3 & 4 Bedroom Apts Avail Fall 19/20
$1800 ‑ $2680 + Utilities
Laundry On Site, Parking Avail
1015 Packard ‑ 734‑996‑1991
EFFICIENCY ‑ 1 & 2 Bdrm
apartments Fall 2019/20
Rents range $875 ‑ $1850
most include heat and water
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