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: What goes 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.