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January 13, 2020 - Image 6

Resource type:
Text
Publication:
The Michigan Daily

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6A — Monday Janurary 13, 2020
Arts
The Michigan Daily — michigandaily.com

puzzle by sudokusnydictation.com

By Matt McKinley
©2020 Tribune Content Agency, LLC
01/13/20

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

01/13/20

ANSWER TO PREVIOUS PUZZLE:

Release Date: Monday, January 13, 2020

ACROSS
1 Hanks who plays
Mr. Rogers
4 Spanish houses
9 Watched secretly
14 Dr.’s group
15 Scarlett of fiction
16 African river
17 Server of shots
18 Manicurist’s tool
20 Word with sprawl
or renewal
22 Norse trickster
23 Walrus feature
24 Made stuff up
26 Like Mattel’s
Cathy doll
28 Eponymous
’60s-’80s
“Airways”
entrepreneur
33 Like desperate
straits
34 Send with a
stamp
35 Old Detroit
brewer
39 Like frozen roads
40 Resolves out of
court
42 Paris summer
43 Spot for a friendly
kiss
45 Bit of cat talk
46 Mennen lotion
47 Attacker or
defender of
online information
systems
50 Water heater
53 Nuremberg no
54 German auto
55 Movie lab
assistant
59 President #2
62 “It” novelist
65 Org. for the ends
of 18-, 28-, 47-
and 62-Across
66 Remove the
chalk
67 Muslim holy city
68 Home state for
the ends of 18-,
28-, 47- and
62-Acr.
69 Monica of tennis
70 Beautify
71 Suffix with Japan
or Milan

DOWN
1 “Forbidden”
fragrance
2 Actor Epps

3 Bakery item Jerry
stole from an
old woman in a
classic “Seinfeld”
episode
4 Fooled in a
swindle
5 “Figured it out!”
6 Windsurfing
need
7 Guthrie of folk
8 Quarterback-
tackling stat
9 Biol. or ecol.
10 Toaster snack
11 Data to enter
12 Spew out
13 Not at all cool
19 Kiss from a
pooch
21 Teacher’s helper
25 Ten-cent piece
27 Gas brand with
toy trucks
28 Bank acct.-
protecting org.
29 Wealthy
30 Cake directive
Alice obeyed
31 Soda bottle buy
32 Permit
36 Arrange new
terms for, as a
loan
37 Bart’s bus driver

38 Perceive aurally
40 Terrier type
41 McGregor of
“Doctor Sleep”
44 “Total” 2017
event visible
in a coast-to-
coast path from
Oregon to South
Carolina
46 Very dry
48 Soft French
cheese
49 President #40

50 Diamond quartet
51 Off-the-wall
52 Perfect
56 Govt.-owned
home financing
gp.
57 Gave the nod to
58 Wealthy, to Juan
60 Corp. execs’
degrees
61 January “white”
event
63 “For __ a jolly ... ”
64 ATM giant

SUDOKU

Sudoku Syndication
http://sudokusyndication.com/sudoku/generator/print/

1 of 1
11/5/08 12:54 PM

9
7

5
9

3

8
9
4

7
1

1
8

3

2
9

4
8

4
5

6
8

9
6

7

3

1
2

4

1

© sudokusolver.com. For personal use only.

Generate and solve Sudoku, Super Sudoku and Godoku puzzles at sudokusyndication.com!

CLASSIFIEDS

734-418-411
dailydisplay@gmail.com

FALL 2020 HOUSES
# Beds Location Rent
6 511 Linden $4650
6 722 E. Kingsley $4650
6 1119 S. Forest $4000
5 910 Greenwood $3900
4 809 Sybil $3200
2 221 N. First $1900
Tenants pay all utilities.
Lease Term
8/30/20 - 8/16/21
Showings M-F 10-3;
24 hr notice required
DEINCO PROPERTIES
734-996-1991

FOR RENT

Question:

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great with your
morning coffee?

Answer:

michigandaily.com

“50 characters.
Bare your soul.

Get featured in the Daily!”

WHISPER

Introducing the

WHISPER

“Did you
ever hear
of the
tragedy
of Darth
Plagueis
The Wise?”

“Stop
sending
me
memes
from
private
accounts.”

“Mingi
wants you
to know he
hates
tomatoes.
He likes
kevin.”

Gou or Die: Why Peggy Gou is the world’s universal DJ

MUSIC NOTEBOOK

Peggy Gou’s mixes seem to unlock something strange inside
a person. Even on the first note of each song, the movements and
repetition in her music are familiar, like every sound was waiting
dormant inside of the listener, ready to be pulled out and collected
into Gou’s unique mix of techno, house and disco. From bouncy
beats to ethereal ambient soundscapes, her approach to production
and live mixing is unlike most music today; she’s a master at
creating a certain mood and scene, playing with music not only
for her audience, but also for her own enjoyment. In a funny way,
the South Korean DJ’s approach is very universal — Gou doesn’t
submit herself to the rules and regulations of any certain subgenre
of electronic music, she simply vibes.
It’s this headstrong attitude that makes her music so inherently
catchy, inviting her audience to move in whatever way they like
through a jungle of sound. Gou is one of a growing number of
female DJs who have established their careers in the Berlin club
scene, developing her oeuvre among greats like Nina Kraviz and
Helena Hauff. Despite this, she labels her own music as a kind of
“K-House,” referring to her unique sensibilities as an East Asian
woman in a largely European scene. But somehow, her international
sensibilities — Gou grew up in South Korea, moved to London at 14
for school and is now based in Berlin — make the DJ’s music that
much more universal. The appeal of this familiarity with many
different audiences is arguably the reason for meteoric rise in the

last three years or so, culminating in a fashion line, over 100 shows
a year across the globe, her own label Gudu Records and a devoted
fanbase dedicated to “living the ‘Gou’ life.”
For Gou, the proof in the pudding is this internationality, with
her two most popular singles, “Starry Night” and “It Makes You
Forget (Itgehane)” featuring almost exclusively Korean lyrics. Sure,
the chorus of “Starry Night” is in English, echoing “Ocean, night,
star, song, moment / Ocean, starlight, moment, now, us” into the
bass-heavy mix. But those words are as much percussion as the
hi-hats and snares woven expertly throughout the song, serving
as one small part of a larger picture. What really matters in Gou’s

music is the feeling that each mix produces, what images it conjures
in the listener’s mind, and the way they call your body to move
whether you’re in a club or in the library. Her fingerprints are all
over every part of every song, never a beat out of place. Listening
to Peggy Gou is like looking at a tapestry, in some ways, both awed
by the intricacy of the art and called to look further into its many
threads.
Her music is the first techno-house hybrid that seems truly
approachable to the layperson in our times, disregarding the proven

commercial success of something like EDM or dubstep in lieu of
her own unique musical sensibilities. It’s Gou’s individualism that
makes the DJ’s mixes so integrated into her listener’s lives — we can
all see ourselves in her music, our heartbeats replicated by the BPM
in her most popular songs, our footsteps slowly meshing with the
pulsing bass as we walk along the street. You could say that about
many electronic artists, yes, but Gou has mastered it. She deserves
every praise that has flooded both niche and general channels in the
years since her debut in London. Each mix of hers seems to reach
inside the listener and pull out a rhythm that they were never aware
of, controlling them like a marionette through an expert blend of
sound, emotion and pure fun. Her fans’ homemade t-shirts say “Just
Gou It,” and it’s easy to hop on the bandwagon of Gou-ing it too.

CLARA SCOTT
Daily Music Writer

COMMUNITY CULTURE REVIEW
Shane McCrae reads his newest collection of poems

The dim lighting obscured the faces, notebooks and seats of the
subterranean auditorium. Shane McCrae draped his grey hoodie
on a chair and perched his glasses on his face before ducking behind
the podium in his red t-shirt. Seemingly abashed from the glowing
introduction, McCrae cleared his throat and said he would be reading
something he’s never read before.
McCrae’s soft voice reconstructed the black ceiling of Helmut Stern
Auditorium into a swirling sky of stars with his mythological, almost
biblical tales, inverted to inject the African American and biracial
experience.

The poet regained his voice as the momentum of each poem charged
into one another. “The Lost Tribe of Eden at the Beginning of the Day
of Blood” begins with McCrae’s soft voice growing and turning as he
fastens a boy unto a tree to see blood for the first time. A young boy
seems to recur in these poems as the narrator, swept up in dreamlike
tales of blood, death and bone.
In “The King of the Sadness of Dogs”, the poet attributes the title of
the poem to his daughter as she’s said a similar phrase before. Caught
between a fairy tale and a cynical reality, McCrae’s simple diction
woven into cosmic relevance aids in finding understanding in what it
means to live and die in one’s skin, especially when one is confined by
oppression.
Each poem ends in a whisper and a flurry of papers being rearranged
for a new reading. Prior to reading the work, McCrae introduced it with
rarely more than a sentence of explanation of inspiration or anecdote.
For “My Husband’s,” he joked that he wrote this love sonnet for his wife.
McCrae’s forthcoming book of poems “The Gilded Auction Block”
arrives in June, with many poems set in heaven. He constructs a “multi-
heaven” viewed through the eyes of Jim Limber, a historical bi-racial
orphan adopted by Jefferson Davis. McCrae uses Jim as a lens through
which to speak on heaven. A multi-movement saga, Jim explores the
stages of heaven in childlike surprise: He thought he’d be white. In
the third movement, Jim considers the justification of evil and the
existence of God. He muses on the idea that he can now have white
things in heaven but not be white. He describes fields of grasses limp
and brown, like death but with no people in sight. Jim finds God to be

a Black woman. Jim takes us on a Dante-like journey through what he
knows, sees and still struggles to understand. He finds crowds of Black

people cheering him on to freedom. He writes his name in water. He
discovers how the memory of one’s life works in death. He wonders
if babies can be born in heaven. He ends up in limbo, wondering if he
was born bad and pondering the ghosts that that haunt us in life and
in death.
Jim Limber is at once a historical character and a contemporary
vessel through which to make sense of a 21st century climate. McCrae’s
latest collection recalls the tradition of looking towards the afterlife in
hopes of making sense of living. LSA prof. Greg Schutz once referenced
a writing from Matthew Zapruder that described it beautifully — poetry
is the machine through which language is reignited. And, McCrae, a
prolific poet for an uncertain age, never loses sight of the strange beauty
of language in his poetry.

NINA MOLINA
For The Daily

A young boy seems to recur in these
poems as the narrator, swept up in
dreamlike tales of blood, death and
bone

He muses on the idea that he can now
have white things in heaven but not be
white

WIKIMEDIA COMMONS
Her fingerprints are all over every part
of every song, never a beat out of place.

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