Classifieds

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

ACROSS
1 Request an ID
from
5 Classic milk
flavoring
10 Degs. for
choreographers
14 Yours, to Yves
15 One making a
leaf pile
16 Wild speech
17 Key collection of
records
19 Command to
Fido
20 Trophy
21 Slyly suggest
23 Religious
offense
24 Common
“terrible twos”
responses
26 Quiet time
27 Canadian
crooner with four
Grammys
32 Came out with
35 Protein-rich
beans
36 Sushi fish
37 Scratching post
users
38 Peeper
39 “Divergent”
heroine __ Prior
40 Uplifting wear
41 Oil magnate
Halliburton
43 Feared African
fly
45 Telltale white line
48 Home to Sean
O’Casey
49 Take to court
50 Buzzy body
53 Aspiring rock
star’s
submissions
57 Mineral used in
water softening
59 Dr. Seuss’ “If __
the Circus”
60 Not even close to
an agreement ...
or, literally, what
17-, 27- and 45-
Across have in
common
62 Like some beers
63 Visually teasing
genre
64 Continuously
65 Creepy look
66 Smallville family
67 Zilch

DOWN
1 Tent sites
2 Centipede video
game creator
3 Pitcher’s gripping
aid
4 Ding-a-ling
5 “Close the
window!”
6 Like a boor
7 Crispy fried
chicken part
8 Cartoon
collectibles
9 “No Spin Zone”
newsman
10 Enterprise
helmsman, to Kirk
11 “Hey hey hey!”
toon
12 Gross subj.?
13 38-Across sore
18 Counting word in
a rhyme
22 Well-worn pencils
25 Med. condition
with repetitive
behavior
27 Conservatory subj.
28 So far
29 Fair-hiring initials
30 Flowery rings
31 Ultimatum ender
32 Long-range nuke
33 Rani’s wrap

34 Deadlock
38 Aboveground
trains
39 Golf gadget
41 Exude
42 Go wild
43 Ft. Worth campus
44 Queen of __:
noted visitor of
King Solomon
46 Copenhagen
coins
47 State as fact

50 Cry to a prima
donna
51 Dog-__: folded at
the corner
52 Spare
53 Pickle herb
54 Albany-to-Buffalo
canal
55 Water carrier
56 Spirited style
58 Major tennis
event
61 MD and ME, e.g.

By Ed Sessa
©2015 Tribune Content Agency, LLC
04/15/15

04/15/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, April 15, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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6A — Wednesday, April 15, 2015
Arts
The Michigan Daily — michigandaily.com

O

n the first day of Eng-
lish Prof. Jeremiah 
Chamberlin’s Rust Belt 

Narratives class, we brain-
stormed ideas that we felt were 
representa-
tive of Rust 
Belt cities 
like Detroit.

“Blight,” 

someone said. 
“Industry.” 
“Factories.” 
“Economic 
downfall.” 
“Choice.” 
“Hope.”

Then 
someone 
raised 
a 

hand and said, “The Rust Belt 
narrative is a discourse of those 
who stay versus those who go.”

Those who stay versus those 

who go.

As a senior about to graduate 

in May, I have thought about 
that notion over and over again, 
tumbling the idea in my head 
like it a stone I’m determined 
to polish. Do I move to Detroit 
and remain in Michigan, or do 
I leave to pursue opportunity 
elsewhere? If I leave, am I a 
total hack for spending half my 
college career preaching about 
the great rising of the city down 
the road?

I ask myself these questions 

every day, especially on days 
when I’m reporting. I sit down 
and 
chat 
with 
passionate 

business 
owners, 
exuberant 

artists, witty writers, and their 
love for the city drips off of 
their words. In Detroit, Tyree 
Guyton works away at his 
inextinguishable 
Heidelberg 

project, while a University of 
Michigan student sits in a small 
desk at Woodbridge Community 
center, teaching an elementary 
schooler 
‘Twinkle 
Twinkle 

Little Star’ on the cello. A group 
of writers gives houses to other 
writers, and in one 90-year-
old’s backyard, he’s built a 
towering structure of found 
objects that he lovingly refers to 
as “Disneyland.” A docent at the 
Motown Museum gives her best 
rendition of Diana Ross, and a 
photographer snaps photos of a 
city he’s captured for more than 
80 years.

At the end of the day, I drive 

my car down Woodward Avenue 
and watch the skyline shrink in 
the rearview mirror.

My grandmother was born 

in Detroit on February 5, 1928, 
and she grew up on Longfellow 
Avenue in Boston Edison. My 
grandfather grew up a few 
blocks away in Highland Park. 
They were from two utterly 
different worlds: she was the 
daughter of a wealthy business 
owner, and he the son of an 
autoworker. I imagine them 
sneaking out of their houses 
at night and rendezvousing in 
Voigt park, laying in the grass 
and talking about their future 
together — a future that would 
eventually lead to me. I drive 
by her house and think about 
what she must have looked like 
in her 20s, skipping up the walk 
in a striped ’50s dress that she’s 
wearing in the photos I have 
tacked to my wall, the Cadillac 
she’s leaning against parked in 
the drive.

My grandmother died on 

Sept. 7, 2011 while walking the 
Detroit River Walk with my 
grandpa. It was a beautiful day, 
and she was happy until the 
moment she got a headache, 

sat down and had a stroke. She 
was brain dead within a minute, 
closing her eyes after one last 
look at the river and the city 
she loved. A silver bench near 
the carousel has her name on it 
now.

The day I found out I’d be 

moving to Washington D.C., I 
visited her. I sat on the bench 
next to the plaque inscribed 
with the name we share and 
I told her I’d be going, and I 
didn’t know when I’d be coming 
back. I will come back, I said 
aloud. To her, to the skyline, 
to the Renaissance Center that 
was casting me in shadow as 
the sun set. I will come back.

“If you’re so good, then why 

are you still here?”

That’s the Rust Belt question. 

Businesses close with signs that 
read “No Opportunity Here” 
and we graduate with the idea 
that leaving the state signifies 
“making it.” A story published 
in The New York Times shows 
the percent change in young 
people over more than a decade, 
by city. At the very bottom 
is Detroit with ten percent 
less young people over time. 
People are leaving, the great 
migration in rapid reverse. I am 
contributing to that percentage.

Yet, when I go to Detroit, 

that’s not the reality I see. I 
see people opening businesses 
instead of closing them, people 
turning 
ruin 
into 
creation, 

rebuilding, rising. I see the 
aftermath of the Great Fire 
of 1805, a city of people who 
fought to put the fire out and 
use the last ember to spark 
ideas for the future. We hope 
for better things. It shall arise 
from the ashes.

But I won’t be around to see 

it rise. I won’t be around to 
see it contribute to the upward 
mobility of a city that a Google 
search brings up terms like 
“slums” 
and 
“abandoned.” 

Most of us won’t be. We’ll come 
back to a bustling metropolis 
in 10 or 20 years and be able 
to muse to one another about 
the “Detroit we once knew” or 
the “way things used to be.” 
Old abandoned factories will 
be expensive flats and the city 
will be layered with remnants 
of its boom in the ’20s, buried 
under the rubble of the early 
2000s, polished and presented 
in the future as a kind of urban 
renewal. This palimpsest will 
become such a salient part of 
Detroit that it will be a selling 
point – an entire city that serves 
as an interactive museum of 
layered artifacts around every 
corner.

There is value in leaving, 

in seeing the rest of the world 
outside of the Rust Belt and 
exploring opportunities that 
may not be attainable here. 
There is value in gathering this 
experience and then making the 
active choice to return to the 

city instead of passively staying. 
The Rust Belt has taught us 
the 
value 
of 
determination 

and tenacity that easier places 
may not have cultivated in its 
people. This tenacity will carry 
us to pursue great opportunity 
elsewhere, but this tenacity will 
lead us back to where we began.

The Rust Belt narrative may 

be a discourse of those who stay 
versus those who go, but there 
are also those who return. We 
can leave and come back better 
than before. If anything, that’s 
the Rust Belt narrative: it’s the 
story of the comeback.

Pfleger is moving on to her next 

adventure. To wish her well, send 

an email to pspfleg@umich.edu

“If you’re so 

good, then why 

are you still 

here?”

DETROIT ARTS COLUMN

Saying goodbye 

to Detroit

PAIGE 

PFLEGER

FLICKR

Tfw you’re naked in public and it’s kind of hot.

The Rust Belt 
narrative: its 

the story of the 

comeback.

Those who stay 

versus those 

who go.

MUSIC NOTEBOOK

Put down this paper 
and listen to Alex G 

By RACHEL KERR

Daily Arts Writer

I’ve said it before, I’m saying 

it now, and I’ll probably say it a 
few more times: everyone needs 
to listen to Alex G. I wrote an 
article about his show in Detroit 
a couple months ago and includ-
ed him in my 2014 “best of” list. 
Now, here I am again, writing 
about him again. I’ve already 
apologized to my editors for my 
obsessive tendencies but remain 
steadfast in my efforts to inform 
everyone about G.

So, I’ll give you a little recap 

of the dude (in case you forgot 
to read my other articles.) Alex 
Giannascoli is a 22-year-old 
D.I.Y. indie rocker from Philly 
who studied at Temple Uni-
versity and recorded his songs 
from the comfort of his dorm 
room, which he uploaded to 
his Bandcamp profile. I called 
him the “Internet’s best-kept 
secret,” and I meant it. He accu-
mulated a small following with-
in the crevices of the web but 
flew relatively under the radar 
until last year.

With the debut of his first 

studio-album, DSU, he earned 
approval from music authorities 
like Pitchfork, who crowned 
him the lo-fi king and best new 
bedroom 
singer/songwriter 

(I’m paraphrasing, but you get 
the point). The album deals with 
youth and growing up and all 
the shitty stuff that comes with 
it. The lyrics are subtly poetic, 
the vocals dark and dreamy, the 
guitar riffs volatile. If Elliott 
Smith and Built to Spill went 
on a few dates and then fucked, 

their lovechild would be Alex G. 
It’s damn good.

You know what else is damn 

good? His stuff on Bandcamp. 
So good that, to my dismay, his 
label took two full LPs down to 
remaster and re-release after he 
started getting attention. Like 
seriously, one day they just dis-
appeared off the Internet. And 
on that day, many tears were 
shed because Trick and Rules 
feature some of G’s best mate-
rial. They read much like DSU 
in length and theme, follow-
ing the same sort of adolescent 
narrative 
in 
approximately 

13-16 songs. Though short, the 
tracks offer bursts of emotion 
– sometimes raw and melan-
cholic, other times soft and 
tender. They’re rough around 
the edges, a bit bitter upon first 

bite, but let them play for a few 
minutes and you’ll start to like 
the taste.

And now they’re back up on 

Bandcamp, as well as iTunes 
and Spotify. To be honest, I 
can’t really tell that they’ve been 
remastered, but maybe that’s 
just because I didn’t mind how 
they sounded before. Trick, 
in particular, rivals all of G’s 
other efforts, including DSU, 
despite being recorded a few 
years before. From the opening 
track, “Memory,” to the closing, 
“Clouds,” the album feels like 
an intimate look into your own 
life. G’s words feel like abstract 
entries in your own diary.

So if you don’t put on a fuck-

ing Alex G song after you’re done 
skimming this article, so help 
me God. But seriously, go listen.

ORCHID TAPES

Tfw you wet yourself and it’s kind of hot.

