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.