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.”

