ACROSS 1 Item in a ’60s drug bust 7 Marshal Tito, for one 11 Friendly address 14 Make effervescent 15 Queen’s place 16 Move on water 17 Generic City Hall dog? 19 Caustic chemical 20 __ Toy Barn: “Toy Story 2” setting 21 Japanese volcano Mount __ 22 Guzzle 24 Half a prison? 26 Suffix for professionals 28 Toon who often wore a Metallica T-shirt 29 Why some seek a certain cactus? 32 Bacchanal vessel 33 Rested 34 Choler 35 Essay on meditation? 39 Arboreal critter 41 “__ believer!” 42 Icon with a curved arrow 45 Eschew medical attention? 49 Certify 50 LAX stat 51 “Let her not say __ that keep you here”: “Antony and Cleopatra” 53 Language from which “julep” is derived 54 Centrifuge site 56 Rosamund’s “Gone Girl” co-star 57 Green beginning? 58 Fighter whose stock greeting affects 17-, 29-, 35- and 45- Across 63 However, to texters 64 __ dixit 65 Shape, as dough for cloverleaf rolls 66 Strong desire 67 Lacking a date 68 Adam, of the “Bonanza” brothers DOWN 1 Holy men who turn prayer wheels 2 Cousteau’s concern 3 Oxymoronic skiing condition 4 All- encompassing concept 5 Gillette brand 6 “Empress of the Blues” Smith 7 “The Tudors” sta. 8 Actress Tyler 9 GPS datum 10 Frost output 11 Eponymous South American leader 12 Beamish? 13 Warning words 18 Upbeat 23 “Obviously, right?” 25 Their colour is affected by melanin 27 Fare on a flat tortilla 28 __ test 30 Master 31 Roofing sealer 36 One of a biblical trio 37 Global financial org. 38 Tournament elimination point 39 Diplomatic case 40 Dutch landowner in colonial America 43 Court action 44 Bony 45 __ pin 46 Pluto’s Egyptian counterpart 47 Alternative to de Gaulle 48 Buster who portrayed Flash Gordon 52 Uncalled for 55 Canaanite deity 59 Decide 60 Lee side: Abbr. 61 Cooper’s creation 62 Honorary legal deg. By Jeffrey Wechsler ©2016 Tribune Content Agency, LLC 02/12/16 02/12/16 ANSWER TO PREVIOUS PUZZLE: RELEASE DATE– Friday, February 12, 2016 Los Angeles Times Daily Crossword Puzzle Edited by Rich Norris and Joyce Nichols Lewis xwordeditor@aol.com Classifieds Call: #734-418-4115 Email: dailydisplay@gmail.com 4, 5 OR 6 BEDROOM HOUSE 1119 S. Forest ‑ May or September $2800 ‑ $3500 based on number of ppl Tenants pay all utilities. Parking and laundry available Showings M‑F 10‑3; 24 hour notice required. www.deincoproperties.com 734‑996‑1991 2 UNIT CORNER HOUSE 2200 sq ft Useful as offices & residence. Occupied. $176000 Uptown Clinton 734‑231‑1504 NEAR CAMPUS APARTMENTS Avail Fall 16‑17 Eff/1 Bed ‑ $750 ‑ $1400 2 Bed ‑ $1050 ‑ $1425 3 Bed ‑ $1955 Most include Heat and Water Parking where avail is $50/m Many are Cat Friendly CAPPO 734‑996‑1991 www.cappomanagement.com THESIS EDITING, LANGUAGE, organization, format. All Disciplines. 734/996‑0566 or writeon@iserv.net 1, 2 & 3 Bedroom Apts on Arch Avail Fall 2016‑17 $1050 ‑ $2500 + electric contribution CALL DEINCO 734‑996‑1991 WORK ON MACKINAC Island This Summer – Make lifelong friends. The Island House Hotel and Ryba’s Fudge Shops are looking for help in all areas beginning in early May: Front Desk, Bell Staff, Wait Staff, Sales Clerks, Kitchen, Baristas. Housing, bonus, and discounted meals. (906) 847‑7196. www.theislandhouse.com 2016‑17 LEASING EFFICIENCY and 1 & 2 BDRM APTS 344 S. Division $835/$855 610 S. Forest $870 508 Division $925/$945 1021 Vaughn (1 left) $1410 By location: Fully Furnishing, Parking Incl, and Free Internet Prime Student Housing 734‑761‑8000 www.primesh.com 4 BEDROOM HOUSE NORTH CAMPUS/HOSPITAL 1010 CEDAR BEND ‑ $2400 + utilities PARKING & LAUNDRY 734‑996‑1991 ARBOR PROPERTIES Award‑Winning Rentals in Kerrytown, Central Campus, Old West Side, Burns Park. Now Renting for 2016. 734‑649‑8637. www.arborprops.com 2, 3 & 4 Bedroom Apts @ 1015 Packard Avail for Fall 2016‑17 $1400 ‑ $2700 + gas and water; Tenants pay electric to DTE; Limited parking avail for $50/mo; On‑site Laundry CALL DEINCO 734‑996‑1991 5 BEDROOM APT Fall 2016‑17 $3250 + $100/m Gas & Water + Electric to DTE, 3 parking spaces 1014 V aughn #1 ‑ multilevel unit w/ carpet CALL DEINCO 734‑996‑1991 6 BEDROOM FALL 2016‑17 Central Campus House 335 Packard ‑ $3800 + Utilities Parking, Laundry, Lots of Common area www.deincoproperties.com 734‑996‑1991 ! NORTH CAMPUS 1‑2 Bdrm. ! ! Riverfront/Heat/Water/Parking. ! ! www.HRPAA.com ! 1 & 2 Bedroom Apts on Wilmot Avail Fall 2016‑17 $975 ‑ $1575 Plus Electric to DTE Coin Laundry Access, Free WiFi Parking Avail $50‑$80/m CALL DEINCO 734‑996‑1991 SERVICES FOR SALE SUMMER EMPLOYMENT FOR RENT 6 — Friday, February 12, 2016 Arts The Michigan Daily — michigandaily.com Dance performance celebrates Black lives By GILLIAN JAKAB Daily Arts Writer “Healing is just as important as protest,” choreographer Camille A. Brown wants to remind us. Although Brown and her dancers echo the serious assertion that Black Lives Matter, they seek to spell out why with their bod- ies. “BLACK GIRL: Lin- guistic Play” will unfold at the Power Center on Sat- urday, as part of the UMS winter sea- son. A dance piece set to an original score performed live and culminating in a moderated interactive discussion with the audience, the piece is a celebra- tion of identity — both personal and that of a collective cultural history. It harkens back to the unbri- dled joy and expression (in metaphor, if not lived real- ity) of childhood. The piece’s movement vocabularies thread through generations of Afri- can American history, from West African drum beats to coded resistance in the Ante- bellum South, club social danc- ing leading up to the civil rights movement and on through the decades to Michael Jackson, the electric slide and urban rhythms of stepping and street games. Maybe you paused at the title. What does it mean? “‘Linguistic’ — when people hear that they automatically assume … is there text?” Brown said in an interview with The Michigan Daily. “That’s not the only way people communicate, it’s the language of the body.” The term “play,” too, has a few meanings. There’s the obvious activity of merriment: playing children’s games on the street like Double Dutch. A play can be a gambit — a strategic or aggres- sive move in pursuits like chess or love. Or there’s play as in a theatrical performance. Brown draws on all of the definitions and challenges us to an expan- sive understanding of the word. The title’s first part, “BLACK GIRL,” may seem self-evident, but after deconstructing the title’s description, we’re left to question the meaning of those words as well. What does it mean to be a Black girl? To whom? What are the images or stereo- types we see? “What about childhood, what was my childhood like? I real- ized: wow you don’t see your childhood, you don’t see those games, you’re depicted as those stereotypes.” Brown said. “I wanted to do something differ- ent than what I saw out there.” Kyra Gaunt’s book, “The Games Black Girls Play” sparked the concept of Brown’s piece and as it took off from its origi- nal form, it evolved, draw- ing life from the dancers’ own stories. Like social dance, the established structure of the choreography gives way to per- sonal interpretation and style. Each individual contribution adds a layer of flair, of experi- ence and of memory. Through these shared stories, the danc- ers articulate a time before their identity was a label tacked on to their bodies — a time when they just simply were, in rhythm and in movement. “‘BLACK GIRL: Linguis- tic Play’ is rooted in childhood memory, but it’s rooted in all of our childhood memories and all of our experiences,” Brown said. “So it’s not just me telling my story, it’s the company tell- ing their stories. We had a lot of conversations. When you go back and you think about that period of time and when you think about identity: what was that point in your life when people started classifying you? You are short, you are dark-skinned. You are. You are. How did you feel about that? Going back, people really (began) unpacking that personal history.” The piece is organized into three sections following the maturation of a Black girl in urban America. Brown herself plays both a young girl, around 14, and later embodies a Black woman in motherhood — a chal- lenging feat for a petite and youthful choreographer. One section is dedicated to the movement lexicon of West and Sub-Saharan African and its sub- sequent translations through the generations of African-American dance vernacular, detailed in the rich reference and resource guide found in the program. The “Pattin Juba” was a term used for the body percussion of slaves in the 18th century when dancing and drumming were forbidden, as a way to connect to their heri- tage. Elements of the juba can be seen in social dances, including The Dougie, and even in urban street games like Double Dutch. “The aspects of rhythm and creative identity are timeless, but the way people do it is progres- sive,” she said. The thing about Double Dutch, even though it’s a childhood game — when you think about it and really dis- sect it — it’s music. It’s musi- cal compositions: its phrasing, it’s polyrhythms, you know it’s an extremely sophisticated art form, but because children do it, its seen as trivial. Also hand clapping games — I don’t know if you’ve played numbers, but that’s a hard game!” A renowned choreographer and dancer, Brown had to ask herself and her dancers to strip away some aspects of their for- mal dance training and get into expressions of socially-learned movement and style that were more personal and entirely their own. “I told my stylist I want us to be able to walk off the stage and walk into the street and we don’t look any different from anyone else,” she said. So it was just a lot of stripping and it’s like, what does it really mean for you to be yourself and how would you dance your dance being yourself and not just being dancer num- ber eight.” Brown feels this piece in par- ticular offers entry points for audience members to see their stories, whether or not they are Black or female, or even “danc- ers.” “When I create movement I’m not necessarily speaking to dance aficionados — I want it to be accessible to the people who do the electric slide at the party … And I think often times, espe- cially at university, people see a dance show and they’re like ‘I don’t know that — don’t got noth- ing to do with me. I won’t go,’ but its actually really for them,” she said. “And I’m always excited when I see students in the the- atre. Always.” With African-American social justice in the vanguard on college campuses and around the country, “BLACK GIRL: Linguistic Play” suggests that parallel to the response of activ- ism, is the equally important celebration of cultural iden- tity. We often focus on clashes and on protests highlighted by the media, and Brown reminds us to acknowledge the healing aspects of our communities. “We definitely need to talk about the issues, but we also need to talk about the joy … and the authenticity, and the move- ment, and the social dance and the relationships because that, in a sense, is answering the question: well why do black lives matter?,” she said. “This is why. There’s a history there, there’s sisterhood there, there’s a lin- eage there. Those are the things that I wanted to elevate in this particular piece.” By NATALIE ZAK Daily Community Culture Editor He introduced the world to its first Analrapist, delivered the most infuriating audition of all time on his ’90s sketch show “Mr. Show” and has made increasingly poor deci- sions under the guise of Todd Margaret. With a filmog- raphy ranging from “Eternal Sunshine of the Spotless Mind” to “It’s A Disas- ter” to “Alvin and the Chip- munks,” actor and comedian David Cross has made his mark not only on the world of comedy, but also on the world of film, television and art. And now, he wants to make America great again. “I am extremely excited to get back out on the road after six long years away. I was very busy writ- ing for The View, but now that the kids are off to college, my wife’s regiment has been transferred to McMurdo Station in the South Pole, and I’m near completion on Fallout 4, it’s time to start up the bus and bring my patented, fart-inducing laugh winces to a town near you,” Cross wrote on his Facebook page upon first announcing the “Making Ameri- ca Great Again!” tour. Although this is the explana- tion most fans would prefer to believe, Cross’s sudden return to stand-up was a much more calcu- lated decision, he explained in an e-mail interview with The Michi- gan Daily. “We knew we weren’t going to be able to do more Bob and David’s this year because of Bob’s schedule, and simultaneously I found out that I had to have major shoulder surgery which has a long and intense recovery period where I can’t travel so I figured it was the perfect time to get the set together and hit the road,” Cross wrote. The Bob referred to is Bob Odenkirk, a comedian, writer and actor who has accompanied Cross in projects over the years from HBO’s “Mr. Show” in the ’90s to Netflix’s revival series “W/ Bob & David” that premiered this past November. After a six year hiatus from stand-up, Cross is returning to his roots on the stage for a 53-stop tour. Gracing Ann Arbor with his presence at the Michigan Theater this Saturday, Feb. 13, Cross will be presenting his signature form of alternative comedy. Known for never writing punchlines in favor of freeform stand-up, Cross has been tak- ing his routine city by city, mak- ing improvements and changes as each performance passes. No performance is the same, and with each stop the comedic rants become slightly more finessed and calculated in their criticisms. “I don’t really sit down and write my material,” Cross wrote. “For the most part it’s developed on stage … Experience tells me that the last few shows of the tour will be significantly different than the first few shows of the tour.” This alternative form of com- edy that involves the use of scribbled notes and improvisa- tion began to develop in the ’90s. Alongside comedians like Louis C.K. and Janeane Garofalo, Cross participated in typical stand-up until venturing off into the free- form stylings of “Un-Cabaret,” an alternative comedy troupe in Boston. Since then, freeform stand-up has developed a larger following, going as far as to have its own fes- tival on the West Coast. “It’s not seen as ‘weird’ or ‘ama- teur’ now. The fact that there is a HUGE Alternative Comedy Fes- tival in LA (RIOT Festival) that’s in its fourth year is crazy to think about from the perspective of when the whole ‘alternative’ com- edy scene started,” Cross wrote. As an established comedian and actor, Cross has been a part of numerous projects, ranging from comedies with cult follow- ings like “Arrested Development” to commercial successes in the form of “Kung Fu Panda.” Cross has, as a result, seen firsthand the reaction diehard fans have to fairly removed actors and actress- es entering the mainstream, he regardless defines “selling out” differently from what one might imagine. “It’s changed dramatically,” he wrote. Back in my day if you even wore a ‘Budweiser’ t-shirt on stage because they paid for your back line you’d be considered a sell out. Nowadays you can do a commercial for a fucking bank and no-one blinks an eye.” There is a generational stigma around artists who enter into projects solely for commercial rather than artistic reasons, and often artists, musicians and actors will suffer because of this. The second a song or show becomes critically acclaimed, or an artist participates in a critical- ly acclaimed endeavor, their lifes- pans are drastically shortened. It is difficult to explain this paradoxical phenomenon in today’s culture, because it appears to discourage success. But as Cross aptly observed, “Maybe it’s a generational thing.” (And maybe Cross doesn’t notice the modern day trans- gression of the term “selling out” because which projects he choos- es to participate in isn’t affected by his fan’s reactions or unpro- voked opinions from critics.) Cross described his participa- tion in commercially successful projects by saying “the choice is not to be miserable” in an inter- view with The Believer in 2008. Despite what criticisms may be thrown his way, an individual’s choice to make a living from their passion should in no way be viewed as selling out. But what can the dedicated fol- lowers of Cross’s television and film career expect from his stand- up? They should prepare for dis- comfort and shock, but in the best way possible. His style is offbeat and challenging, but undeniably funny. And so, Cross makes his return to stand-up in a stunning fash- ion. As he makes his way across the United States, we can only hope that his tour will live up to the lofty precedent of its title. But in the end the final question remains: does Cross truly believe that we need to make America better? “I don’t,” he wrote bluntly. “I was being ironic.” David Cross in A2 Camille A. Brown & Dancers “BLACK GIRL: Linguistic Play” Saturday, Feb. 13, 8 p.m. Power Center $26-48 EVENT PREVIEW David Cross Saturday, Feb 13, 8 p.m. Michigan Theater $35 WE’VE GOT ARTICLES ON OUR ARTICLES. WE’VE GOT ARTICLES COMING OUT OF OUR EYEBALLS. (SERIOUSLY. WE HAVE TWICE AS MUCH WITTY CULTURE COVERAGE ONLINE) Go to michigandaily.com/section/arts to get the full Daily Arts experience EVENT PREVIEW