FALL 2018 HOUSES
# Beds Location Rent
11 1014 Vaughn $7700
9 1015 Packard $6525
7 1129 White St $5250
6 415 N. Thayer $4350
6 511 Linden $4800
6 605 Hoover $4500
6 708 E. Kingsley $4800
6 722 E. Kingsley $4650
6 1119 S. Forest $4350
6 1207 Prospect $4900
6 1355 Wilmot Ct. $5075
5 515 S. Fourth $3700
5 935 S. Division $4000
5 1016 S. Forest $5400
5 1024 Packard $3700
4 809 Sybil $3200
4 827 Brookwood $3000
4 852 Brookwood $3000
4 927 S. Division $3100
4 1117 S. Forest $3200
4 1210 Cambridge $3400
Tenants pay all utilities. Leasing
starts Nov. 10th. Reservations
Accepted till 11/8.
CAPPO/DEINCO 734‑996‑1991
MAY 2018 – 6 BDRMS HOUSES
417 N. Thayer ‑ $4500
811 Sybil ‑ $4400
Tenants pay all utilities.
Showings Scheduled M‑F 10‑3
24 hour noticed required
DEINCO PROPERTIES
734‑996‑1991
FOR RENT
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Wing it
6 Doing battle
11 Quarterback
Brady
14 “Fun With Dick
and Jane” (2005)
actress
15 Hourglass, e.g.
16 Political
commentator
Navarro
17 Southern dish, so
we hear
19 Tap site
20 Justice Dept.
branch
21 Fair
22 What “A” is for, in
Sue Grafton’s
mystery series
24 Hot rod?
25 World’s
navigable waters,
so we hear
27 __ Friday
30 Savory Chinese
snack
31 Manufacturing
facility
32 Manhattan
developer?
33 #1 texting pal
36 Welcome relief,
so we hear
41 Sevilla sun
42 Nice way to say
no?
43 __ signs
44 “I bet!”
47 Composes, as
music for a poem
48 Suggestive
dance, so we
hear
50 Put on
51 Hindu class
52 Works on walls
53 Nursery
complaint
56 __ Dhabi
57 Warning hint, so
we hear
61 “Little ol’ me?”
62 “Middlemarch”
novelist
63 Flowed back
64 Soup cooker
65 Criticize sharply
66 Butch and
Sundance
chasers
DOWN
1 Goya’s “Duchess
of __”
2 Muscle used to
raise your hand in
school, for short
3 Lollygag
4 “Monsters, __”
5 Spokesperson’s
route?
6 Till now
7 In those days
8 Gum ball
9 Galaxy download
10 Maintain, as roads
11 Bookie’s work
12 Last non-AD yr.
13 Tricks
18 Wicked
23 Cut of lamb
24 Belted out
25 Burn slightly
26 They may ring or
have rings
27 Calculating pros
28 Plus
29 Outfit with bell-
bottom trousers
30 Steak named for
its shape
34 Bravo automaker
35 Dough used in
baklava
37 Letter-shaped
fastener
38 One might be
made of sheets
and pillows
39 Exceed, as a
boundary
40 Bris, e.g.
45 Flop’s opposite
46 Gushed
47 Go it alone
48 Rapscallion
49 Just not done
50 Quick with
comebacks
52 Funk
53 Halloween
decor
54 All in favor
55 Literary alter ego
58 Stadium cry
59 Wrestler Flair
nicknamed “The
Nature Boy”
60 “Entourage”
channel
By Bruce Haight
©2017 Tribune Content Agency, LLC
10/19/17
10/19/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Thursday, October 19, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
6 — Thursday, October 19, 2017
Arts
The Michigan Daily — michigandaily.com
RCA RECORDS
Goldlink performed at St. Andrew’s last Tuesday
A nonchalant, undeniably
hype GoldLink electrifies
Before even showing his face
on stage, D.C. rapper D’Anthony
Carlos (more commonly known
by
stage
name,
GoldLink)
captivated the audience. Hidden
from view on the sidelines,
his voice bounced around the
expanse of St. Andrew’s Hall as he
shouted expletives that mingled
with colorful strobe lights. By the
time he graced the audience with
his presence, casually strolling
out with a grin and a puffy jacket,
the crowd was in an uproar.
Armed with only a microphone
in one hand, GoldLink struck an
unassuming figure against the
clamoring backdrop of red, blue
and yellow.
Five minutes later, jacket lying
forgotten in the back corner,
crowd dissolving into a pit of
thrashing arms and bouncing
feet,
“unassuming”
(and
all
other associated synonyms) was
nowhere to be found.
Ricocheting from one beat to
the next, never faltering in speed
or energy, GoldLink proved his
solo presence as a force to be
reckoned with. The layering
of smooth rap over a playful
menagerie of melodies turned
the small corner of Detroit into lit
fireworks.
With songs that pull inspiration
from a wide range of sources —
everything from house to soul —
GoldLink was unapologetically
uncontained as he constructed
his rolling patchwork of sound.
Unapologetically uncontained
seemed to be the theme of the
show, as even the opener, Masego,
blended styles of music in a
similar fashion. Bursting on to the
stage in crooked sunglasses and a
miniature saxophone necklace
matching the actual saxophone
in his right hand, Masego’s
lighthearted demeanor welcomed
all. Easygoing and laidback, he
danced from one song to the next,
each its own intricate tie-dye swirl
of hip-hop, jazz and electronica.
Aside from occasionally pausing
to gift a delighted audience
with suave saxophone solos,
Masego
was
constantly
in
motion, a blur of gangly legs and
shuffling shoulders. GoldLink
couldn’t have asked for a better
introduction.
From the bouncing funk of
“Herside Story” to the bright fizz
of “Summatime” to the thumping
staccato of “We Will Never Die,”
GoldLink remained nonfrivolous;
his
show
was
refreshingly
uncomplicated, remaining free of
unnecessary frills. The dragging
tempo of “The Parable of the
Rich Man” contrasted the driving
beat of “Kokamoe Freestyle,” but
GoldLink performed both songs
similarly: leaning over the edge
of the stage, one foot perched
on a speaker and completely
nonchalant
underneath
the
concentrated spotlight.
As he cycled through the
majority of At What Cost, jumping
from “Meditation” to “Roll Call”
to “Crew,” GoldLink could get up
close and personal. Unhindered
by loud displays or a cluttered
space, all eyes were on GoldLink.
Rather than making the show
monotone,
the
uniformity
allowed his emotions to be on
clear
display.
Personability
infused every melody.
There is a complexity found
in
everything
GoldLink
has
produced:
from
the
many
appearances of other up-and-
coming D.C. rappers in At What
Cost, to the wide-ranged sampling
of D.C.’s regional style of go-go in
The God Complex. This intricacy,
however, is not what causes the
songs to be memorable. Rather, it
is GoldLink’s passion that drives
his music; it’s a sentiment that
effortlessly translates to his live
shows.
The connection GoldLink has
to his hometown, his music and
his fans was undeniable during
his
performance.
Underneath
elaborate twists of hard rhymes
and a vigorous BPM, there was
authenticity: a honest dedication
that has established GoldLink as a
multifaceted powerhouse, despite
his relatively simple presentation.
SHIMA SADAGHIYANI
Daily Arts Writer
CONCERT REVIEW
DAILY ENTERTAINMENT & CULTURE COLUMN
The producer/singer performed at St. Andrew’s Hall last Tuesday
In the run-up to the release
of “Blade Runner 2049,” my
housemates and I decided it
was time for us to watch the
original “Blade Runner” from
all those years ago. Heralded
today as both a classic and one
of the defining science fiction
films of the 20th century, no
one in my house had ever seen
the movie. Of a panel that
included a film major, an avid
film/TV buff and just your
average film watcher, upon
finishing the movie, only one
of us professed to having liked
it. That was me. My film buff
friend thought it was boring
and way too long, and moreover
he professed that he thought
he would’ve enjoyed it more
if he hadn’t heard all these
great things about it, creating
high expectations going in.
My friend who just watches
movies causally didn’t care for
it at all. Both of them felt the
film’s label as a “classic” had
made them dislike it even more,
because they were expected to
like it automatically.
My
film
buff
friend
continued to insist that it was
his expectation for the movie
that had primarily ruined his
experience of it. He believed
that in the wake of movies like
“The Matrix” and TV shows
such as “Black Mirror” and
“Westworld,” the themes being
pushed by “Blade Runner”
seemed
relatively
quaint.
This is similar to me to when
I showed a hallmate “Star
Wars” for the first time and
she insisted that the movie was
derivative and very familiar
to “Harry Potter,” “The Lord
of the Rings” and many other
fantasy films. When we live in
a media culture inspired and
influenced by certain seminal
works, sometimes it’s hard to
watch the thing that started
certain trends without feeling
like you’re watching a more
basic version of something
you’ve already seen.
It also seems to me that
certain movies, like “Blade
Runner,” require the audience
to sit with them for a bit before
making
a
final
judgment.
Nowadays
it’s
expected
that everyone has their gut
reactions to any given moment
or event ready to go instantly,
but media that asks deep
questions of you sometimes
demands that you give it
time. My film buff friend who
hated “Blade Runner” in the
immediate moment following
our viewing has now insisted
that we need to watch “The
Final Cut” of the movie before
we go see “Blade Runner 2049”
this week. He said he’s begun
to appreciate more what the
movie was trying to do now that
he’s given it some time and that
he’s curious if director Ridley
Scott (“Alien: Covenant”) fixed
any of the perceived mistakes
of the original film with one of
his director’s cuts.
Does
the
moniker
of
a
“classic”
give
a
film
expectations it can never live
up to? If you’ve built up in
your mind the idea of “Blade
Runner” as a Harrison Ford
action adventure, does that
mean you are doomed to hate
the actual “Blade Runner” for
the rest of your life? Maybe the
answer is that it’s important
to
remember
that
movies
like “Blade Runner” became
cult classics over time. No
movie is a classic on the day
it’s released. It took decades
for “Blade Runner” to obtain
its status as a monumentally
influential piece of science
fiction, so it’s unfair to expect
people seeing it for the first
time to necessarily accept it
totally at first sight. Given
time, it seems my film buff
friend will eventually come
around. As for my other friend,
he barely made it through the
movie the first time. You can’t
please everyone.
Can we label ‘Blade
Runner’ as a classic?
Looking at the effect this can have on the film’s viewing experience
IAN
HARRIS
COMMUNITY CULTURE PREVIEW
Basement Arts to put on
Shakespeare compilation
Basement Arts brings William Shakespeare to Walgreen Theater
in a hilarious fashioning of the famous playwright’s work
The most impressive and
innovative way that students
of the University’s School of
Music, Theatre and Dance are
creating
theater
is
through
the work of Basement Arts. A
completely student run theatre
group housed on North Campus
that consistently runs a few
shows per semester, Basement
Arts situates its shows back to
back, weekend to weekend —
providing a space for students to
exercise creativity and agency in
the theatre.
Students who are interested
in being a part of Basement
Arts can propose both original
and established works to be
produced, directed, performed
and designed by students to the
Basement Arts board, an elected
team of students in the SMTD.
The turnover is quick, with
rehearsal time being about three
weeks and funds being minimal
— but time and time again the
students of the
SMTD and the
Basement team
produce magic.
Next up on
the
Basement
Arts agenda is
“The Complete
Works
of
William
Shakespeare
(Abridged)
[Revised],”
which is being
directed
by
Elle Smith and
showcases two
BFA performance majors and a
BFA musical theatre major. Elle
decided to propose this piece
because it stands out as being
different
from
conventional
ideas of Shakespeare.
“I first saw a VHS recording
of the original production with
the Shakespeare club I started
with a few of my friends from
Shakespeare camp — I was a
super cool kid,” she said. “It
was the first time I realized that
Shakespeare
wasn’t
always
this
serious
form of drama;
it could be really
funny.”
Smith is no
stranger to the
field of directing
— she has been
directing
both
in and out of
the
University
for her entire
college
career,
having already
directed
for
both Basement
Arts
and
other
student
run
theatre
organizations
on
campus
like
Rude
Mechanicals.
Last year she
directed “The Importance of
Being Ernest” and “Dear.”
After
graduation, Smith
plans
to
pursue
directing and is
hoping to land an
apprenticeship at
a regional theatre
in
either
New
York or the Mid-
West.
She
has
been
passionate
about her directing
career
since
senior
year
of
high school when
she was urged by
a teacher to go
into directing. With that, she
switched her career plan from
actor to director.
She has directed for UPROD
and student run pieces, for
comedies and tragedies — but
when asked about how comedy
and tragedy differ, she claims,
“In my experience, I’ve found
that comedy needs to be treated
very seriously, and drama needs
emphasis on comedic moments.”
The piece she is currently
directing,
“The Complete
Works
of
William
Shakespeare
(Abridged)
[Revised]”,
which will be
performed
this
coming
weekend
through
Basement
Arts, is a play
written
by
Adam
Long,
Daniel
Singer
and
Jess
Winfield.
The
play
experienced
great
success
in New York
and
many
other
cities
nationwide. It
includes 37 Shakespeare plays
in 97 minutes and was London’s
longest
running
comedy
in
London’s West End. The entirety
of Shakespeare’s major works
are condensed into one play,
played by three actors. Though
the piece did originally debut
in London, it has had thrived
on stages in the United States as
well.
Smith prides herself on being
different in her directorial style.
“Everyone in the directing
department
has
a
different
style,” she said. “I’m really
into reimagining classic works
with a modern twist — like my
all-female production of ‘The
Importance of Being Earnest’
last fall. I also have an amazing
concept for a zombie production
of ‘Hamlet.’”
With
such
vision,
“The
Complete Works of William
Shakespeare
(Abridged)
[Revised]” is sure to breathe
fresh, fast life into nearly fourty
classic plays.
ELI RALLO
Daily Arts Writer
Basement Arts
presents “The
Complete Works
of William
Shakespeare
(Abridged)
[Revised]”
Walgreen Drama
Center — Towlsey
Studio
October 19th -
21st @ 8:00 P.M.,
October 20th @
11:00 P.M.
Free
Turnover is quick,
with rehearsal
time being about
three weeks
and funds being
minimal