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EFFICIENCY ‑ 1 & 2 Bdrm 
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Showings scheduled M‑F 10‑3
734‑996‑1991

By Roland Huget
©2019 Tribune Content Agency, LLC
01/23/19

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

01/23/19

ANSWER TO PREVIOUS PUZZLE:

Release Date: Wednesday, January 23, 2019

ACROSS
1 Soft ball
5 Berkshire 
Hathaway 
headquarters city
10 Greenish-yellow 
pear
14 Mine, in Montréal
15 Chicano rock 
band Los __
16 “Enchanted” girl 
in a 2004 film
17 Hors d’oeuvre 
cracker
18 Lose tautness
19 Logician’s error, 
maybe
20 2011 Steve Carell 
romcom
23 Slangy affirmative
24 Light beam
25 Poseidon’s realm
28 Lav, in Bath
30 Zero in
31 Federal bldgs. 
with mailboxes
34 Rickety abode
38 Diva’s time to 
shine
39 Savings plan inits.
40 Fair-haired sci-fi 
race
41 “Stop whining!”
46 Chinese menu 
surname
47 Put away
48 Pine-__: cleaning 
brand
49 Old Nintendo 
game console: 
Abbr.
50 UFO pilots, 
supposedly
51 Nintendo game 
console
53 Neither 20-, 34- 
nor 41-Across 
has any
62 Similar in nature
63 Online biz
64 Compete for the 
America’s Cup
65 Fish catchers
66 Art class subjects
67 Stubborn sort
68 Aussie greeting
69 Part of LED
70 Marked for 
deletion

DOWN
1 DEA operative
2 House of Saud 
bigwig

3 Duty roster
4 Like soda pop
5 Part of a comfort 
simile
6 Mad Magazine 
cartoonist 
Drucker
7 Leigh Hunt’s “__ 
Ben Adhem”
8 Earring style
9 “Take two __ and 
call me ... ”
10 Kind of dancer
11 Breakfast spread
12 Balkan native
13 Superman 
accessory
21 Holler
22 Beaver creations
25 Town, in 
Germany
26 Irish banknotes
27 Protein-building 
acid
29 Poet with 
dedication?
30 Military plane 
acronym
31 McCain’s running 
mate
32 “__, all ye 
faithful ... ”
33 Decides not to 
attend

35 Baseball club
36 Tulsa sch. 
named for an 
evangelist
37 Use an axe on
42 Test version
43 London area that 
includes Canary 
Wharf
44 “Is there another 
way?”
45 Landed
50 Itty

52 Answer at the 
door
53 Pealed
54 Scratched (out)
55 Pocket bread
56 Small decorative 
case
57 Carpentry groove
58 Wasn’t honest
59 French waters
60 Stir up
61 Malamute’s 
burden

FOR RENT

THERE’S A
CROSSWORD
ON THIS
PAGE.

DO
IT.

HAPPY
WEDNESDAY!

Classifieds

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

The day Mary Oliver died, I 
read a piece in The Atlantic about 
existential therapy. “It was a bit like 
coming across a line in a poem or a 
quote in a book that you relate to on 
an eerily intimate level — something 
of your most personal experience 
mirrored back to you, and you realize 
all at once that someone else has had 
the very same thought,” writes Faith 
Hill of her first existential therapy 
session. “Suddenly and certainly, if 
only for that moment, you are a little 
less alone.”
Like an existential therapist, 
Mary Oliver was a guide to the 
emotional 
landscape 
of 
life, 
someone who saw the ways that 
all internal opposites — loneliness 
and companionship, thrill and 
mourning, love and apathy — share 
an intimate inner boundary. Oliver 
was never afraid to write about 
difficult subjects; fear and death 
are constant companions to her 
narrators. The frank familiarity with 
which she approached life makes 
her poetry a relief to read. Like many 
of her readers, I feel I knew Oliver 
and that she, in some way, knew me. 
To have one’s emotions cataloged 
by a stranger is one of poetry’s 
most shocking pleasures, and I’ve 
never been rewarded in this way 
more frequently than while reading 
Oliver’s work.
As a poet of the natural 
world, reading Mary Oliver feels 
particularly urgent in 2019. Over 
the past year, it has become clear 
that the worst-case scenario for 
climate change is upon us. When it 
snowed for the first time a few days 
ago, magical and unusually late for 

Michigan, I was almost relieved 
when my boots soaked through. In 
our rapidly shifting world, thinking 
about nature on Oliver’s terms is 
both a comfort and call to action. 
If she had been walking with me 
through the snow, I might have told 
her about the rabbits I used to see 
on the lawn in early fall. She would 
have wondered aloud about their 
contentedness, their warm home.
Mary Oliver noticed, and out of 
that noticing grew a commitment to 
the details that populate life. There 
are many things to be admired 
about the way Oliver committed her 
observations to the page. Her poetry 
was unpretentious and clean, messy 
when the circumstances demand it. 
Meaty and delicate. I appreciate the 
way she went inside intuition, asking 
us to be within ourselves and outside 
our limitations at once. Her poetry 
feels uniquely true; to read Mary 
Oliver is to be seen.
In March of 1986 she published 
one of my favorite poems, “Every 
Morning.” She writes: “A craziness 
we so far have no name for— / all this 
I read in the papers, / in the sunlight, 
/ I read with my cold, sharp eyes.”
“A craziness we so far have no 
name for”: This could describe the 
past year perfectly. Oliver is not an 
overtly political poet, but her poems 
suggest a philosophy of respect 
that implies a theory of everything, 
including politics: Be kind and 
present. Be cognizant of the ripples 
engendered 
by 
your 
actions, 
intentions and emotions.
In “Wild Geese,” she writes: 
“Whoever you are, no matter how 
lonely, / the world offers itself to your 
imagination, / calls to you like the 
wild geese, harsh and exciting— / 
over and over announcing your place 
/ in the family of things.”

In “Invitation,” speaking of 
goldfinches, Oliver writes: “It could 
mean something. / It could mean 
everything. / It could be what Rilke 
meant, when he wrote, / You must 
change your life.”
We were assigned Rainer Maria 
Rilke’s “Letters to a Young Poet” for 
my journalism class last week. I like 
to think about Mary Oliver reading 
Rilke at home in Provincetown or 
Manhattan or Florida, surrounded 
by her books and her partner, the late 
photographer Mary Malone Cook. I 
like to split the screen: She’s on one 
side reading Rilke at her kitchen 
table, and I’m on the other side, 
reading at a desk way up on the fifth 
floor of Hatcher, where the windows 
face the gray expanse of State Street. 
We both think about devotion.
Like any good therapist, Oliver 
never 
answers 
our 
questions 
directly. 
Instead, 
her 
poetry 
entrusts us with the materials that 
accomodate 
an 
understanding 
of why our uncertainties cannot 
always be resolved. Oliver has left 
us with a body of work that endures. 
She was lucky: She could say what 
she needed to about the world. We 
are lucky: We get to read it.
“There are so many stories, / 
more beautiful than answers,” 
Oliver writes in “Snake.” What 
remains of Mary Oliver’s life are not 
answers but stories: hers and our 
own, and the understanding that 
the distinction between the two is 
decidedly unstable.
I was thinking about Oliver three 
days ago as I walked through the 
Law Quad on my way home. The 
lights of the library were burning 
orange strips into the dark sky. I 
wanted her to tell this night back to 
me, distilled. She would have been 
amazed.

MIRIAM FRANCISCO
Daily Arts Writer

BOOK NOTEBOOK

PENGUIN RANDOM HOUSE
Remembering Mary Oliver

On the morning of Jan. 21st, a 
friend and I embarked on a frigid 
trek to the Burton Memorial 
Tower for some of the Martin 
Luther King Jr. Day campus 
events. Both of us being music 
lovers, we decided that the event, 
“Centering 
Black 
Composers: 
Music To Unravel The Classical 
Canon” would be a perfect way to 
celebrate this historic day. For a 
girl from a primarily conservative, 
primarily white suburb of Grand 
Rapids, Martin Luther King Jr. 
Day was not widely celebrated at 
my school. I was excited to finally 
have the opportunity to see a 
celebration in remembrance of 
such an important man.
We climbed the steps of the 
bell tower, searching for the 
concert room or at least a couple 
of instruments. When we made it 
to the top, we saw nothing but the 
bells and a few people blocking the 
entrance to a tiny room. We stood 
outside gazing up at the bells for 
an entire song before realizing 
that this was the performance: 
The music of the bells.
Inside the tiny blocked room sat 
Professor Tiffany Ng, University 
carillonist and assistant professor 
of the carillon. Pounding the 
wooden batons in the formation 
of a piano keyboard, she put her 
entire body into the songs. She 
has been playing since 2001, 
mastering the art when she was 
a freshman at Yale University. 

Working with Dr. Yvette Janine 
Jackson, who arranged a carillon 
version of “Freedom Is A Constant 
Struggle,” and paying homage to 
Jessie Montgomery, the first Black 
woman to publish music for the 
carillon, Professor Ng’s tribute to 
Martin Luther King Jr. rang out 
over all of the University campus.
The recital was brief but 
beautiful. It consisted of seven 
songs, all composed by Black 
artists. Ng preceded each song 
with 
short 
anecdotes 
about 
the 
composers, 
the 
original 
performers and the significance 
of the songs, juxtaposing the 
beautiful melodies to the harsh 
realities in which they were 
created. She began the concert 
with “Lift Every Voice and Sing,” a 
song that is often referred to as the 
“Black National Anthem,” written 
by James Weldon Johnson and 
put to music by John Rosamond 
Johnson 
in 
1899. 
She 
then 
performed songs written by Black 
women and composers of Motown 
and 
Soul. 
The 
penultimate 
song was “A Change Is Gonna 
Come,” which was written by 
Sam Cooke in 1964. She told us 
he never performed his original 
lyrics because they were too 
heartbreaking. Her rendition was 
no less moving, even without the 
words. She concluded with Aretha 
Franklin’s famous “Respect” in 
reverence of the recently deceased 
legendary soul singer.
All of the events the University 
hosted for Martin Luther King Jr. 
Day were incredibly impactful. 
But combining the arts with such 

an important message brought an 
entirely new beautiful meaning to 
the what the day stands for. The 
arts are how we express ourselves, 
all the pain and the hardship, 
all the joy and triumph of our 
lives. Highlighting this poignant 
music born out of the immense 
struggle of the Black community 
is essential to giving them the 
recognition they deserve.
I will never be able to truly 
understand what Martin Luther 
King Jr. and his people had to 
go through in his lifetime or the 
fights they had to endure. But I do 
understand music, and through it 
I can catch a glimpse into the lives 
of these people that suffered so 
much to get where they are.
Music has always been an 
essential part of the civil rights 
movement. At the heart of every 
march, there is always a chant, 
always a song to keep morale 
up and keep the fight going. 
From gospel hymns to modern 
Motown songs, music has made a 
significant difference in the lives 
of those fighting. Often times, 
the arts act as a means of dissent, 
as much as they are casually 
enjoyed. So many talented artists 
channel 
their 
feelings 
about 
injustice and discrimination into 
their work, which makes it all the 
more powerful. That is exactly 
what all the Black artists who 
composed the songs performed 
in the bell tower did. “Don’t let 
anyone tell you the arts can’t make 
a difference,” Professor Ng told 
her 
audience. 
“Representation 
matters.”

COMMUNITY CULTURE REVIEW
MLK Day lifts every voice

DANA PIERANGELI
For the Daily

Imagine a funhouse at a local 
fair or festival, the kind with 
a maze of mirrors, undulating 
floors, a steep, enormous slide, 
mirrors that stretch and squish 
viewers, air jets meant to 
startle patrons and a tunnel of 
love. Now, take that funhouse, 
drop it in the world of Atlanta’s 
rap superstars and let Future 
create the soundtrack. The 
WIZRD is exactly how that 
would sound.
On his seventh album, Future 
has once again transformed 
himself. 
As 
one 
of 
rap’s 
foremost stars with an image to 
maintain, he made the decision 
to try something new. He set 
out to craft a collection of songs 
that will warp, distort and 
reimagine the sound of Atlanta 
trap music. With help from a 
team of stalwart producers and 
up-and-comers, 
Future 
has 
done just that.
The 
rapper 
displays 
a 
newfound 
hunger 
on 
The 
WIZRD. He showcases his 
dexterity over off-kilter beats 
from the likes of Tay Keith 
and 808 Mafia’s Southside and 
TM88. Amidst the chaos, his 
voice rings out loud and clear 
as he twists his words around 
the rumble of the 808s and the 
spark of the keys and samples. 

The lead single, “Crushed Up,” 
is a prime example. Future is at 
his best on this track, turning 
the braggadocio to the max as 
he ponders his lavish lifestyle. 
Now, if not for the production 
from Wheezy, this track would 
be standard Future fare. This 
is by no means a bad thing, but 
the production on this song, 
and the album as a whole for 
that matter, is where Future 
begins to experiment. Never 
has he rapped over a beat this 
strange. As the beat’s sample 
rides, its keys are stretched to 
their limit, sounding more like 
a wail than a synth blast.
This continues throughout 
the entire album. Every beat 
sounds as if it came straight 
from a carnival, and Future, 
fully embodying his “wizard” 
title, is nothing short of magical 
as he flows over each of them. 
As with most of his releases, 
Future is more focused on the 
vibe of each track than the 
lyrics. However, between the 
slick talk and the boasts, he 
still finds time to throw some 
sentimentality into his lyrics. 
On the album opener “Never 
Stop,” 
Future’s 
delivery 
is 
somber and subdued, and the 
lyrics parallel this. “Never 
Stop” is Future reflecting on his 
entire career up to the release 
of The WIZRD, covering the 
ground between his rise to 
fame and his recent kicking of 

his lean habit. Introspective 
cuts like this and “Krazy but 
True” 
blended 
with 
hard 
hitters like “Call the Coroner” 
allow Future to showcase just 
how multifaceted a rapper he 
is.
Given 
all 
the 
highlights 
Future provides listeners, he 
occasionally strays from the 
path and makes some poor 
decisions. Primarily, the album 
is far too long. Clocking in at 
over one hour with 20 tracks, 
The 
WIZRD 
overstays 
its 
welcome at times. If five to 
seven of the weaker tracks like 
“First Off” featuring Travis 
Scott and “Talk Shit like a 
Preacher,” whose sounds are 
beyond played out at this point, 
were cut, the album would 
benefit greatly. Songs like these 
are not bad, but they bring 
nothing new to the table. Their 
beats are fairly pedestrian and 
the lyrics and flow are typical 
of Atlanta trap. They are so 
glaringly normal that they 
hold The WIZRD back from 
being near the top of Future’s 
discography.
Nonethless, The WIZRD feels 
like a return to form for Future, 
who just recently released a 
lackluster collaborative album 
with Juice WRLD. If anything, 
this album proves that Future, 
even at this stage of his career, 
has more than enough gas left 
in the tank.

JIM WILSON
For the Daily

EPIC RECORDS
Future made magic, again 

ALBUM REVIEW
ALBUM REVIEW

6A — Wednesday, January 23, 2019
Arts
The Michigan Daily — michigandaily.com

