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 ! 2 RENTALS LEFT ‑ BEST DEAL ! ! NORTH CAMPUS 1‑2 Bdrm. ! ! Riverfront/Heat/Water/Parking. ! ! www.HRPAA.com ! ARBOR PROPERTIES Award‑Winning Rentals in Kerrytown, Central Campus, Old West Side, Burns Park. Now Renting for 2017. 734‑649‑8637. www.arborprops.com 811 S. DIVISION 4 bedrooms, 1 bath, parking, laundry, $2200/month. Available Fall 2017. dklemptner@comcast.net CARLSONPROPERTIES .COM 734‑332‑6000 2017‑2018 LEASING Apartments Going Fast! Prime Student Housing 761‑8000. www.primesh.com Efficiencies: 344 S. Division $835/$855 610 S. Forest $870 1 Bedrooms: 726 S. State $1135 326 E. Madison $1045/$1065 511 Hoover $1045/$1065 508 Division $945 *Varies by location: Full Furnished, Park‑ ing Included, Free Ethernet FALL 2017 HOUSES # Beds Location Rent 4 827 Brookwood $2900 2 935 S. Division $2100 Tenants pay all utilities. Showings scheduled M‑F 10‑3 24 hour notice required. CAPPO/DEINCO 734‑996‑1991 FOR RENT 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.”