’s orange light, toting 
characteristically Khan pieces 

(a turquoise fringe shift here, 
a baroque embroidered pant 
there). As the orange glow 
dimmed, signalling the start of 
the show, it was replaced with 
the beam of dozens of backlit 
smartphones, each grappling 
for the best possible angle to 
capture the first model. SZA 
was halted and replaced by a 
more traditional, synth-heavy 
runway beat.

Naeem Khan NYFW18

TESS GARCIA
Daily Style Editor

NEW YORK FASHION WEEK

Read more at 
MichiganDaily.com

6 — Friday, February 16, 2018
Arts
The Michigan Daily — michigandaily.com

