HAPPY
TUESDAY!
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Energizes, with
“up”
5 Onetime TWA
rival
10 Lucy’s co-star
14 “Star Wars”
princess
15 Bakery draw
16 “That’s so true!”
17 Misfortunes
18 Las Vegas
loser’s complaint
20 [“Get off the
stage!”]
22 Word with dog,
horse or lion
23 Bank acct.
posting
24 Critter “in the
headlights”
26 Worked hard
30 Spoken
32 Make on the job
34 Explosive
emotion
35 Eight, en español
36 Like some
committees
37 Martini ingredient
38 Jack of nursery
rhymes
39 “Give __
chance!”
40 Grate residue
42 Chinese-born
architect I.M. __
43 Techie’s hangout
45 “Doggone it!”
46 Dada pioneer
Jean
47 Speak hoarsely
48 Landmark on
Missouri’s state
quarter
49 Georgia, but not
Florida
51 Vatican City
currency
53 Uncanny claim
56 Crime syndicate
leader
57 What a judge
may do during an
arraignment
59 Grecian Formula
competitor
64 Invention
beginning
65 Roughly 30% of
Earth’s land area
66 Fall zodiac sign
67 Denim pioneer
Strauss
68 Chimed
69 “No bid,” in
bridge
70 Perfect spot
DOWN
1 “I was home
alone” isn’t a very
strong one
2 Breakfast fruit
3 *Screenwriter’s
work for the first
episode
4 Merit badge
holder
5 Analyzed, as a
sentence
6 Got out of bed
7 “__ again!”
8 Invoice no.
9 Leader with a
baton
10 __ Lama
11 Big bird from
Down Under
12 “Hold on a __!”
13 Pentel filler
19 *Orangy Crayola
color
21 *Simple-to-use
25 *Symbol of
bureaucracy
27 Dizzy ... and a
hint to the starts
of the answers to
starred clues
28 Great Lakes
natives
29 Lairs of lions
31 “Of course!”
33 Ill-fated whale
chaser
35 Rossini creation
36 Is home sick
38 Stretch across
41 Cul-de-__
44 Tubular Italian
pastries
48 Concert milieus
50 Suitcase tie-on
52 App downloaders
54 Kitchen strainer
55 Opposite of
everything, in
bageldom
58 Rancor
59 Jelly holder
60 Land “across the
pond” from the U.K.
61 Gluttony, e.g.
62 Tear (into)
63 Exec’s degree
By C.C. Burnikel
©2016 Tribune Content Agency, LLC
11/29/16
11/29/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, November 29, 2016
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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6 — Tuesday, November 29, 2016
Arts
The Michigan Daily — michigandaily.com
EVENT REVIEW
In
the
short
story
“On
Exactitude
in
Science”
by
Argentine writer Jorge Luis
Borges, a society
obsessed
with
maps embarks on
its most ambitious
project to date. To
them, maps always
seemed too small,
too inadequate in
representing their
world in all its
vivid color. After
all, why scale down
when
something
is always lost in translation
when doing so? They decide to
create a 1:1 map of the world —
each object, each person, each
mountain, valley and clamorous
river would be drawn in full
detail, mirroring its own exact
size and shape in the real world.
Spoiler alert: they give up.
Maps may reflect the world
around them, but they can
become worlds themselves just
as easily — more than plain
old
pictures,
they
become
microcosms of the very places
they are meant to encapsulate.
Borges’s imaginary project of
mapping,
of
world-building,
proved too bold. A map can grow
only so large, the world so small.
Brazilian
architect
and
scholar
Fernando
Lara
approaches his projects with
similar ambition and scope,
but also with more self-control.
A lively, passionate speaker,
he told the Borges story, and
several others, at a talk at
UMMA. Lara remarked with a
laugh that his work, particularly
the
architectural
“map”
he
was here to promote, had to be
slightly more selective in which
buildings it included, and which
it left out.
Lara and his collaborator,
Mexican
architect
Luis
Carranza, wrote a lauded book
about modern Latin American
architecture in 2014 — the first
ever
comprehensive
survey
of the field. To complement
their text, now a standard in
architecture classrooms around
the world, they designed an
exhibition, “The Other of the
Other: Modern Architecture in
Latin America.” This enormous,
interactive map of prominent
modern buildings throughout
Latin America has made its
way to Ann Arbor after touring
throughout
the
Americas
over the past two years, and
is currently on display at the
Duderstadt Center.
The story of Lara’s map is
indeed as compelling, layered
and labyrinthine as a Borges
story.
In
constructing
an
architectural
map
of
their
region,
Carranza
and
Lara
didn’t just transcribe the world
around
them.
They
traced
architecture
from
the
20th
century into the 21st, from the
deserts of northern Mexico
down the continent’s thin spine
to the low hem of the Andes.
In doing so, they charted Latin
America’s tumultuous century
of progress and conflict in its
most noteworthy architectural
creations,
and
challenged
the
traditional
assumption
of
Western,
North
Atlantic
dominance
in
contemporary
architecture.
“We needed to engage this
North
Atlantic
knowledge
center with our own narrative,”
Lara said at his UMMA talk.
“It was a strong desire to tell
this story from the perspective
of Brazil, Mexico, Argentina.
That’s what drove this work.”
All too often, Lara believes,
the
story
of
contemporary
architecture is told from the
viewpoints of Europeans and
North
Americans.
He
used
yet
another
colorful
story
to
illustrate
the
traditional
attitude: Picture a different
sort of map, this one reflecting
not the world as it is, but as it
was
conceived
by
Western
thinkers.
It’s
a map of the
classical
arts,
with
Ancient
Greece
and
Rome
as
its
base, the pillars
holding up the
foundation
and
Europe and the
United
States
at the top as the pinnacles of
modern artistic expression.
Lara simply doesn’t think this
conception is true — not now, not
ever. Not even when maps like
that were really drawn from the
16th century onward. Instead,
he sees the colonial encounter
itself as the basis for ideas of
Western
superiority
in
the
arts. It may have been Europe’s
encounter with the Americas
that breathed new life — as well
as free labor and a wealth of
natural resources — back into a
floundering Western Europe.
This same dynamic is alive
and well today. After studying
Latin
America’s
vibrant
architectural
heritage
for
decades, Lara feels now more
than ever that nothing can be
separated into hierarchies of
merit, least of all the arts. The
Americas are an interconnected
place, and always have been.
Latin America has never been
truly separate from America
—
not
architecturally,
not
politically, and not ethnically or
linguistically.
“After writing this book on
Latin American architecture,
I no longer want to be a Latin
Americanist. I want to be an
Americanist,” Lara said. “We
share a lot in the Americas —
much more than we are aware
of.”
The implications of Lara’s
work
extend
beyond
the
Americas into the larger global
architectural sphere as well. His
own practice in Rio de Janeiro
completes
community-minded
public projects for the Brazilian
government — something that
has dried up as the country faces
a political and economic crisis
of unprecedented scale in the
modern era. Brazil’s mistakes
and failures in architecture
and public design reverberate
throughout a world wracked
with similar challenges: rapid
and chaotic urbanization, well-
meaning public works initiated
by
unreliable
governments,
alarming
population
growth
and the rise of informal housing
in slums and favelas.
It is the ascent of informal
living, of the informal city
existing outside and within
the
formally
constructed
metropolis, which drives Lara’s
practice.
“Informality is everywhere
— it’s a matter of degree,” he
said, comparing Rio’s slums to
the shoddy complexes thrown
up for budding entrepreneurs
in Silicon Valley. “It’s a group
of characteristics that can apply
to urban settlements lived in by
over one billion people today,”
Lara added. As his interviewer
cited, in the next 35 years, the
world will need to build as much
new housing as has been built
in the previous 5,000 years of
human existence.
Informality in Latin America
isn’t
the
only
architectural
phenomenon that has informed
architects
globally.
Latin
America’s legacy of modernist
innovation, which sits at the
heart
of
Lara’s
work,
has
the
potential
to
offer
the
stagnant architectural sphere
of
the
United
States
and
Europe
new
ways
forward.
Because
it
was
considered
out
of
the
architectural
mainstream during the 20th
century,
visionary
architects
experimented
with
building
styles in Latin America that
wouldn’t surface here until
decades later.
“When we look at modern
architecture,”
he
explained,
“It was tested in Latin America
before it was built in the U.S.”
Flip through the pages of
Lara’s book and see. A picture
of a brutalist concrete building
seems to be from 1970s Boston.
The caption below, though, tells
a different story: 1940s Mexico
City, perhaps, or 1950s Caracas.
The last century saw Latin
America as the playground for
the rich and famous of the United
States. Little did they know
that blueprint by blueprint, the
region was being transformed
into an architectural hotspot.
Today, with the work of scholars
like Lara, architects south of
the border can finally get their
moment in the sun.
This revelation — that Latin
America has a great deal to
contribute, in arts and in every
other major global arena —
seems comically obvious. But
its significance has as much to
do with contemporary politics
as it does with architecture
or
academia.
Just
as
the
United States has been slow to
recognize the contributions of
artists and architects from other
parts of the Americas, Lara
feels its present-day political
developments have generated
an atmosphere of mistrust and
exclusion for foreign cultures.
An internationalist who values
openness
and
heterogeneity
to
foster
artistic
growth,
he was particularly critical
of
President-elect
Donald’s
Trump’s proposal to construct a
2,000 mile concrete wall.
Lara teaches at the University
of Texas at Austin, just a four-
hour drive from the U.S./Mexico
border. It is not just the physical,
but
also
the
psychological
effects of the proposed wall,
as well as its symbolism in
the international arena, that
upsets the Brazilian scholar.
To him, it speaks to the same
closed-off attitudes and cultural
hierarchies
that
portrayed
Latin America as second-class,
and treated Latinos as second-
class citizens, for so long. So he
decided to do something about
it.
“We have the responsibility
to propose things that make the
world better,” Lara said. So at
the start of classes this fall, the
professor presented his students
with a unique challenge: “We
have to design the border
without a wall.”
All fall semester, Lara and his
architecture graduate students
have been absorbed in their work.
Now, the project is complete.
Their border may lack a physical
wall, but it is far from lawless.
After all, Lara pointed out that
just as drugs and human beings
continue to pass north through
today’s
highly
militarized
border, illegal arms flow south,
exacerbating
narcotrafficking
conflict
and
day-to-day
violence.
Crisscrossed
with
a network of humane law
enforcement facilities and safety
mechanisms, it encapsulates the
ideal of the open border without
sacrificing peace of mind.
The
President-elect
has
offered one possible solution
to the issue of immigration and
border control. Lara and his
students have offered another,
but many American voters may
have already made up their
minds The United States might
not be ready for Lara’s solutions.
Just
as
with
modernist
architecture in the last century,
once again, it’s Latin American
thinkers leading the vanguard.
Skepticism
and
reactionary
views don’t seem to faze Lara; he
learned his craft from a patient
crowd, after all.
“We have to think of the border
this way,” Lara concluded. “We
may be generations away from it.
But we must envision it.”
MERIN MCDIVITT
Daily Arts Writer
Brazilian architect imagines a world
without The Wall in his new exhibit
“The Other of The Other” highlights Latin American contributions
“The Other of The
Other”
November 18 to
December 2
Duderstadt Gallery
Free
It must have been impossible
for Gucci Mane — the 36 year old
Atlanta-raised rapper who was
just released from
prison
in
June,
but
has
already
dropped two full-
length albums since
then — to know
exactly how large
his influence over
hip-hop
would
become during his
incarceration.
In 2012, when
Gucci was convicted of firearm
possession, the trap rap style
that he helped usher to national
attention had not only blossomed
into a sub-genre, but by June 2016,
his less technical, more stylish
approach to writing lyrics had
become a subject of emulation for
countless other artists. Many of
hip hop’s biggest stars — 21 Savage,
Future, Young Thug, A$AP Ferg
and more — seem to have inherited
elements of their sound through
Gucci Mane’s influence. Now that
he is free, Guwop is an ultimate
gatekeeper.
So what does it mean that
last week, just hours before
Thanksgiving and allegedly days
away from the arrival of Gucci
Mane’s next mixtape, The Return
of East Atlanta Santa, the world
was given 1017 vs. the World, a
seven-track, collaborative EP by
Gucci and reigning rookie of the
year Lil Uzi Vert? It means that
Guwop is officially endorsing Uzi
as a part of his empire.
Earlier this year, Gucci released
a track titled “All My Children”
that celebrates the success of those
he has influenced with lines like:
“Stop the track to tell my children
that I’m proud of them.” On 1017,
he’s not just applauding from a
distance. Gucci is running around
on a playground in Lil Uzi Vert’s
colorful fantasyland.
1017
vs.
the
World is a gift to
the culture from
two of its most
eccentric, exciting
and
cartoonish
ambassadors. The
beats are provided
almost exclusively
by longtime Atlanta
affiliates Zaytoven
and
Honorable
C.N.O.T.E, while Uzi’s erratic
vocal inflections juxtapose Gucci’s
classically cold, straightforward
rhyme patterns to create a tug-of-
war style trap project that blends
youthful optimism with veteran
realism.
On intro song “Changed My
Phone,” Lil Uzi calls himself
“Invader Zim” because “[he’s] not
from this earth” while Guwop
is busy talking about business,
dropping the boastful lines: “I’m
signed to me, I’m managed by me,
shit I feel like I’m pimpin’ me.”
Later, on “Fresh,” Gucci Mane
cuts deep by calling himself a
“coke dealer dressed like a rap
figure” while Lil Uzi Vert is caught
up on his “Red Gucci leather” and
“Raf Simons sweater.” Though
they’re united by hip hop and
the status that it’s afforded them,
these artists are orbiting on two
different axes.
Lil Uzi Vert is just starting out,
having released three mixtapes
since 2015. Though he has ridden
their acclaim to top of his class, he
is still yet to release an album. Yet,
despite his rookie status, Lil Uzi
Vert remains in control for most of
1017 vs. the World. Gucci Mane does
not appear on “Today” at all, and
though airtime is basically equal
on other songs, those with Uzi on
the hook tend to be more exciting
than “Blond Brigitte,” the only
track on which Gucci dominates
the microphone.
There’s something fresh and
modern
about
Uzi’s
screechy
crooning, even if it does become
borderline piercing upon one’s
sixteenth listen of the EP. When
placed so plainly aside Gucci
Mane, a veteran who we have
already heard from plenty, perhaps
more so than any other rapper, it
seems inevitable that Uzi would
emerge as the main event. Still,
Guwop’s stamp of approval is sure
to serve him well.
In the few days since the release
of 1017 vs. the World, both rappers
have already dropped new music.
Gucci Mane released “St. Brick
Intro,” the opening song for his
upcoming holiday project, while
Lil Uzi Vert posted videos of
himself head-bobbing to a new
song on Twitter. Eventually, this
EP may be confusedly bundled up
in the back of our minds along with
the 10 or 20 other projects that we
can expect to hear from these two
artists.
However,
right
now,
it’s
perfectly fit to act as a buffer
between
their
more
serious
releases, to help boost Uzi — who
is set as the opening act for the
Weeknd’s upcoming world tour —
to superstar status and to further
Gucci’s online buzz. This EP is full
of fun songs and ultimate Guwop
one-liners like: “Pockets looking
like an encyclopedia / Baseball
money like Derek Jeter.” I’m going
to have it on loop for a while; I
suspect the same is true for a lot of
eager fans.
ATLANTIC RECORDS
Someone’s been raiding Anay’s closet.
SALVATORE DIGIOIA
Daily Arts Writer
Lil Uzi brightens up Gucci
ALBUM REVIEW
B+
1017 Vs. The World
Lil Uzi Vert x Gucci
Mane
Generation Now
“We have to
design the border
without a wall,”
Lara said.
“We have the
responsibility to
... make the world
better.”