2018-01-04

ONE HUNDRED AND TWENTY-SEVEN YEARS OF EDITORIAL FREEDOM

Thursday, January 4, 2018

Ann Arbor, Michigan

michigandaily.com

the b-side Check out The Daily Arts section’s picks for top films, songs and more from 2017. » Page 1B

CAMPUS LIFE

IFC lifts ban on Greek life social events, with checks

800

19 UMich

schools at

inclusive teaching orientations taught

taught inclusive teaching

by CRLT

Chapters required to complete action plans, social programming underway CASEY TIN/Daily

GEO and CRLT work to promote safety and inclusion for employees

Graduate employee union requests leave during Spencer visit, release inclusion guidelines MAYA GOLDMAN & CARLY RYAN Daily News Editors

After contentious contract bargaining last winter, the University of Michigan Graduate Employees’ Union has focused

much of its efforts on equity across its membership of more than 1,800 graduate student instructors, research assistants and staff members. Last year’s contract hinged upon the hiring of graduate student assistants working solely on execution of the Diversity, Equity and Inclusion plan. In the new year, GEO looks towards

issues of race and class, both inside and outside of the classroom.

The Michigan Daily spoke with GEO president Rachel Miller, a Rackham student, to discuss initiatives including inclusive teaching, and whether or not GEO members will be on campus during a potential visit from white supremacist Richard Spencer.

Inclusive Teaching Network Releases Guide for Instructors GEO released a statement on its Facebook page Tuesday night encouraging their members to look into new resources from the Inclusive Teaching Network and implement them into their classrooms.

See GEO, Page 2A

KAELA THEUT Daily News Editor

The Interfraternity Council at the University of Michigan will begin to restore social event privileges to fraternities this semester, according to a statement released on the organization’s website Wednesday morning.

The announcement comes after a two-month self-imposed ban.

Recruitment this semester for the IFC fraternities will continue as scheduled.

“IFC will begin a phased process of restoring social event privileges on January 3, 2018,” the statement read. “This process will not constitute an

immediate lift of the social suspension for all IFC chapters.

The phased process will involve chapters being notified of specific action plans they will need to complete.”

As early as Tuesday evening, The Daily obtained copies of invitations to IFC chapter mixers sent to Panhellenic sorority members who requested to remain anonymous.

At the IFC’s meeting on Nov. 9, presidents of several University fraternities voted to suspend all social activities and pledge terms following allegations of sexual assault and hazing during the previous months.

Read more online at

michigandaily.com

University sells historic overnight UberEATS In Winter delivery in house for $2.1 million as residence 2018, no

BUSINESS

ACADEMICS

Ann Arbor welcomed

50 years later, Inglis House now owned by hotel owner, former Regent’s daughter

New services will cater restaurants, fast food to downtown & Kerrytown

The Inglis House, which was once used by University administration to accommodate overnight guests such as the Dalai Lama and President Gerald Ford, has been sold to buyers who intend to use the property as a Read more online at family residence. michigandaily.com In 1950, Elizabeth Inglis donated the property to the University after the death of her husband James Inglis, who stipulated that the property would be given to the University as a residence for the University’s president. However, Elizabeth delivered a quitclaim deed to the Board of Regents in 1951 as former University presidents have opted for the more centrally situated property of 815 S. University Ave., the traditional home for presidents of the University since its inaugural president, Henry Tappan.

James Kosteva, University director of community relations, explained the house has not been used since 2012 and would continue to incur significant maintenance costs in addition to the cost of necessary renovations.

“It determined that the University would need to spend a minimum of $4.7 million of capital to make the home usable and would need to fund approximately $550,000 on (an) annual basis to operate the CEREN B DAG/Daily property,” Kosteva wrote in an The Inglis House has been sold by the University to buyers who intend to use the property as a family residence. email interview. “The University

CORY ZAYANCE Daily Staff Reporter

Students on campus are used to hailing a ride with Uber, but now they can order a snack or meal with the company as well. Uber is expanding its presence in Ann Arbor with the launch of UberEATS, a new food delivery system featuring Uber drivers as the deliverers.

The phone application launched on Dec. 7 and will connect Ann Arbor residents to 27 different local restaurants. While in Michigan the food delivery system is currently only operating in downtown Ann Arbor, Kerrytown and the University of Michigan campus, UberEATS has the potential to expand even farther.

Liz Meyerdirk, UberEATS Head of Development, said more restaurants are learning about UberEATS and seeking to get involved themselves.

“After launching, we work to understand what customers want by surveying and understanding what their behavior is like through the app,” Meyerdirk said.

Read more online at

michigandaily.com

GOT A NEWS TIP? Call 734-418-4115 or e-mail news@michigandaily.com and let us know.

RACHEL LEUNG Daily Staff Reporter

administration determined that the long-term costs of property exceed the benefit to be derived and that operation of the property was not mission critical.”

The University administration recommended selling the property, and the Board of Regents approved the sale at a meeting in March. The board decided to use proceeds from the sale to establish a new scholarship for students in the

For more stories and coverage, visit

Inglis family name.

At an April regents meeting, community members and members of the Inglis family expressed grave concern over the sale of the property. Esther Kyke, a member of the Inglis family, worried new owners could demonlish the home now that it was no longer under University protection. Kyke and a dozen other members of the Inglis family presented the regents

michigandaily.com

INDEX

with a letter condemning the sale of the home.

“It has also come to the collective attention of the Inglis family that it has been publicly circulated that we are very pleased with this decision and that the living relatives approve of the sale,” Kyke read in April.

Vol. CXXVII, No. 49 ©2018 The Michigan Daily

LSA theme semester

Following Bicentennial, LSA to forgo academic theme for first time in years ZOE BAXTER

Daily Staff Reporter

In 1980, LSA held its first Theme Semester at the University of Michigan in hopes of providing students with the opportunity to immerse themselves in a specific topic through classes and extracurricular events such as museum exhibits and theater performances.

Past topics have covered a broad range of subjects from “Water” in Winter 2011 to “The Possible Futures of U-M” in Fall 2017, themes selected through the Office of the Associate Dean for Undergraduate Education.

However, following a busy year with the University’s Bicentennial, there is no theme this semester.

“We do not have a theme semester every semester, or even every year; the frequency depends on the number of proposals we received at any given time,” Angela Dillard, LSA Associate Dean for Undergraduate Education, wrote in an email interview.

NEWS.........................2 OPINION.....................4 ARTS......................1B

Read more online at

michigandaily.com

SUDOKU.....................2 CLASSIFIEDS...............5 SPORTS.........................6

News

2A — Thursday, January 4, 2018

MONDAY: Looking at the Numbers

TUESDAY:

By Design

WEDNESDAY: This Week in History

The Michigan Daily — michigandaily.com

THURSDAY: Twitter Talk

FRIDAY: Behind the Story

Abby Orrick @abigailorrick

Taylor Sloan @Taylorsloan13

Anis Rodrigue @jackgioffre

one of my professors is holding class at pizza house today. glad i’m not the only one not ready for the semester.

When I show up tp a Tue-Thu class on Wednesday... 2018 is going well

@UMich Fix my hot water before i turn into a popsicle as I attempt to shower

Tony Perez @t__perez12

Paula Lantz @paulalantz

Ya Favorite Auntie @_ShotofRemi

Why do professors think it’s a good idea to do icebreakers when there’s 80 kids in the class

Ann Arbor deer should get yoga matts and avocado toast

U of M is so disrespectful with this short break. Like, I can’t begin to describe how upset I am.

W O LV E R I N E O F T H E W E E K

Every Wednesday, The Michigan Daily will feature a member of the campus community

“I’m looking forward to taking classes I’m passionate about.“

420 Maynard St. Ann Arbor, MI 48109-1327 www.michigandaily.com

ALEXA ST. JOHN

NATHAN GUPTA

Editor in Chief 734-418-4115 ext. 1251 alexastj@michigandaily.com

Business Manager 734-418-4115 ext. 1241 nathankg@michigandaily.com

NEWS TIPS

news@michigandaily.com

LETTERS TO THE EDITOR

LSA freshman Allison Sparpana

tothedaily@michigandaily.com

EDITORIAL PAGE

opinion@michigandaily.com

ARTS SECTION

PHOTOGRAPHY SECTION

arts@michigandaily.com

photo@michigandaily.com

SPORTS SECTION

NEWSROOM

sports@michigandaily.com

734-418-4115 opt. 3

ADVERTISING

CORRECTIONS

dailydisplay@gmail.com

corrections@michigandaily.com

Editorial Staff DAYTON HARE Managing Editor

haredayt@michigandaily.com

RIYAH BASHA and SOPHIE SHERRY

CAT MYKOLAJTCHUK/Daily

Managing News Editor

GEO From Page 1A “Whether these ideas are new to you or you’re very familiar with inclusive teaching, we encourage you to share these documents widely!” the post read.

The Inclusive Teaching Network, a new University group comprised of faculty, graduate students and activists, works to make classrooms more supportive for marginalized students. In the wake of a spate of racist attacks and bias incidents on campus in the last two years, many students have decried professsors’ lacking engagement in the classroom.

“We aim to promote a culture of accountability in upholding our commitments to practicing anti-racist, anti-queerphobic, accessible, and radically inclusive pedagogies,” the group’s Facebook page reads.

While the Inclusive Teaching

Network had not yet responded to interview requests at the time of publication, the ITN teaching guidelines—a document shared on the GEO Facebook page—included advice on handling and preventing issues that might come up before the first day of, and throughout the semester.

“An inclusive classroom is cultivated over time by taking regular, deliberate steps towards creating equitable access for all students to meet high standards for learning,” the document states. “This doesn’t mean you have to know everything about what is ‘correct’ for working with different identity groups. Rather, true inclusivity means working to understand and provide for the real learning needs of all individuals in the room.”

The document highlights the Center for Research on Learning and Teaching as another important source for instructors interested in learning more about inclusive teaching.

Indeed, Theresa Braunschneider, associate director and coordinator of diversity initiatives at the CRLT, said the center has prioritized promoting inclusivity in the classroom over the last few years.

“We know that students’ feelings of recognition and belonging are strongly correlated to their ability to learn,” Braunschneider wrote to The Daily in an email interview.

“When we define inclusive teaching at CRLT, we emphasize the importance of all students feeling valued and respected and the ways that systemic inequities (such as racism, sexism, wealth inequity) and patterns of bias (such as homophobia, Islamophobia, xenophobia, etc.) create disparate experiences for different students.”

Students have complained classroom biases—across colleges and departments on campus—can disrupt learning. Last summer, Engineering graduate student Aeriel Murphy recounted sexist comments by her professors.

“It wasn’t until I was an undergrad that it really started to affect me,” Murphy said. “My senior year of college, I had a professor say to the class, ‘don’t let the women be in the same group together because women have a hard time getting things done.’”

In the past, the CRLT has focused on supporting teachers through the process of making their classrooms into more equitable environments. Most of this work has been done through workshops, both embedded in departments and open to any faculty. The CRLT also works with Liaisons for Inclusive Teaching from each of the University’s 19 schools to help them develop school-specific programs.

Graduate Student Instructor programs also exist, and according to Braunschneider, all GSIs who attend the CRLT’s teaching orientations at the beginning of the term — about 800

every year — are offered inclusivity training. Beyond that, many departments require GSIs to take a pedagogy course, often in collaboration with the CRLT. Though the resources created by the Inclusive Teaching Network are not explicitly related to the CRLT, Braunschneider explained many of the ideas in the document came from CRLT workshops, and some of the people involved in the materials’ creation work for them as GSI consultants.

Though inclusive teaching has been a priority of the CRLT for many years now, Braunschneider said the University community has recently begun to take it more seriously.

“Partly inspired by student activism, partly prompted by DEI strategic planning efforts led by the University administration, and partly in response to an increasingly hostile climate for people of many identities both on our campus and more broadly in our country, we’ve seen a huge increase in recent years in faculty commitment to and interest in learning about inclusive teaching — across all disciplines,” she wrote. “We’re really busy, and that’s a good thing! ... We regularly revisit how we frame inclusive teaching and prepare instructors across many fields to teach inclusively, so our materials dynamically evolve in relation to the work we’re doing with faculty and GSIs.” GEO negotiates not working the day of potential Spencer visit The Graduate Employees’ Organization is working to excuse graduate student employees from a working day if Spencer, an avowed white nationalist, speaks on campus.

The specific day he will visit is still undecided, though Spencer’s lawyers have requested space during spring break. Spencer’s lawyers set a deadline of Jan. 15 for the University to determine a date, though administrators’ negotiations remain largely under wraps.

Read more at MichiganDaily.com

news@michigandaily.com

Senior News Editors: Andrew Hiyama, Carly Ryan, Kaela Theut, Matt Harmon, Maya Goldman

ANU ROY-CHAUDHURY and ASHLEY ZHANG Editorial Page Editors

tothedaily@michigandaily.com

Senior Opinion Editors: Elena Hubbell, Emily Huhman, Jeremy Kaplan, Tara Jayaram, Ellery, Rosenzweig

MIKE PERSAK and ORION SANG

Managing Sports Editors sportseditors@michigandaily.com Senior Sports Editors: Laney Byler, Mark Calcagno, Robert Hefter, Max Marcovitch, Paige Voeffray, Ethan Wolfe Assistant Sports Editors: Aria Gerson, Ben Katz, Tien Le, Anna MarcusEtha Sears, Jacob Shames

DANIELLE YACOBSON and MADELEINE GAUDIN Managing Arts Editors

arts@michigandaily.com

Senior Arts Editors: Becky Portman, Sam Rosenberg, Arya Naidu, Dominic Polsinelli Arts Beat Editors: Asif Becher, Fallon Gates, Sofia Lynch, Shima Sadaghiyani, Jack Brandon, Tess Garcia

ROSEANNE CHAO and CASEY TIN

Managing Design Editors

design@michigandaily.com

ALEXIS RANKIN and KATELYN MULCAHY Managing Photo Editors

photo@michigandaily.com

Senior Photo Editors: Amelia Cacchione, Emma Richter, Evan Aaron Assistant Photo Editors: Claire Meingast, Sam Mousigian, Aaron Baker, Ryan McLoughlin, Alec Cohen

BRIAN KUANG

Statement Editor statement@michigandaily.com Deputy Statement Editor: Colin Beresford, Jennifer Meer, Rebecca Tarnopol

FINN STORER and ELISE LAARMAN

Managing Copy Editors copydesk@michigandaily.com Senior Copy Editors: Allie Bopp, Emily Stillman

BOB LESSER and JORDAN WOLFF

Managing Online Editor lesserrc@michigandaily.com Senior Web Developers: Patricia Huang, Abna Panda, Hassan Wattoo, Rebecca Tung

IAN HARRIS

Managing Video Editor video@michigandaily.com Senior Video Editors: Abe Lofy, Robby Weinbaum, Jillian Drzinski, Danielle Kim

JASON ROWLAND and ASHLEY TJHUNG Michigan in Color Editors

michiganincolor@michigandaily.com

Senior Michigan in Color Editors: Lorna Brown, Zainab Bhindarwala, Christian Paneda, Nisa Khan, Na’kia Channey Assistant Michigan in Color Editors: Angelo McKoy, Kareem Shunnar, Maya Mokh, Priya Judge, Efe Osagie

ANNA HARITOS and KAYLA WATERMAN Managing Social Media Editor

Business Staff EMILY RICHNER Sales Manager

DEANNA ZHU and JEFFREY ZHANG

CLAIRE BUTZ

Business Development Manager

JULIA SELSKY

Sales Manager

Local Accounts Manager

JUEUI HONG

SANJANA PANDIT

CAROLINE GOLD

CAYLIN WATERS

Special Projects Manager Media Consulting Manager

Production Manager Brand Manager

The Michigan Daily (ISSN 0745-967) is published Monday through Friday during the fall and winter terms by students at the University OF Michigan. One copy is available free of charge to all readers. Additional copies may be picked up at the Daily’s office for $2. Subscriptions for September-April are $250 and year long subscriptions are $275.

University affiliates are subject to a reduced subscription rate. On-campus subscriptions for fall term are $35. Subscriptions must be prepaid.

The Michigan Daily — michigandaily.com

Michigan in Color

Why I joined MiC: Nisa Khan

NISA KHAN

Senior MiC Editor

I am so bad at expressing myself. Oh my gosh, you guys, I am so bad at expressing myself.

I can pump out boring, essay-like pages in a quick second; they won’t be perfect, but they’ll be readable. They’ll make sense. But putting my feelings and thoughts into coherent words is just an entirely different journey, and the thought of doing that on a regular basis this semester makes my skin crawl with uneasy, jumpy nerves.

But I want to.

(I am already halfway regretting writing this but I’ll soldier on in the most selfdeprecating way possible.)

Having followed Michigan in Color, the corner desk of The Michigan Daily, for a long time, I have seen talented, intelligent writers draft up the most wonderful pieces. The thoughtprovoking, heavy and nuanced discussions have genuinely prompted me to examine the way I wanted to present myself in the world.

My relationship to my identity has been a paradox of stubborn belief in who I

am mixed in with a shit-ton of insecurities. The stubborn belief part came a little late.

My life story goes: Born in the United States, spent years abroad living in four countries, came back to the U.S. for high school and steadily becoming hyper-aware of my capital O, quotation marks “Otherness.”

I think we all have a complicated relationship with who we are. I think it’s a mess of emotions and deep thought. I think a lot about how I present myself, the ways I suppress myself, the ways people see me, my culture, my language, my home life, my strained

relationship with my kind-of hometown Lahore, Pakistan. I think, in the U.S., it’s hard to pin yourself down and make yourself a place because the ground beneath you is always shifting and rejecting parts of you. But I think that MiC is a pretty great place to be around others who might feel the same.

We can be unsure together.

In the future, I want to do this whole journalism thing — for better or for worse, against all family wishes because they are pretty brown. But, I am not cut out for three years of law school, sorry Mom! And to do that, it is so important, vital, necessary, to read as many narratives as possible — to know all of the corners of the story, the whole picture. It is so important in journalism to represent people and their identities as responsibly as possible. It is up to the writers to train themselves. I want to help bring stories to the spotlight. I want to make sure that race isn’t just an angle for someone to take, but a voice seamlessly woven into the account.

I am beyond excited and honored to be heading over to Michigan in Color. There is so much we could be talking about — so much. I can’t wait to be a part of that discussion. I can’t wait to help cultivate and open that discussion. Oh my gosh, you guys, I can’t wait.

Why I joined MiC: Zainab Bhindarwala

ZAINAB BHINDARWALA Senior MiC Editor

As a child, I used to think about the stories and poems I wanted to write when I got older. Whenever something

funny happened, I thought of how I could write a story about it and make someone else laugh too. Yet, I never actually put pen to paper.

The stories I wanted to write were so different from

the books I read, and my experiences were so noticeably different from those of my favorite characters. I thought my story wasn’t something people cared about. Why would anyone want to know what an Indian, Muslim girl from Michigan thought?

It wasn’t until I learned about the erasure of my history that I realized how powerful stories could be.

As I began engaging with social justice, and learning names for phenomena that I had noticed and experienced as a kid, I realized that my stories had power. The details of my life are as important as Jo March’s in “Little Women.”

My talents are as magical as Matilda’s. My feelings are as important as Hermione’s.

I didn’t write much as a child because I was scared.

I was scared no one would like what I wrote, and I was scared no one would even care.

As I grew older and pushed myself to write about my lived experiences, I found people who had experiences similar to my own. Finding other people who relate to what I have been through is empowering.

This is what pushed me to write more and eventually join MiC. MiC is a space where people of color can share their thoughts without policing their writing to fit what society tells us is important.

We — our most raw and true selves — are important. We belong here. Most importantly, we deserve a space to share our stories. For me, MiC is that space and I hope it can be as empowering of a platform for more people of color as well.

Thursday, January 4, 2018 — 3A

Why I joined MiC: Christian Paneda CHRISTIAN PANEDA Senior MiC Editor

I’ve always known that Michigan in Color is a space to reclaim narratives and an opportunity to be vulnerable yet subversive. That is why I joined in the first place; however, I’ve come to realize that Michigan in Color is more than a publication space. To me, Michigan in Color is a community.

Over the past years, I’ve been so honored to work with some of the most incredible writers, activists and dearest friends.

There was De’Mario and Toni who led me my first year, and Alyssa, Ashley and Sabrina who inspired me to speak louder as a Filipino American. Then Ashley and Jason took over my second year to lead Adam, Areeba, Halimat, Neel, Sivanthy, Tanya and I. As a senior editor and summer managing editor, I’ve had the privilege of reading and editing so many important stories from amazing people.

Michigan in Color has given me so much direction in my life. I’m forever grateful for all the late nights at the office, brunches and editorial photoshoots. Though there were fun times filled with sugary coffee and banter, the more serious moments were lessons for me to grow. Though speaking out isn’t always easy, I’ve come to acknowledge and use the privilege I have to help uplift others who are not immediately afforded the same luxury.

I cannot thank my former editors enough for being in my life during my highest of highs and lowest of lows.

They are truly the friends that

have encouraged me to pursue my creative endeavors. I’ve learned so much about myself as a person of color and the importance of storytelling to both myself and others.

Though there were fun times filled with sugary coffee and banter, the more serious moments were lessons for me to grow.

As my third year with Michigan in Color comes around, I cannot help but be excited to expand this community. There are so many thoughts that must be expressed and so many voices that need to be heard. As I have been supported to speak louder, I want to continue to do the same for other people of color on campus by passing on the MiC.

Why I joined MiC: Lorna Brown Why I joined MiC: Na’kia Channey

LORNA BROWN Senior MiC Editor

“Your hair, it is so…” fill in the blank: “f luffy,” “big,” “weird,” you name it. People said these things to me while they ran their hands through my hair as I walked to my history class. They were not used to the natural hair of a Black girl who always wore her hair slicked down and straightened. Needless to say,

I never did it again. It took too much time out of my day running to the bathroom in between classes to tame the frizz that had occurred in my twist-out because people continued to touch my hair without my permission. This was my life for 12 years at a predominantly white Catholic school in Ann Arbor.

Being Black was not necessarily something I was proud of growing up because I was different from everyone

else, and it is not easy to embrace something when no one is else similar is around you. To me, being a part of Michigan in Color is a way to not only get to know more about myself and my Blackness relative to the world around me, but to get to know other people of color who may have experiences similar to mine. I love being able to connect with people over storytelling and I think that MiC gives me the perfect opportunity to do just that, even if it makes just one person on this campus feel like they have a community that supports them. Becoming a part of MiC allows for different perspectives to form and new relationships between people of color on campus to develop, and in this turbulent time period, that is what is needed most.

There is power in storytelling and sharing our experiences with other people, and I think Michigan in Color is a perfect platform to ameliorate the voices of those that need to be heard the most. I have already seen the growth that so many contributors have had during their time at MiC, like Adam who was vulnerable about his personal growth since joining Michigan in Color. Knowing his experience gives me hope. I am but one person, but I know that my passion to learn about the experiences of people of color, as well as sharing my own, is what is going to make the biggest difference of all.

NA’KIA CHANNEY Senior MiC Editor

I spent my whole childhood defining my Blackness with words that were not mine for the choosing. My peers defined Blackness by hip-hop, poverty and a certain accent, and when I didn’t fit their stereotype, I was flippantly called an Oreo.

My parents did what they could to give me a solid foundation in my identity, but when half of my day was spent around people who looked nothing like me,

there’s only so much they could do. I was left feeling irrevocably inadequate; not Black enough to truly be Black. My self-confidence ached in the deepest of ways, unable to overcome such a deeprooted feeling of confusion and disconnection. My Blackness was silenced, and worse, I didn’t necessarily believe that was a bad thing.

It wasn’t until I was exposed to the written works of women of color that I began to fathom a version of self-acceptance that was previously denied to me.

Proponents of radical self-love —

such as Audre Lorde, Rupi Kaur, Michelle Obama and bell hooks — were the role models I didn’t know I needed. They taught me the necessity of unconditionally accepting who I am, and that includes the histories, experiences and uniqueness inherent in my identities. And now, I can breathe a little bit easier knowing I have the agency to define my Blackness how I please, and I have the agency to live out my truth unforgivingly.

Too often the experiences of people of color are placed into hollow molds that condense narratives into a single experience, one that is frequently stereotaypical, distorted and derogatory.

These misconstrued stories not only cause misunderstandings between communities, but they cause internal alienation and dissonance when one’s own experience does not match up with the dominant narrative. I experienced this firsthand, and all of this could have been avoided if the individual narratives of people of color were valued in their entirety and individuality.

Michigan in Color is the platform I have been seeking to affirm the individual lived experience of people of color. As I work daily to build the confidence in my own voice, MiC is dedicated to projecting voices that have been historically and systematically muted. Through my time in MiC, I will hope to not only form the words of my own story, but to unconditionally affirm others in the search for their own. I welcome the mutual vulnerability, growth and power that will arise from such an energetic space.

Opinion

4 — Thursday, January 4, 2018

The Michigan Daily — michigandaily.com

BRETT GRAHAM | COLUMN

Edited and managed by students at the University of Michigan since 1890.

420 Maynard St. Ann Arbor, MI 48109 tothedaily@michigandaily.com

ALEXA ST. JOHN Editor in Chief

DAYTON HARE

ANU ROY-CHAUDHURY AND ASHLEY ZHANG

Managing Editor

Editorial Page Editors

EDITORIAL BOARD MEMBERS Carolyn Ayaub Megan Burns Samantha Goldstein Emily Huhman Jeremy Kaplan Sarah Khan

Max Lubell Lucas Maiman Madeline Nowicki Anna Polumbo-Levy Jason Rowland Anu Roy-Chaudhury

Ali Safawi Sarah Salman Kevin Sweitzer Rebecca Tarnopol Stephanie Trierweiler Ashley Zhang

Unsigned editorials reflect the official position of the Daily’s Editorial Board.

All other signed articles and illustrations represent solely the views of their authors.

HANNAH HARSHE | COLUMN

Bitcoin needs more women

“W

e have an opportunity to rebuild the financial system,” Galia Benartzi, technology entrepreneur at cryptocurrency protocol Bancor, said to Fortune in December.

“Are we going to do it with all guys again?”

To the average follower of the Bitcoin fad, Benartzi’s comment may appear blindly optimistic.

Blockchain is a relatively new technology that allows for digital interactions that don’t require a third party — think a Google Doc that everyone has access to edit in real time, but without a third party like Google to oversee it. Though this may sound fairly simple, there are several tech companies aiming to use blockchain to reinvent media, charity and, of course, money. Bitcoin was the first major form of cryptocurrency built on blockchain technology. If people recognize it as money, it will allow for a financial system with no third parties. That means no banks, no Federal Reserve and likely no taxes.

However, at this point, few people are buying into the hype. It would be somewhat naive to claim that Bitcoin, and cryptocurrency in general, could rebuild the financial system any time soon. It’s even more naive to act as though it’s the feminists’ chance to finally take down the patriarchy. Rather, according to many economists, cryptocurrencies are expected to lose almost all value in a burst similar to that of the dot-com bubble in 2001.

Why? The economic definition of money is a medium of exchange and a store of value. As people invest in cryptocurrency speculatively, its prices are driven artificially high at extremely fast rates. The volatility of cryptocurrency compromises its trustworthiness as a store of value, and therefore gives it very little potential to be implemented as a medium of exchange in everyday life. In order to avoid a cryptocurrency bubble burst, cryptocurrency must be given some sort of intrinsic value, or at least perceived value. Because paper money provides the marketplace with an established system and relatively steady exchange rates, it’s difficult to envision a large-scale switch to cryptocurrency. Therefore, avoiding the burst of the cryptocurrency bubble would entail major innovation: some sort of creative thinking that encourages the average spender to exchange his or her money for cryptocurrency for reasons other than speculation.

Whether or not she intended to do so, Benartzi actually

acknowledged the risk of a Bitcoin bubble in her comment. If women and minority groups enter the cryptocurrency industry both by claiming leadership roles in companies that center around cryptocurrency, or simply by investing in cryptocurrency, this could turn cryptocurrency from a fad to a legitimate financial system. In essence, if we “do it with all guys again,” we will not rebuild the financial system, and the bubble will likely pop. But, if we diversify the cryptoworld, cryptocurrency has a chance of surviving.

Why might diversity give cryptocurrency the chance to survive? According to Forbes,

If anyone is in desperate and immediate need of innovation, it is the crypto industry.

somewhere between 5 and 7 percent of all cryptocurrency users are women. As one can imagine, as we look at the leadership positions of companies centered around cryptocurrency, the percentage of women decreases even more.

Marketplace trends make it clear that industries with relatively homogenous leadership do not fare well when it comes to innovation.

There is no shortage of data supporting this claim. According to McKinsey’s report Diversity Matters, “companies in the top quartile for gender diversity are 15 percent more likely to have financial returns above their respective national industry medians,” while “bottom quartile companies are lagging rather than merely not leading.” It claims “diversity is a competitive differentiator shifting market share toward more diverse companies.”

As Scientific American puts it, “Decades of research by organizational scientists, psychologists, sociologists, economists and demographers show that socially diverse groups (that is, those with a diversity of race, ethnicity, gender and sexual orientation) are more innovative than homogeneous groups.”

If anyone is in desperate and immediate need of innovation, it is the cryptocurrency industry.

They need to beat the clock, to find a way to establish cryptocurrency

as a legitimate store of value before the bubble bursts. Therefore, the importance of women being involved in blockchain at every level is not some feminist fantasy.

Rather, it is critical to the success of cryptocurrency.

In areas where women are involved in cryptocurrency, especially in leadership positions, we have seen unprecedented levels of innovation. According to Fortune, female-led cryptocurrency companies focus on different issues than those led by men. For example, femaleled BitPesa and Tala are using blockchain technology to provide basic financial services, like insurance and access to credit, to parts of the world in which these services aren’t easily accessible. In her article for Coindesk, Thessy Mehrain, founder of Women in Blockchain, outlined what she believes should be goals for blockchain use 2018. These goals included self-regulation of the cryptocurrency and the ability to “enable the core promises of blockchain to empower human rights.” These goals differ significantly from the traditional goals of male leaders in the blockchain community, and are, by definition, innovative.

The increased innovation that comes with more diverse leadership is exactly what cryptocurrency needs to avoid a bubble burst. As it stands, cryptocurrency is viewed, at best, as a decentralized monetary system that’s effective for avoiding taxes or getting paid without a social security number. At worst, it is viewed as a fun speculative investment that will likely lose all value in the coming years. The innovations we have seen from female-led companies provide an entirely new range of applications for cryptocurrency with a larger user base. This means, with enough creative thinking, it still stands a chance of meeting the definition of money.

Of course, women aren’t magical fairy godmothers who will magically prevent the burst of the Bitcoin bubble. The magical fairy godmother is simply innovation itself. However, marketplace trends have shown time and time again that diversity is one of the biggest indicators of innovation. This means that as cryptocurrency works against the clock to find a way to establish itself as legitimate currency before the bubble bursts, it is highly advisable for executives in the cryptocurrency industry to do everything they can to increase diversity in their companies.

Hannah Harshe can be reached at hharshe@umich.edu.

WANT TO JOIN OUR TEAM? Come to The Michigan Daily’s mass meetings!

Mass meetings will be located in the newsroom at 420 Maynard on Jan. 11, 16 and 17 at 7 p.m. Hope to see you there!

CONTRIBUTE TO THE CONVERSATION Readers are encouraged to submit letters to the editor and op-eds.

Letters should be fewer than 300 words while op-eds should be 550 to 850 words. Send the writer’s full name and University affiliation to tothedaily@michigandaily.com.

Choosing our commencement speaker

“G

et out there, get in the way, get in trouble, good trouble, necessary trouble and make some noise,” U.S. Rep. John Lewis, D-Ga., said at the Massachusetts College of Liberal Arts. CNN anchor Jake Tapper chose simpler, more practical advice at Dartmouth College: “Always write thank-you notes. Be a big tipper. Always split Aces and Eights. Floss.” Perhaps my favorite of the many memorable quotes from college commencement speeches in 2017 came from actress Helen Mirren, who reminded the 2017 graduates at Tulane University that “Like a hangover, neither triumph nor disaster lasts forever.”

All across the country, graduates and their parents heard from titans of industry, politicians, comedians, authors and people whose stories provided perspective and inspiration for their transition from undergraduate life into the “real world.” Not so at the University of Michigan. The 2017 graduating class will no doubt struggle to remember anything notable about the video and multimedia presentation they watched last April, in honor of the Bicentennial.

Considering the backlash that radiated from these events last year, I doubt very much that the University’s 2018 graduating class will see a repeat of this error in judgement. We can expect, at the very least, a speaker. Rather than wait, though, for the administration to make a choice that may be phenomenally underwhelming, why not take the reins on this one?

Our class has spent a unique four years in Ann Arbor. Punctuated for many by the 2016 presidential election, we have seen countless changes in University policy and culture, including the unveiling of the Diversity, Equity and Inclusion strategic plan, the decline of Greek life and substantial increases in housing costs and tuition. We cracked the discussion wide-open in reference to free speech on

college campuses, and continue to debate the implications of Richard Spencer coming to campus. On the global stage, our four years saw refugee crises in the Middle East and Europe, a nuclear deal with Iran, the rise of nationalism across Western democracies and data leaks that rocked the world.

To put it another way, it has been an extraordinarily interesting four years to be a college student.

Accordingly, to compose and deliver an appropriate speech — be it inspirational, controversial, comedic or anything in between — will be quite the challenge. What better search committee than those of us who discussed these events in classes and dining halls, and who have an idea of what tone we would like to capture?

Student-led searches for commencement speakers are not at all out of the ordinary.

Just last year, the student body at Rutgers University succeeded in bringing President Barack Obama to their graduation ceremony. “Emails, letters, tweets, YouTube videos – I even got three notes from the grandmother of your student body president,” Obama said. “I have to say, that really sealed the deal.” In 2014, it was a studentled campaign at the University of California at Irvine that chose to hear from President Obama as well.

At Manhattanville College, student government works in tandem with administrators to “create a list of potential speakers.” At Dillard University, each graduating senior submits a list of 10 personalities from which they would like to hear. Though such processes would obviously be a logistical nightmare at a university as large as ours, these examples provide a stark contrast with recent incidents of student protest in relation to commencement speakers.

Such incidents include, but

are not limited to, recent events such as the selection of Secretary of Education Betsy DeVos at Baltimore University and Vice President Mike Pence at the University of Notre Dame. Each speaker sparked their fair share of outrage among the student body. Regardless of whether or not you agree with their protests, no one can deny many students were greatly upset with their university’s decision. Just a few years earlier, former Secretary of State Condoleezza Rice had to decline an invitation to speak at Rutgers University based on the student body’s distaste for her record in favor of the Iraq War and as a supporter of torture.

Clearly, there are two ways of going about this selection process.

One involves a lot of tension, long-winded Facebook posts and protests. The other involves a little bit of effort, a lot of student input and the satisfaction of all parties knowing that the decision is shared by thousands of members of the target audience rather than a group of administrators offering their best guess of what will go over well.

The right person for the job might be John Lewis, Jake Tapper or Helen Mirren. It might be an entrepreneur, an actor, a politician or an academic. My personal wish list includes Stephen Colbert and Michelle Obama. Whoever it is, as a member of the 2018 graduating class, I would like to hear from someone we picked on graduation day.

Whether it be The Michigan Daily or the Central Student Government or the University administration who gets the ball rolling, the discussion should start now. Not that any of us need the reminder, but April is right around the corner.

Brett Graham can be reached at btgraham@umich.edu.

BEN CHARLSON | COLUMN

I

Changing policy, more control

n the months since President Donald Trump’s inauguration, various policy decisions and comments by the nation’s leader have called into question the country’s status as a role model for democracy.

Through big legislation proposals in the areas of immigration and tax code, it has become evident that the power structure of the United States is slowly shifting to favor the privileged and neglect those without a voice.

But this power controversy throughout Trump’s term is not limited to hypersensitive topics like immigration and health care alone — it has manifested itself in seemingly insignificant laws that have fairly pertinent consequences.

On Dec. 14, the Federal Communications Commission voted to overturn the 2015 regulations put in place by President Barack Obama that mandated net neutrality across the internet.

In what Ajit Pai, Trumpappointed chairman of the U.S. Federal Communications Commission, called an attempt to stop the government from “micromanaging the internet,” the repeal on regulations gives internet service providers significantly more power over what is available and for what price on the web, potentially hampering the current freedom consumers have to surf the internet.

Only two days later, reports surfaced that Trump had informed the Centers for Disease Control and Prevention of a supposed banned word list for official documents in the 2019 fiscal year, including pressing terms like “diversity,” “sciencebased” and “transgender.”

Though the validity of the report remains a topic of conversation, the fact that such allegations would surface from a CDC official speaks to the dangerous direction the country is headed in terms of censorship and the relationship between the government and the media. The net neutrality and CDC policies both highlight Trump’s desire to take the power from the many to the few, and in the process increase his own control over the country.

Net neutrality, in its simplest

form, is a mandate that prohibits internet services from favoring certain websites or services in order to further their own business interests.

For example, if a customer purchases internet access through Comcast, he or she has as much freedom to access Google as Netflix or Hulu. However, if Comcast is able to charge more for specialized, highdemand internet services, they will do so in order to make their own streaming services more attractive — slowing down and making popular websites more expensive.

Apart from the increased cost and inconvenience accrued by consumers because of net neutrality’s repeal, the action by the FCC reveals the detrimental state of the government under Trump’s leadership and the diminishing power of the everyday American citizen.

During both Obama and Trump’s respective terms, the American public voiced their concern at the prospect of repealing net neutrality, highlighted in a University of Maryland report claiming that 83 percent of voters rejected the FCC’s new legislation.

On a more macro level, Obama declared net neutrality to be a driving force in “protecting innovation and creating a level playing field for the next generation of entrepreneurs.”

Yet even more important than his acknowledgement of the internet’s capability to facilitate business growth and creativity is his recognition of internet as a manifestation of democracy. Shortly after the FCC upheld net neutrality regulations in 2015, Obama stated that “nothing can stand in the way of millions of voices calling for change,” referring to the numerous petitions sent to the FCC and Congress detailing the importance of freedom on the internet.

Trump clearly does not share the same values.

Where Obama highlighted the importance of democracy and individual freedom in his support of net neutrality, Trump exposed his desire to place the power of the internet — one of the most instrumental tools for political and social discourse in the 21st century — in the hands of the few.

And in doing so, he illuminates

his desire to gain control over the millions of voices crying out across the country.

With the surfacing of Trump’s alleged banned words report to the CDC only a few days after the FCC repeal, public fear of a diminishing democracy grew. The report centers on a list of seven words that Trump deemed inappropriate or too controversial for the CDC to publish, including factual and unbiased terms like “science-based” and “evidence-based.”

At first glance, the egregiousness of Trump’s report seems almost comical and hard to believe.

Though the CDC has pushed back against the legitimacy of this claim, the pure existence of such allegations against Trump speak not only to his deceitful character, but to his desire for censorship and control.

While it would be a gross exaggeration to liken the state of this country to censored dictatorships like that of North Korea, seeds of such a power structure can be seen in Trump’s recent policy choices.

One such example lies within the lack of attention given to the recent net neutrality legislation, as inadequate media coverage is an infamous characteristic of North Korea’s dictatorship. Similar to how Kim Jong-Un’s regime has restricted internet access to “a small section of the elite,” the FCC’s new policy has the same motive albeit to a much lesser extent — limiting the capacity of the internet based on the desires of a few large companies.

Should Trump continue to censor the content given to the public while at the same time limiting the total amount of information available, this sets a dangerous precedent for the future of individual freedoms as it relates to media and information sharing.

And while it might be a few months or years before the average American sees tangible consequences from Trump’s recent policy, the danger lies more in principle than practicality.

As the power in the country becomes more concentrated, it may be another four years before the masses regain control and truly make their voices heard.

Ben Charlson can be reached at bencharl@umich.edu.

Sports

The Michigan Daily — michigandaily.com

Thursday, January 4, 2018 — 5A

GLI Notebook: Glendening’s talk spurs ‘M’, Lockwood out with injury JACOB SHAMES Daily Sports Writer

Momentum shifts are often quickly and easily apparent. A goaltender makes a huge save, a special-teams unit kills off a five-minute major penalty or a defenseman levels an opposing forward with a clattering hit on the boards, visibly energizing a team.

Occasionally, though, they take place more subtly. And they might not even come from someone on the team.

Michigan hockey fans remember Luke Glendening well.

After joining the Wolverines as a walk-on, the Grand Rapids, Mich. native eventually became a twoyear captain, and helped lead Michigan to the 2011 National Championship game. Glendening played in every game his final three seasons and recorded 70 points in 165 career games.

After the Wolverines dropped their Great Lakes Invitational opener to Bowling Green on Monday, Glendening, who now plays for the Detroit Red Wings, spoke to his former program.

“He just talked about when he came here he was a walk-on and never really promised anything.

The coaches told him he may never get to play here,” said junior forward Cooper Marody. “Just with hard work and determination and passion for Michigan he was able to be a captain for two years, and obviously also he’s had a great career in the NHL thus far.

He just passionately spoke about Michigan and what it takes to be a Michigan man every day.”

It didn’t appear, however, that Glendening’s visit made an immediate impact. After giving up four goals in the first 24 minutes against the Falcons, Michigan came out just as flat against Michigan State a day later. The Wolverines conceded a goal in the game’s first minute and left the ice at the first intermission down another.

SAM MOUSIGIAN/Daily

Senior defenseman Cutler Martin made an impact in his return from injury, scoring the go-ahead goal in Michigan’s 6-4 win over Michigan State on Tuesday.

But according to Michigan coach Mel Pearson, that was when Glendening’s words of wisdom began to soak in.

“I thought he gave a real good talk,” Pearson said. “From the heart, not just something made up, and I thought that was really good and I thought we had time to reflect on that discussion he had with our team before the game.

Not that that was the miracle pill or something like that, but I think it was important.”

The Wolverines came out of the locker room a noticeably different team. Sophomore forward James Sanchez closed the lead to one with his first goal of the season, and after Michigan State answered back with a power-play goal, Michigan scored four unanswered to run away with the contest.

“He really just told us after yesterday’s loss to take a look in the

mirror,” said senior defenseman Cutler Martin. “It’s easy to point fingers, maybe, but everyone needs to do their job and make sure they do it to the best of their abilities, so look at yourself and look at what you can do better.”

Lockwood out for extended period Michigan knew it wouldn’t have three of its best players for the Great Lakes Invitational.

Sophomore forward Will Lockwood, freshman forward Josh Norris and defenseman Quinn Hughes were selected to the United States National Team for the World Junior Championships in Buffalo, N.Y. from Dec. 26 to Jan. 5.

However, the Wolverines might be without one of them for longer than anticipated. During a U.S. victory against Canada on Dec. 29, Lockwood took a hit from

behind and fell to the ice, landing hard on his left shoulder. Shortly afterwards, he was ruled out for the remainder of the tournament with an “upper-body” injury.

On Monday, Pearson stated that he was “not sure” about Lockwood’s status, but that his injury might be a season-ending one — a potentially catastrophic blow to Michigan’s offense.

Through 16 games, Lockwood was tied as Michigan’s fourth-leading scorer with 11 points.

“We’ll reevaluate him when he gets back in (from World Juniors),” Pearson said. “It’s a possibility he could be out for the year, but it’s a possibility he could come back. But he’s going to miss a few weeks for sure.”

Cutler Martin makes impact in return On Oct. 28, the senior defenseman took the ice against

Penn State. He wouldn’t do so again until Monday.

An upper-body injury rendered Martin unable to play for most of the last two months. And even as Martin returned to health, he faced another obstacle: winter break. During the last three weeks, Michigan practiced infrequently — forcing Martin to rapidly reacclimate on the fly, instead of easing back into action.

This made his performance against the Spartans on Tuesday all the more unexpected. Not only did Martin score the go-ahead goal, but he was also a dangerous presence from the point throughout the game with his hard slap-shot. Martin was second on the Wolverines with five shots on goal, all of which came in the crucial final period.

“I’m just happy to be back on the ice,” Martin said. “Just being

back out there with the guys and getting the win.”

Added Pearson: “I thought he played extremely well. He’s missed a lot of games, but we didn’t even have practices really the last two weeks. So for him to come in and play as well as he did is important.”

For a Michigan defense that has struggled all season, Martin — one of just two seniors on the blue line — adds toughness and physicality, and should be a major key if the Wolverines are to improve upon their lackluster defensive ranking.

Secondary options come up big Martin’s goal was just one part of a surprising trend for Michigan.

Three other Wolverines lit the lamp for the first time this season during the GLI. Freshman forward Jack Becker scored against Bowling Green — albeit with a helpful assist from the Falcons’ goaltender. Sanchez opened the scoring on Tuesday, and freshman forward Michael Pastujov finished off a rebound from close range to record Michigan’s second goal later in the period.

The Wolverines have struggled to obtain consistent production when their first line of Marody and senior forwards Tony Calderone and Dexter Dancs isn’t on the ice.

Without Lockwood, Hughes and Norris for the GLI, these problems had the potential to be amplified.

Michigan’s secondary offensive threats, however, made sure that wasn’t the case.

“You need someone to step up,” Pearson said Tuesday. “I thought we had some of the secondary scoring come from guys we needed it to come from. Mike Pastujov had a big goal, his first career goal at Michigan. James Sanchez scored his first goal.

“I’m really proud of the effort of the guys. We get behind, we stay with it, we’re without three really good hockey players — excellent hockey players — and it’s good to see some other guys step in and get it done.”

Notebook: Harbaugh in discussions with Enos, recruits at All-Star games ORION SANG

Managing Sports Editor

The NCAA’s new early signing period has had several effects.

One of those? The yearly coaching carousel began spinning earlier than usual.

Among the bigger moves include Chip Kelly to UCLA, Herm Edwards to Arizona State, Scott Frost to Nebraska and Jimbo Fisher to Texas A&M. It appears there are a couple that will affect Michigan as well.

Willie Taggart left Oregon for Florida State in early December, and according to reports, has been in discussions with offensive tackles and tight ends coach Greg Frey. Frey’s not the only member of the Wolverines’ staff that has been involved with rumors.

According to several reports, quarterbacks coach and passing game coordinator Pep Hamilton was in the conversation for jobs at Arizona State and Mississippi State.

Accordingly, Jim Harbaugh hasn’t stood pat. FootballScoop reported in December that Harbaugh met with Dan Enos to discuss a position on Michigan’s staff.

Enos, previously the offensive coordinator at Arkansas, has significant ties to the state of Michigan — and Michigan State. He played quarterback for the Spartans, served as a grad assistant and eventually became an assistant coach under Mark Dantonio.

Enos also coached Central Michigan for five seasons, between 2010-14, finishing with a 26-36 record before leaving for Arkansas.

With Enos at the helm, the Razorbacks’ offense steadily worsened. In 2015, Arkansas averaged 35.9 points per game, ranking 27th in the nation. The following two years, it ranked No. 57 and No. 62, respectively, before Enos was let go after Bret Bielema’s firing.

Recruits at Army AllAmerican, Under Armour games The Wolverines signed 16 recruits during the December signing period, and several are due to play in prestigious high school all-star games over the next few days.

Four-star tight end Mustapha Muhammad and four-star cornerback Myles Sims are in Orlando, Fla. practicing for the

Under Armour All-America Game on Jan. 4.

Muhammad, from Texas, and Sims, from Georgia, are Michigan’s two top-ranked signees.

Meanwhile, a trio of signees are participating at the Army All-American Bowl down in San Antonio, Tx. Four-star linebacker Cameron McGrone, four-star offensive tackle Jalen Mayfield and four-star defensive end Aidan Hutchinson have been practicing this week in preparation for Saturday’s game.

McGrone chose the Wolverines over Notre Dame and Indiana this past summer, while Mayfield flipped his commitment from Minnesota last spring.

Hutchinson, who played his high school ball in Michigan, is the son of former Michigan player Chris Hutchinson.

Pair of former Michigan stars finalists for Hall of Fame Wednesday, Steve Hutchinson and Ty Law were named finalists for this year’s Pro Football Hall of Fame class.

Hutchinson, a famed offensive lineman who played 12 seasons in the NFL and earned seven Pro Bowl nods, is one of the most decorated linemen in program

SAM MOUSIGIAN/Daily

Michigan coach Jim Harbaugh may be looking to fill yet-to-be-determined vacancies on his coaching staff.

history.

A four-year starter under Lloyd Carr, Hutchinson was a member of the 1997 championship team.

He was a four-time All-Big Ten selection, a two-time All American and Big Ten Offensive Lineman of

the Year.

Law enjoyed a similarly rewarding career. He was a fivetime Pro Bowler, won three Super Bowls with the New England Patriots and was named to the NFL 2000s All-Decade team.

Classifieds

He arrived in Ann Arbor just before Hutchinson, playing three seasons between 1992 and 1994.

Law was a two-time unanimous All-Big Ten selection and earned first-team All-American honors in his final season at Michigan.

Call: #734-418-4115 Email: dailydisplay@gmail.com

RELEASE DATE– Thursday, January 4, 2018

Los Angeles Times Daily Crossword Puzzle

FOR RENT

Edited by Rich Norris and Joyce Nichols Lewis

ACROSS 1 Waldorf __ 6 Crawford of the Timberwolves 11 Rx watchdog 14 Cast out 15 Where glasses may be raised?

16 Standee’s lack 17 Duffer’s flaw from the tee?

20 Wingless parasite 21 “Cheers” actor Roger 22 Approximately 23 Speech characteristic of Dustin on “Stranger Things” 25 “The Mary Tyler Moore Show” newsman 26 Duffer’s impossible dream?

31 Family dinner entrée 32 __ de guerre 33 It may be sharp 37 Pageant VIPs 38 Handyman’s tasks 42 Each 43 Bean used in Asian sauces 45 Classic auto 46 Cutting 48 Duffer’s cry after botching a putt and settling for par?

52 Yelp piece 55 Move, in Realtor lingo 56 They have pHs below 7 57 “Let It Go” singer in “Frozen” 59 Landing 63 Duffer’s sad 18th-hole reply to “Bogey for you?” ... and 19th-hole request to the bartender?

66 Miner concern 67 Make __: rake it in 68 Deal with 69 ’60s activist gp.

70 Help for the graveyard shift, maybe 71 Slurpee insert

DOWN 1 Lowly worker 2 Winter Olympics jump 3 Wingless parasites 4 They have pHs above 7 5 Second-smallest U.S. state 6 Nativity figure 7 Church area 8 Rx specifications 9 Itinerary abbr.

10 Not of the cloth 11 Toy (with) 12 Hula or hora 13 __ score: neonatal measure 18 Once, quaintly 19 Kit’s mom 24 Absorbed by 25 Fall flat 26 Readies for battle 27 2017 Pixar film set in Mexico 28 Like Sunday morning, in a Commodores title 29 “Have a nice time!”

30 “Woo-__!”

34 Newspaper page 35 Actress Garr

36 Kathryn of “Law & Order: C.I.” 39 Used charcoal pencils, say 40 Society newcomer 41 Glide (through) 44 Bear 47 Alice had to play it with flamingos as mallets 49 Sycophant 50 Not authentic 51 Rosary unit

52 “Parenthood” actress Sarah 53 Digital greeting 54 Twin Cities team, familiarly 57 Oklahoma city 58 Carson’s successor 60 Taxi alternative 61 Utah ski resort 62 “Ouch!”

64 Texting qualifier 65 CIA predecessor

ANSWER TO PREVIOUS PUZZLE:

3 & 4 Bedroom Apartments $1500‑$2800 plus gas and water contribution.

Tenants pay electric to DTE Showings scheduled M‑F 10‑3 w/ 24 hour notice required.

1015 Packard 734‑996‑1991 5 & 6 Bedroom Apartments 1014 Vaughn $3250 ‑ $3900 plus gas and water contribution.

Tenants pay electric to DTE Showings scheduled M‑F 10‑3 w/ 24 hour notice required 734‑996‑1991

xwordeditor@aol.com

By Robert and Marlea Ellis ©2018 Tribune Content Agency, LLC

01/04/18

01/04/18

FALL 2018 HOUSES # Beds Location Rent 6 1016 S. Forest $5400 4 827 Brookwood $3000 4 852 Brookwood $3000 4 1210 Cambridge $3400 Tenants pay all utilities.

Showings scheduled M‑F 10‑3 w/ 24 hr notice required CAPPO/DEINCO 734‑996‑1991

Sports

6A — Thursday, January 4, 2018

The Michigan Daily — michigandaily.com

Winovich announces his return to Michigan Redshirt junior could have entered the NFL Draft, but opted not to KEVIN SANTO

Daily Sports Writer

Chase Winovich didn’t dream of the NFL in high school.

Ask him if he always wanted to play professional football, and he’ll recount a memory from his junior year at Thomas Jefferson High School.

Then-Florida State defensive coordinator Sal Sunseri approached him, asking if he wanted to play in the NFL. Winovich told him yes, but admitted in November that he didn’t know what the future held. He was just three months removed from getting his first college offer, had just switched positions and was still “trying to make it” in high school.

But he made it there. He made it in college too, despite plenty of obstacles that stood in his way.

Now, despite the opportunity

to declare for the NFL Draft, Winovich announced Wednesday, via Twitter, that he will be returning to Michigan for his final year of eligibility.

With the decision, Winovich will spend 2018 finishing out what has been a whirlwind career.

He came to Ann Arbor to play SAM linebacker under Brady Hoke, moved to tight end upon Jim Harbaugh’s arrival, hurt his PCL in a ensuing Spring Game and pulled his hamstring during the first week of camp.

He found himself as the sixth or seventh-string tight end, relegated to another year of scout team snaps, before eventually being moved back to defense during Michigan’s 2015 Citrus Bowl practices.

It was a move Winovich once equated to LeBron James’

“It’s just a matter of, I don’t know, hanging my hat on something.”

Cleveland homecoming. More modestly, his teammates said he had finally found a home at defensive end.

It’s not an unheard of journey in college football, but that doesn’t make it any less difficult. How Winovich turned that journey into a potential NFL contract is perhaps best summarized by Matt Thompson — a former Michigan quarterback and one of Winovich’s best friends.

“I think the one of the funniest quotes that I ever heard about Chase was (when) I was talking to my mom,” Thompson said in November. “And she just met Chase, she loved Chase. And she said, ‘Too bad Chase wasn’t born in another era, he could’ve been the next Alexander the Great or something.’ ” Hyperbole aside, it’s an

“Michigan football is in a better state than when I left it.”

AMELIA CACCHIONE/Daily

Redshirt junior defensive end Chase Winovich announced his decision to return for his final season Wednesday.

WOMEN’S BASKETBALL

Wolverines favored to win against Wisconsin HUNTER SHARF Daily Sports Writer

Thursday, the Michigan women’s basketball team has another chance at history.

With 123 career victories, coach Kim Barnes Arico sits tied with Sue Guevara for the most in the program history.

This will be the Wolverines’ (1-1 Big Ten, 12-3 overall) second attempt to put their coach atop the all-time list after losing this past Sunday to No. 18 Iowa.

But No. 22 Michigan should feel confident to do so against a meager Wisconsin squad.

While the Badgers record (0-2, 7-8) isn’t atrocious, statistically, they’re a mess.

Wisconsin ranks dead last in the Big Ten in points per game (63.3), blocked shots (45) and three-point percentage (.286).

They also rank second-tolast in free-throw percentage (.664) and steals (90). To make matters worse, they’re third worst in turnover margin (-2.1), scoring margin (0.1), field goal percentage (.405). and threepointers per game (4.9).

And despite being a conference matchup, don’t expect much support from the Badgers fans, who are as reliable as the team is on the court. Wisconsin is last in the Big Ten in attendance.

Unfortunately for the Badgers, the conference title isn’t decided based on defensive rebounding percentage, where they rank first at .734. But even this is nullified when considering that they rank 10th in offensive rebounding; this deficiency should only be amplified by Michigan’s first ranked defensive rebounding.

These overall pitiful numbers only project to be even worse against a staunch Wolverine team.

Under the leadership of senior guard Katelynn Flaherty and senior forward Jillian Dunston, Michigan hasn’t just been beating teams – but

dominating them.

The Wolverines have outscored their opponents by an astounding 17.5 points and have won by a double digit scoring margin in all but two victories.

Expect more of the same on Thursday.

Look for scoring catalyst Flaherty – who averages 22.8 points per game – to have a field day against a poor Wisco defense. Oh yeah, don’t forget Hallie Thome. The junior center has been tearing up defenses down low, averaging 16 points and 7.1 rebounds.

And don’t expect the deplorable Badgers’ offense to suddenly come alive. Michigan’s defense has been as good, if not better, than its offense. The Wolverines rank second in the Big Ten in defense, allowing just 58.7 points per game.

The defensive anchor this season (and last) has undoubtedly been Dunston.

The forward is fourth in the conference with 9.9 rebounds and 12th in steals with 1.8. What makes Dunston particularly potent is her ability to guard multiple positions.

Barnes Arico has often pointed out how Dunston usually defends the other team’s best player regardless of position.

So don’t be surprised to see Dunston matched up against guard Cayla McMorris. The senior received a nod as a AllBig Ten Honorable Mention in 2017 and is currently averaging 14.6 points.

But it would realistically take a career day from McMorris for Wisconsin to come out triumphant.

Especially considering that despite Barnes Arico finding success in years prior, and holding the program’s highest winning percentage at .651, this may be her best squad yet.

So yes, even coming off a loss, the Wolverines should feel buoyant in their ability to get Barnes Arico that illustrious win.

accurate summary of Winovich.

That sort of drive is what prompted an honest, inward inspection from Winovich when he was asked what would motivate him to return to Ann Arbor on the Thursday prior to the Outback Bowl.

“As a Michigan football player there’s not a lot of things that I can really say we did,” Winovich said then. “We lost to Michigan State this year.

Two years ago we lost to Michigan State.

I could just go on and on about those losses. And we’ve just been so close. It’s just a matter of, I don’t know, hanging my hat on something.”

Hanging his hat on something, however, may not be as simple as wins and losses.

After all, Winovich watched firsthand as Brady Hoke’s final season unfolded, and the Wolverines finished 5-7.

He has been in Ann Arbor as Jim Harbaugh helped revive the program, even if this year’s 8-5 finish is a marked regression — his role increasing all the way.

And it’s for those reasons that a prior admission may offer a more nuanced insight. Sitting on the second floor of Schembechler Hall in early November, pondering the question of what he wanted to do after college if the NFL wasn’t his primary focus in high school, Winovich reached one conclusion.

“I just wanted to be a Michigan man and help make this program great again,” he said then. “Even if I don’t personally win a national championship. I know damn well that when I leave, Michigan football is in a better state than when I left it. That’s something I can hang my hat on at the end of the day.”

MEN’S BASKETBALL

Loss to Ohio State still on the mind of Michigan MAX MARCOVITCH Daily Sports Editor

After Iowa trimmed Michigan’s 18-point lead to 12 at halftime, nobody on the visiting bench was comfortable.

That discomfort grew exponentially when the Hawkeyes began the second half with a quick 5-0 run to trim the once expansive lead to just seven. Iowa forward Tyler Cook was having his way down low, the defense was beginning to feed off the crowd and after a blazing 8-for-11 start from beyond the arc, the Wolverines couldn’t buy a bucket.

It was déjà vu all over again.

Just four weeks prior — on the road against Ohio State — Michigan coughed up a 20-point first half lead, scored just 18 second half points and left Columbus winless and with an identity crisis to repair.

“We couldn’t make a basket and we couldn’t make a bright play in that time,” said Michigan coach John Beilein. “When things got a little tough, we really had trouble stepping up. So it’s a big area we’ve got to work at. But also at other times in the game, when there are simple plays to be made, we make them.

“I called every number I could call, and it didn’t happen.”

This time, in need of a spark, he called number ‘4’ and freshman forward Isaiah Livers answered the bell. Combined with a commandeering performance from sophomore point guard Zavier Simpson and nine key second-half points from senior guard MuhammadAli Abdur-Rahkman, the Wolverines escaped with a 75-68 road win to push its conference record to 2-1.

But when asked after the game Tuesday about whether the loss to the Buckeyes ever

came to mind during Iowa’s comeback effort, Livers hardly waited for the question to end.

Instead of shying away from the most embarrassing loss of the season, Livers and his team have embraced it.

“That’s all we talk about all season,” Livers said with clarity and vigor. “That we can’t come out here in the second half and let them come hit us. We’ve got to hit them before they hit us.”

A back-breaking loss like that can send a team in either direction. For some teams — especially young teams like this one — blowing a 20-point lead against a conference foe can send it into a downward spiral.

For others, it can galvanize a response. Last season, after a 16-point loss at Illinois, Illini forward Maverick Morgan called the Wolverines a “whitecollar team.” Michigan, of course, blew Illinois out in the first round of the Big Ten Tournament, en route to a Big Ten Tournament Title and a Sweet 16 appearance. A clear turning point in the season, the Wolverines even posted the quote throughout the locker room and referenced the dig several times throughout the season.

That loss changed Michigan’s season. Livers believes the loss at Ohio State could have the same effect.

The Wolverines have won each of their six games since that collapse in Columbus, and the win in Iowa was their staunchest evidence that the loss has been a motivator, not a deterrent.

“I think that’s going to help us going forward in the season a lot,” Livers said. “I’m pretty sure that’s a key point in our season, is that loss. I’m not happy we lost, but I’m kinda glad because we can learn from (it).”

Wagner struggling since return from foot injury MIKE PERSAK

Managing Sports Editor

There’s never an opportune time for an injury.

That’s especially the case when the injury happens to a team’s second-leading scorer.

Yet, when junior center Moritz Wagner rolled his ankle Dec. 12 against Texas, it seemed like it was coming at as ideal a time as any. Michigan overcame the injury to beat the Longhorns, and then it had matchups against Detroit, Alabama A&M and Jacksonville — games the Wolverines were likely to win with or without a healthy Wagner.

And Wagner returned to action in a timely fashion — just over two weeks after being injured — against the Dolphins.

Now, it seems the injury has had lingering effects. Wagner has shown signs of discomfort with a lack of production in his two games since his return. In his 20 minutes against Jacksonville, Wagner scored a season-low

seven points. Tuesday, against Iowa, he beat that by scoring just four points in his 16 minutes.

“He’s just not right after the injury. He’s just not right,” said Michigan coach John Beilein after the game against the Hawkeyes. “We’ve just got to get back, and he’s got to get, you know, when it’s your feet, he was really tender, and he was walking funny.

Now he’s fine, but getting that back.

“If any of you have ever had an injury to your foot, and then, when you get that cast off, you don’t even know, it feels so funny. He’s just not himself with his feet. He’s way off balance. We’ve just got to get back to basics with him.

And I’m concerned about it, because this is something, we need Moe Wagner.”

And the Wolverines will need Wagner soon. After Michigan

hosts Illinois – one of the lesser Big Ten teams – it encounters Purdue and Michigan State, arguably the two best teams in the conference.

The Boilermakers and Spartans also get a majority of their production from their size.

Both have skilled big men who, even with a healthy Wagner, will likely pose a problem for the Wolverines.

So there is a bit of a sense of urgency when it comes to Wagner’s recovery. Beilein says it is no longer a matter of time. Wagner is healthy, but now they just have to get him back into the shape he was in before the injury.

“I think we’re ready to dive in right now,” Beilein said. “I think he’s healthy, but it was like, okay, yesterday in practice, this was his first day that I felt we could really go at him, but

“I’m concerned about it, because ... we need Moe Wagner.”

we had a game the next day. So, we’ve got to get him, tomorrow’s a day off. Thursday, we’ve got to get his cardio up, and we’ve got to get his balance back. He’s off balance. We’ve just got to get him more fundamentally sound again.”

If Wagner can revert to his old form soon, then the point will be moot. The last two games will be looked back on as a blip on the radar of an otherwise successful season.

Sophomore center Jon Teske has been able to relieve any stress caused by Wagner’s slow return, as he had seven points and six rebounds against Iowa and has been a key defensive mainstay when he’s in the game. But as Beilein said, Michigan needs Wagner. It needs his 15.6 points per game and 7.8 rebounds per game he was averaging before the injury.

Not only do the Wolverines need Wagner to be himself again, but with tough games against the class of the Big Ten on the horizon, they will likely need it sooner rather than later.

RYAN MCLOUGHLIN/Daily

Junior center Moritz Wagner has struggled in the two games since his return from a foot injury that he suffered in Michigan’s Dec. 12 game against Texas.

B

The Michigan Daily | michigandaily.com | Thursday, January 4, 2018

BEST OF 2017

Design by Casey Tin

the b-side

2B — Thursday, January 4, 2018

The Michigan Daily — michigandaily.com

Best Films 2017: Greta Gerwig’s directorial debut aspects of “Get Out” aren’t in any gore or bloody murder, but rather the horror of racism itself, and the way it builds toward an unfathomable violence.

It’s a masterclass in suspense: every smile is off somehow, every conversation stilted and uncomfortable.

FILM

From the very first moment, we know in our gut that something is deeply wrong. The result is a movie crackling with tension, buzzing like a live wire full of nervous energy. There’s a reason it was the number one movie in America for weeks on end. “Get Out” is masterful, through and

through, with a rallying cry at its heart. It’s summarized perfectly by the song that opens the film: “Stay woke / Don’t you close your eyes.” It’s a warning we’d do well to remember.

— Asif Becher, Daily Books Editor

6. “Three Billboards Outside Ebbing, Missouri” A24

1. “Lady Bird” Writer, director and supreme leader Greta Gerwig’s semiautobiographical, coming-ofage masterpiece “Lady Bird” is the film of the year — perhaps the decade. “Lady Bird” encapsulates the high school experience, filled with crushes, heartbreak, controlling mothers and everything in between with expert timing, quick wit and undeniable heart. Following the quirky and ambitious Christine “Lady Bird” McPherson (Saoirse Ronan, “Brooklyn”) through her tumultuous senior year of Catholic high school in Sacramento, Cali., the film

questions the relationships we cherish and the way we define home.

Despite the seemingly conventional narrative, “Lady Bird” is as original as its titular character, infusing the classic bildungsroman with a much needed fresh perspective.

The fraught mother-daughter relationship in the film is a relatable one, reminding the audience of their own angstfilled teenage restlessness and the mothers that dealt with it the best they could. Instead of taking a magnifying glass to the transitory infatuations of high school hormones like the

coming-of-age films of yore, “Lady Bird” emphasizes the significance of the motherdaughter bond while touching on the power and love of female friendship. The film not only gives fresh life to the comingof-age genre defined by John Hughes and Richard Linklater, but also makes room for the new wave of female power in Hollywood in the form of actress-turned-auteur Greta Gerwig. If 2017 is the year of the woman, that woman in Greta Gerwig.

— Becky Portman, Senior Arts Editor

2. “Call Me By Your Name” The joy and agony that follow the arc of first love were best explored this year in the summer romance between Elio (Timothée Chalamet, “Lady Bird”) and Oliver (Armie Hammer, “The Man from U.N.C.L.E.”). First love is a genre that is prone to cliché, but, like Gerwig’s handling of “Lady Bird,” director Luca Guadagnino (“I Am Love”) approaches his subject with the utmost care and craft. “Call Me by Your Name” is a patient film, revealing the characters’ thoughts and feelings through

subtle visual storytelling rather than clear narration or dialogue.

Each shot in the gorgeous Italian countryside lingers with purpose, from the warm stone of the town square to the earthy richness of the Perlman’s villa. Guadagnino’s classical approach to filmmaking feels both timeless and contemporary, introducing the style to new audiences that may be unfamiliar. Chalamet delivers a breakout performance, tapping into the fragility and sensitivity of a young heart. The battle between his eagerness and

reserve is palpable. It’s easy to want to ignore internal wishes for tender love, a kind of love that protects and nurtures, but “Call Me by Your Name” invites the audience to indulge in these feelings and realize that, perhaps, there is no indulgence in submitting to these wants. “Call Me by Your Name” underscores the passion and pleasure of love, but never idealizes the condition in which it is experienced.

— Jack Brandon, Daily Film Editor

3. “The Florida Project” “The Florida Project” is the year’s most heart-wrenching drama, but it’s also 2017’s most heart-warming comedy.

How did writer-director Sean Baker, who has demonstrated a penchant for exploring ignored communities and sub-cultures with a deft eye with previous notable films “Tangerine” and “Starlet,” create such a powerful picture? Credit is due first to his cast of actors, both experienced and acting for the first time. The legendary Willem Dafoe (“Murder on the Orient Express”) blends in perfectly against newcomers

Bria Vinaite and Brooklynn Prince, the two of which demonstrate enough energy and spark on screen to power an engine.

Baker’s passionate and honest portrayal of the hidden homeless living next to Disneyworld is dotted by the vivid oranges and purples of “Orange World,” “Twistee Treat” and “Futureland Inn.” Cinematographer Alexis Zabe trains the camera on the world of the children, and Kissimmee, Flor. is seen through their eyes. The result is a dystopian, albeit often very, very funny,

sort of “Little Rascals,” with the adventures of the young children of the hotel guiding the film. It provides a welcome refuge from the truly disturbing other storylines that weave their way through the film.

“The Florida Project” is an engaging and often brutal watch, but it’s poignant and unforgettable. And, dare I say it, no other film this year, maybe this century, and maybe ever, has such a glorious final shot.

— Daniel Hensel, Daily Arts Writer

4. “The Big Sick” As an avid rom-com enthusiast, I have seen my fair share of incredibly beautiful and incredibly terrible movies featuring quirky young adults who fall in love. After watching “The Big Sick,” I can easily say this movie stands as one of the best and most compelling romantic comedies, and movies in general, that I have ever seen.

Written by and starring Kumail Nanjiani (“Silicon Valley”), “The Big Sick” sparkles with sharp humor and a bubbly effervescence that can only

come from the mind of deeply talented comedians.

Zoe Kazan (“My Blind Brother”) is the perfect counterpart for Nanjiani’s brand of dry, poignant humor; she is witty, playful and sincere in an infectious way that makes Nanjiani’s love for her wholly believable. The film’s brilliance lies in Nanjiani learning to love Emily through his interactions with her parents, played expertly by Holly Hunter (“Batman v Superman: Dawn of Justice”) and Ray Romano

(“Vinyl”). Nanjiani’s story is a fresh take on the formulaic romcom narrative that explores the process of love. “The Big Sick” is more than the classic story of a rebellion against the cultural expectations of one’s immigrant family; it is a deeply human story about the importance of one’s cultural roots, the dynamics of family and the perseverance of love against all odds.

— Sydney Cohen, Daily Arts Writer

5. “Get Out” Earlier this year, director Jordan Peele wryly tweeted, “‘Get Out’ is a documentary.”

He’s right, of course. Like the best

of its genre, “Get Out” derives its power from the visceral panic of reality’s stark truths.

It’s a movie about the theft

of Blackness, the disquieting anxiety of what it means to live in a body that’s simultaneously feared and coveted. The scariest

Martin McDonagh’s “Three Billboards Outside Ebbing, Missouri,” a story about a mother’s devotion to solving her daughter’s murder in her own way, takes a fresh and unusual perspective on the subjects of tragedy and loss. It never falls into the convention of maudlin sentimentality, but rather, treats it with unforgiving bite and strength.

Mildred Hayes (Frances McDormand, “Hail, Caesar!”),

a renegade and intimidating force of nature, is driven by the purity of a mother’s love and loyalty to her daughter, only carried out by McDormand’s performative tour de force, something only a seasoned and gifted professional could produce. Woody Harrelson (“The Glass Castle”) rivets as usual in his portrayal of Sheriff Willoughby, the cancer-stricken hard-ass with a hidden heart of gold. Lucas

Hedges (“Lady Bird”) plays Frances’s son, Robbie, and he proves yet again, that he masters the role of the angsty teen and reminds us that he is among young Hollywood’s finest. “Three Billboards” returns us to an unforgiving, unpolished reality and above all else, reminds us of the value of loyalty.

— Sophia White, Daily Arts Writer

7. “Columbus” “Columbus,” helmed by writer-director Kogonada, is a beautifully-paced movie that leaves a lot to contemplate.

Meditative cinematography and strong acting from John Cho (“Harold and Kumar”) and Haley Lu Richardson (“The Edge of Seventeen”) drive this film as it addresses the complicated nature of parent-child relationships.

When Jin (Cho) rushes to suburban Indiana to tend to his comatose father, he must come to terms with his duty as a son

with help from the thoughtful Casey (Lu-Richardson). Their unexpected friendship is one full of introspective conversations, stunning architecture and arguments on the responsibilities of family.

The wide shots and wellchosen settings display the artistic genius of Kogonada and promise more to come from this newcomer. The script lends a fresh voice from a minority group often passed over on screen as Korean family values are

compared to those of Americans across generational lines.

“Columbus” also gives a region of the United States considered “fly-over country” a moment in the spotlight, lending a reprieve from the countless stories set in New York and Los Angeles.

Although snubbed at the Golden Globes this year, “Columbus” is well-deserving of all the praise and accolades.

— Meghan Chou, Daily Arts Writer

8. “The Shape of Water” “The Shape of Water” is Guillermo Del Toro’s (“Crimson Peak”) “Beauty and the Beast,” telling a love story between a mute woman named Elisa (Sally Hawkins, “Maudie”) and a fishcreature (Doug Jones, “Ouija: Origin of Evil”). Despite the tried and true thematic content, the film bursts at the seams with creativity and creates a world that truly feels like a modern fairytale, featuring Del Toro’s signature dark brand of magical realism. Set in the 1960s, the

film tells a story of tolerance and overcoming differences against the backdrop of a time period characterized for its intolerance: Illustrated in the film is prejudice based on sexual orientation, race, gender and national identity.

What’s more, Hawkins’s performance as the mute Elisa is one of the most compelling of the year. While she does communicate through sign language, the bulk of her characterization is nonverbal.

This challenge is no match for Hawkins, however, who can speak volumes with a single glance. Elisa is positively charming and manages to be so without ever speaking a word. She is someone who spends much of her time in her own head, and Del Toro and Hawkins work in perfect tandem to bring the viewer there as well.

— Max Michalsky, Daily Arts Writer

9. “Good Time” The elevator pitch for “Good Time” would’ve felt out of place on a top 10 list just a few years ago. Two brothers — one mentally disabled and the other profoundly slimy — botch a bank robbery and set in motion a plot that sprints through a clammy urban environment: the visual equivalent of cold sweats. But thank god we’ve moved past the days where “The Post” would’ve been a shoe-in for top billing so genre films like “Good Time” can finally get their due.

But the Safdie Brothers take

a tired genre (crime thriller) and an over-shot city (New York) and extract and amplify their strongest characteristics: their grit, speed and neon glow. The result is a heartracing emotional rollercoaster that doesn’t twist, but swerves from one extreme to another.

Robert Pattinson’s (“The Lost City of Z”) performance as Connie, the slimy older brother who masterminds the robbery, is set to be the most tragically overlooked of the year. His eyes scan the world he barrels through with so much

desperation and fear I catch myself almost feeling sorry for him. Connie is destructive, selfish and tragic and as him, Pattison sheds any doubts left over from his “Twilight” days. All this and a score by Daniel Lopatin (who records as Oneohtrix Point Never) with an original song featuring Iggy Pop make “Good Time” one of the most relentlessly paced and unexpectedly compelling movies of the year.

— Madeleine Gaudin, Managing Arts Editor

10. “Blade Runner 2049” Like every film on this list, “Blade Runner 2049” is what cinema is all about. From a technical standpoint, it’s a masterpiece of sight and sound, nearly unparalleled in film this century. It’s perfectly shot by living legend Roger Deakins (“Sicario”), and the daunting production design combines with his cinematography to create one of the most gorgeous movies in recent memory. The score

by Hans Zimmer (“Dunkirk”) and Benjamin Wallfisch (“It”) works as a tribute to Vangelis’s iconic work on the original, but stands just as well on its

own as the beautiful, eerie, pulse-pounding backbone to the film. Even when it isn’t playing, the sound design — the cacophony of 2049 Los Angeles — provides a soundtrack all its own.

The story Denis Villeneuve (“Arrival”) crafts is what makes “2049” what it is: a moving tale of love, loss and what it means to be human set against the backdrop of revolution. There’s a sense that Villeneuve’s already impressive career has been leading to this. In addition to the film’s technical achievements, he directs his

ensemble to unanimously superb performances, from Ryan Gosling’s (“La La Land”) commanding work in the lead role to what is hopefully a star-making turn from Ana de Armas (“War Dogs”), even down through Dave Bautista (“Guardians of the Galaxy”) and Lennie James (“The Walking Dead”) in more minor roles. The original “Blade Runner” was a great film, but “2049” exceeds it as a f lat-out masterwork on the part of all involved.

— Jeremiah Vanderhelm, Daily Arts Writer

Read more online at

michigandaily.com

the b-side

3B — Thursday, January 4, 2018

The Michigan Daily — michigandaily.com

Top TV Series: ‘The Leftovers’ a standout of the year 5. “Stranger Things 2” FILM

Ah, “Stranger Things.” The Duffer Brothers’s (“Hidden”) gorgeous, hilarious and terrifying ’80s homage burst onto the scene this year in its second season. Chances are high that the series — which permeated through, well, pretty much every element of pop culture from mid-October through November — was something you breezed through on Netflix during a cozy, bed-confined week around Halloween. The fact that “Stranger Things 2” became such a quintessential aspect of our collective Fall 2017 consciousness speaks to the

HBO

1. “The Leftovers” Arguably no other show reflected the uncertainty that pervaded 2017 quite like “The Leftovers.” Then again, “The Leftovers” was never about certainty to begin with. It was a miracle the series lasted so long, given its dismal ratings. But what the show lacked in strong viewership, it made up for with an incredible ensemble cast, poetic cinematography and bold storytelling. The third and final season took “The Leftovers” to even greater, more ambitious depths, shifting the setting from small-town Texas to the plains of Australia and intensifying the character arc of disgruntled cop Kevin Garvey (Justin Theroux, “The Lego Ninjago Movie”).

This season, in particular, raised even larger issues of how to search for meaning in a world on the brink of destruction.

As the seventh anniversary

of The Sudden Departure — the day in which two percent of the global population disappeared — approaches, Kevin wrestles with a Messiah complex when he is called upon to save the world from an impending apocalypse of Biblical proportions.

Meanwhile, Kevin’s long-term girlfriend Nora (Carrie Coon, “The Post”) considers a path that could lead her back to her family, all of whom were victims of the Sudden Departure. The friction between the couple’s destinies catalyzes a deeper exploration of what it means to come to terms with our own mortality and how to find peace in finality.

In eight solid episodes, “The Leftovers” succeeds in giving Kevin and every other character much-needed closure. And while most of the season was heavy on drama, there were

some lovely moments of levity (e.g. a strangely hilarious penis gag in the surreal penultimate chapter). Some episodes made some daring aesthetic choices — A-ha’s iconic, upbeat “Take on Me” plays toward the end of a particularly gloomy scene. Other episodes placed an assortment of characters in odd situations — a trip on a hedonistic cruise ship challenged Matt’s (Christopher Eccleston, “Doctor Who”) vehemently religious views.

However, these unconventional detours felt earned in how they helped unpack and resolve each character’s inner turmoil when facing the unknown. As 2018 begins, we can only trust that a show like “The Leftovers” is enough to restore our faith in humanity.

series quality and its downright lovable cast.

Led by 15-year-old Finn Wolfhard (“It”), the show’s cast consistently wooed us with their chemistry and sheer charm.

Starring alongside Wolfhard are his longtime pals Gaten Matarazzo (“The Blacklist”) and Caleb McLaughlin (“The New Edition Story”), both picking up right where the show’s debut season left off to win over our hearts again. Only this time, the show’s talented cast does it against tougher odds, as “Stranger Things 2”’s second season strikes a markedly darker

and more frightening tone.

Our nightmares of the so-dubbed “shadow monster” and a demonically-possessed Noah Schnapp (“Bridge of Spies”) may fade, but our love of this charismatic, nostalgic group of characters will never subside. In a year ravaged by chaos stemming from polarizing figures, “Stranger Things 2” provided us with a muchneeded sense of calm through its universally acclaimed and appreciated cast.

— Connor Grady, Daily Arts Writer

6. “Insecure” However disappointing HBO’s summer Sundays were in the “Game of Thrones” department this year, season two of “Insecure” made up for it. The fabulous Issa Rae — creator, actress, writer and personal style icon — came back with more confidence and attitude than ever before in a glorious trainwreck of bad decisions. Not uncommon for comedies, “Insecure” came into its own in its sophomore season. The show found its groove with key additions to

the sparkling cast, honing in on a unique voice in the writers’ room and soaring the storytelling to an all-time high.

Reeling from a break-up, Issa tries to do the “adult thing” in season two, but she’s a little more damaged than we last saw her. Painfully prone to overthinking (then again, who isn’t?) and saturated with the raw awkwardness that initially intrigued viewers, our leading lady shines as she struggles to figure her directionally challenged self out. This was

a season of failed hoe-tations, rapping mirror pep talks and putting out some not-sometaphorical fires. But through all the cringe, “Insecure” quickly climbed up the ranks of 2017’s best series and promised to keep delivering incredibly heartfelt, funny and relatable stories. Rae has curated a voice that is able to cut through the clutter and there’s no telling how far she can go.

— Danielle Yacobson, Managing Arts Editor

Top Episodes In Review

— Sam Rosenberg, Senior Arts Editor

2. “American Vandal” Twenty-seven red dicks spraypainted on teachers’ cars, an honor student eyewitness, a clear motive and an untrustworthy alibi.

This is the case the school board of Hanover High School makes against notorious troublemaker Dylan Maxwell (Jimmy Tatro, “22 Jump Street”), leading to his expulsion. The new Netflix mockumentary show, “American Vandal” — released in September 2017 — follows a high school journalist, Peter Maldonado (Tyler Alvarez, “Orange is the New Black”), in his compelling, cinematic quest to prove Maxwell innocent. Through the successes of Maldonado’s journalistic and

directorial efforts, the case of who drew the dicks becomes a nationwide social media frenzy, with hundreds of thousands of people talking about Maxwell.

The infectious nature of the documentary within the show’s fictional public mirrors the captivating effect that the story and series itself have on its real-life viewers.

With its steady climactic twists and realistic characters — crafted through authentic dialogue and logical intrinsic motivations — “American Vandal” delivers an-edge-of-your-seat viewing experience. Although shows in the high school realm have the

tendency to err on the side of “Degrassi,” “American Vandal” delivers a much more serious, truecrime feel. “American Vandal” capitalizes on the satire through its mockumentary-style filmmaking.

If the crime had been swapped with one less humorous — say, there was a dead body discovered instead — this series would completely play out like a true crime piece. At the end of the day, this line the series cleverly maneuvers between light and dark is the factor that really sells “American Vandal” as the oneday binge series that it is.

— Sofia Lynch, Daily TV/New Media Editor

3. “The Handmaid’s Tale” In April of 2016, Donald J. Trump was the presumed winner of the Republican presidential nomination and a TV adaptation of Margaret Atwood’s 1985 novel, “The Handmaid’s Tale,” had just been ordered. Though seemingly unrelated events, “The Handmaid’s Tale” became a vital commentary on the shocking nature of our future president and a cautionary tale of what could happen if we accept such disregard for our rights and laws without revolt. Just in case you were completely cut off from pop culture, the Internet or society as

a whole for the better part of 2017, here is some background: “The Handmaid’s Tale” is a dystopian story in which an oppressive patriarchal group reigns over a distorted version of the United States. Women are stripped of their rights and any who are fertile are considered handmaids, forced to reproduce to preserve the lineage of the government.

It is a horrifying tale, yet one that reflects on the web of manipulation, power and abuse that has become all too familiar in our contemporary headlines. The show

could not have come at a better time and, unfortunately, its motifs and messages become increasingly more relevant as our time under this administration progresses.

Despite the handmaids’ ultimate rebellion at the end of the season, there is an ever-looming promise that the war is never won. Still, at the core there is always hope and a constant reminder: Nolite te bastardes carborundorum (don’t let the bastards grind you down).

— Samantha Della Fera, Daily Arts Writer

4. “Big Little Lies” Despite what meets the eye, “Big Little Lies” is far more than just another HBO thriller with a star-studded cast and high levels of intrigue. Nuanced and emotionally commanding, the series reminds us that even those with seemingly ordinary lives can be privy to some pretty groundbreaking secrets.

Centered around a recent murder investigation in the innocuous town of Monterey, Cali.

“Big Little Lies” leaves viewers on the edge of their seats for a majority of the season — neither the murder victim nor the perpetrator is revealed until the very last episode.

The whodunit suspense is one of the series’s greatest strengths, along with the fierce, snide and albeit sometimes satirically humorous portrayals of three rich, white, suburban mothers who are not as unassuming as they may seem.

The leading ladies — Madeline (Reese Witherspoon, “Legally Blonde”), Celeste (Nicole Kidman, “Lion”) and Jane (Shailene Woodley, “The Secret Life of the American Teenager”) — captivate with tenacious performances and dynamic portrayals of some weighty social issues including domestic abuse, rape and deception.

Those real-life controversies are never glossed over or abridged, shaping the series into an influential commentary on gender bias and female politics. The series features a highly comprehensive and intimate soundtrack, which compliments each dramatic twist and turn soulfully and sincerely.

With an unapologetic, deep-seated and highly impassioned storyline and character lineup, “Big Little Lies” is most definitely one series to invest your time and conscience in.

— Morgan Rubino, Daily Arts Writer

1. “Thanksgiving,”

NETFLIX

“Master of None”

“Master of None” has this sublime quality; it effortlessly acts as a storyteller of the deeply-rooted battles of our generation. The Emmy-winning “Thanksgiving,” written by Aziz Ansari (“Parks and Recreation”) and Lena Waithe (“Dear White People”), shares a coming-out story spanning decades of family dinners, earnestly based on Waithe’s own adolescence. In this 30-minute masterpiece, Denise’s (Waithe) exploration of her true identity is at first repressed by delicate pink dresses and a conservative Black family instilling in her the “proper” way to dress and behave.

But with her best friend Dev’s (Ansari) unending support and pop culture’s increasing liberation, Denise progressively embraces all that she is and prompts her family to do the same.

What makes this portrayal all the more monumental is the raw racial and cultural representation necessary for the gradual processing of Denise’s revelation.

Throughout the episode, Dev and Denise — two minorities — sit anxiously in Denise’s room, hopeful once again that Denise’s identity will not cause any strain on this year’s Thanksgiving. In a similar way, Denise’s impassioned

mother remains skeptical towards Denise’s sexuality — not out of hostility, but out of concern that being a black female lesbian will triple the odds against her daughter.

Ultimately, this episode tops the list because of its honesty — in acting, social commentary and intimate undertones. With a nuanced narration of a reallife occurrence, “Thanksgiving” invites us to journey along the path of self-evolution in search of a point where things are largely alright.

— Morgan Rubino, Daily Arts Writer

2. “The Book of Nora,” “The Leftovers” Every TV show deserves a happy ending — even one as grim and ominous as “The Leftovers.”

Thankfully, co-creators Damon Lindelof (“Lost”) and Tom Perrotta (“Little Children”) delivered a finale for “The Leftovers” that was equal parts immensely satisfying and devastating. A clear-eyed, nearperfect culmination to a clear-eyed, near-perfect season, “The Book of Nora” felt transcendent in its writing, acting, direction, music and cinematography. Not only did it offer some plausible answers to the many ambiguous existential questions posed throughout the series, but it also gave the show’s arguably most

afflicted character Nora Durst (Carrie Coon, “The Post”) a hopeful, redemptive sendoff.

So many striking, poignant moments populated the last episode: Nora and her brother Matt (Christopher Eccleston, “Doctor Who”) exchanging their final goodbye, Nora methodically sauntering toward the dimensionswitching portal, a reunited older Nora and Kevin (Justin Theroux, “The Lego Ninjago Movie”) slowdancing to Otis Redding’s somber “I’ve Got Dreams to Remember.”

But nothing came remotely close to the last ten haunting minutes, in which Nora gives a monologue

worthy of a standing ovation. She presents Kevin with an explanation to the show’s core calamity: What happened to the two percent of the world’s population that disappeared?

Kevin, though deeply heartbroken from years of separation, reaffirms her story with three beautiful words: “I believe you.”

— Sam Rosenberg, Senior Arts Editor

Read more online at

michigandaily.com

the b-side

4B — Thursday, January 4, 2018

The Michigan Daily — michigandaily.com

Top Albums: Lorde’s Melodrama soars to the top 6. Harry Styles, Harry Styles FILM

If you would have told 2010 Styles fans that he would go on to launch a solo career full of floral Gucci suits, a heavy coating of tattoos and a lyrical comparison between a cocainefilled nose and a tunnel full of traffic, they would be hesitant

to believe you. Yet, all of these things have come to fruition quite wonderfully. Harry Styles is simultaneously tender and exclamatory; Styles peacocks as a young, Jagger-esque rocker while lamenting and praising genuine affection. Aware of his

audience’s and his own aging, he includes blushingly-intimate details without being crass (See: Fellow 1D alum Liam Payne’s “Strip That Down”). Harry Styles is an extremely strong debut, well-suited for One Direction veterans and new listeners alike.

— Carly Snider, Daily Arts Writer

7. Flower Boy, Tyler, The Creator AMELIA CACCHIONE / DAILY

1. Melodrama, Lorde There is a bizarre, nebulous space between 18 and 21 that sometimes gets called “19 and 20,” but is more aptly titled “melodrama.” New Zealand pop queen Lorde spins her sophomore album from the heartache and hormones that dominate that space, and holds a mirror and a microscope up to the world my peers and I are moving through.

Lorde is my peer, too.

And while celebrities age prematurely, our emotional experiences run parallel to each other. Her first album Pure Heroine defined

my high school years. But that’s an easier moment to define. On Melodrama Lorde dances through post-teenage wreckage: broken glass on a floor sticky with champagne bought with a fake ID. She parses wisdom from the tragedy that is growing up and realizing that every heartbreak isn’t the end of the world and every new love isn’t its beginning.

Lorde traverses this glittering world, but never seems to wholly belong to it.

She asks, early on: “But what will we do when we’re sober?” a question that looms over

the rest of the album. What happens when the party ends — “lights are on and they’ve gone home, but who am I?” she asks later. What happens when the album ends and she’s no longer “young” or “new?” What happens when the novelty of novelty wears off?

Melodrama is everything a 20-year-old is: anxious, poetic, vulnerable and alive with beauty. This isn’t just the album of the year; it’s the album of a generation.

— Madeleine Managing Arts Editor

Gaudin,

2. DAMN., Kendrick Lamar DAMN. finds Kendrick Lamar running circles around his competition after the critical and commercial successes of Good Kid, M.A.A.D. City and To Pimp A Butterfly, but it doesn’t always feel like a victory lap. While songs like “ELEMENT.” and “LOYALTY.” find Kendrick at his most arrogant, other tracks like “YAH.” and “FEEL.” partially dispel this illusion of confidence, instead portraying his stardom through a lens of paranoia and bitterness. The sonic palette is

correspondingly bleak as well as somewhat anachronistic: Motown-esque Fender bass tones and old-school tags by Kid Capri mingle with hard-hitting 808s and rolling hi-hats. There is a subtle anxiety pervading the album, created by dissonant chords, paranoid lyrics and the ominous recurring motif of a sound best described as a distorted flock of birds, reminiscent of the looped tape effects found in “Tomorrow Never Knows.” Kendrick’s lyricism is as sharp as ever, every song packed with clever and insightful bars, particularly on “FEAR.” and “XXX” where the storytelling

and social commentary in both are among his very best. Even the less substantive tracks such as “LOVE.” and “GOD.” are wellmade and absorbing, providing some necessary respite from the weighty topics of the adjacent songs. Part of what makes this work so compelling is the ambiguity: Kendrick weaves together egotism and self-defeat, dissonance and brightness, to create an album that feels less like a celebration and more like a contemplation.

— Jonah Mendelson, Daily Arts Writer

3. Ctrl, SZA If Top Dawg Entertainment is a world-class university — with label superstar/professor Kendrick Lamar integrating his encyclopedic knowledge of all things historical and cultural into each one of his lectures, er, songs — SZA is its blossoming student, now equipped with new knowledge and building on previous lessons (see: 2014 studio debut Z). This scholarly tinge informs Ctrl, a

genre-crossing release that really is as sonically malleable as it is sheer listening pleasure. As with any album of this year-defining caliber there are those characteristically breathtaking moments: When the singer boasts of “secretly banging your homeboy” before admitting to an unwelcome dependence over a lush guitar on “Supermodel,” for example, and also on “Broken Clocks” with a soulful punch

(“Can’t beat ‘em just join the party / I don’t wanna don’t need nobody”). SZA ultimately gives a deeply personal lecture where her insecurities and strengths meet elegant, layered production; a stream-of-consciousness broadcasted as gorgeous poetry in (R&B) motion.

— Joey Schuman, Daily Arts Writer

4. Process, Sampha From the opening chords of Process, there’s nowhere else to go but within. They’re plucked from some strange universe that Sampha has carefully constructed, where the entirety of the album exists. It’s where synths, strings and keys not only play off one another, but mimic each other. “Plastic 100C,” a slow moving anthem about the fear of

climax, opens up this world; what unfolds over ten tracks is a kind of fragmented dance, urgent at times, languid at others.

So much of Process is about relationships, both romantic and familial. Sampha’s mother, Binty Sisay, passed away in 2015, and though largely unspoken (at least explicitly) he seems to navigate that grief through his

other relationships. His mother sometimes sits behind the “you” in these lyrics, and Sampha spins out this delicate web of love and loss with beautiful vocals. On Process, Sampha finally perfects the R&B palette he has curated for years, with greatness only hinted at.

— Matt Gallatin, Daily Arts Writer

5. american dream, LCD Soundsystem Forgive those who thought american dream was underwhelming, or even stale, at first. Initially it could have felt as if the group failed to veer from its trademark album format of catharsis: Each song an at least six-minute post-punk curation of doggedly burnt out emotion. Slowly, however, the album has a way of seeping in. There’s the nuance of each synthy progression on “how do

you sleep”; the nu-disco overload on “tonite”; James Murphy’s hollowed-out vocals in “american dream.” Such a diverse collection of sounds backs up Murphy’s characteristically dense-yetconcise lyricism. “oh baby” is arguably the gem of the album, a warm croon replete with an indescribably ’90s sound and emotionally-weaponized melodies. In LCD’s universe, time is merely a construct both

in literal track length and full listening absorption.

With american dream, too, it may take a while. But like in any measure of musical temporality, somehow, eventually, you’re going to need to hear whatever Murphy says (even without realizing as much beforehand), and you’re probably going to cry as you do.

— Joey Schuman, Daily Arts Writer

Since the release of his mixtape in 2009, Tyler, The Creator has established himself as a master storyteller, fabricating a cohesive fairytale that spans across three albums.

Bastard, Goblin and Wolf introduce us to a variety of Tyler’s alter-egos: Wolf Haley, Dr. TC, Tron Cat and Sam, among others. His characters exist within the fictional world of Camp Flog Gnaw, dropping in and out of therapy sessions and asylum visits. Everything is a little unhinged, including the storyline, which seems to be purposely made difficult to follow. Every time you think

you’re starting to understand the motive behind all the madness, you get lost in the chaos of nonlinear timelines, songs that just don’t make sense and blunt rhymes wrapped in barbed wire.

Flower Boy is different.

Tyler, The Creator deconstructs the entire world he spent nearly eight years building.

From this wreckage, Flower Boy unfurls: a multicolored dreamscape rich with expressive vocals and flowing background instrumentals.

Individual tracks are wistful reflections on everything from old relationships to burgeoning sexualities. They flow together

effortlessly, creating an intimate connectivity that is unmatched in any of his previous work. This is Tyler, The Creator at his most sincere, trading in subversion for vulnerability. Multiple personas and convoluted narratives are replaced by straightforward acceptance: “Tell these black kids they could be who they are / Dye your hair blue, shit, I’ll do it too.”

Understanding the necessity for growth, he allows himself to bloom: Flower boy T finally found his wings.

— Shima Sadaghiyani, Daily Music Editor

8. Big Fish Theory, Vince Staples Big Fish Theory is a futuristic wet dream. It’s polished synths and sleek electronic beats bring to mind the basement of a Tron-esque club. Presiding over the entire scene, Vince Staples acts as the nihilistic neon demon. His f low is almost manic, a relentless frenzy of energy that illuminates the glitch among the glamour of rap stardom. Individual tracks

are hybrids that mesh rave and hip hop to create dark bangers: social commentary on the dance f loor. “Crabs in a Bucket” and “Party People” especially revealing the fame that weighs heavy on Staples’s shoulders. Amid the lacquered shine of expensive cars and stacks of cash, stereotypes and expectations of what a young African American

man should be creep next to disillusionment and hopelessness.

There is no reserve as Vince Staples dives into Big Fish Theory. He embraces his own cynicism, traversing the bleak landscape with ease, leaving behind a mirage of pulsing tempos and slick rhymes; destitution disguised as a macabre celebration.

— Shima Sadaghiyani, Daily Music Editor

9. Turn Out the Lights, Julien Baker On Turn Out the Lights, Julien Baker peels off every layer of her skin and exposes her most vulnerable self. She steps further into the insecurities that she revealed on her 2015 record, Sprained Ankle, dealing

with the ghosts of substance abuse and the self-doubt that follows. Her haunting voice creates a personal conversation where she whispers her biggest secrets, her deepest regrets and her greatest fears into your ear

as goosebumps grow on your arms. The record’s tranquil piano and guitar flow into the river of emotions that Baker is pulling out of her gut, creating one harmonious moment of catharsis that is Turn Out the Lights.

— Selena Aguilera, Daily Arts Writer

10. The OOZ, King Krule Ah, the state of the UK in 2017: The reality of Brexit settles in, and Fabric has its license revoked.

Dark times in London called for a dark album from Peckham’s preeminent Lonely Boy, Archy Marshall.

More so than any other record this year, The OOZ is dense; at times the album is difficult to finish, but it always finds a way to immerse you, almost hypnotically, to the absolute fringes of the world it creates. It

spans from Barcelona, the home of Archy’s mysterious girlfriend, to Bermondsey and the corridors of Le Marais.

Though the album is a bit of a globetrotter with regard to influences and references, it mainly takes place in the extreme depths of Archy’s insecurities, anxieties, doubts and fears.

The listening experience is like evaporating into a cloud of smoke, only to be pulled back into the guck of a world you’re trying to

escape.

Although this is familiar territory for a King Krule album, sonically it deviates into jazz fusion and much harder rock sounds than we’ve heard from Archy before. He screams a bit, but he also cries, growls and mumbles. It’s clear that he’s still figuring things out, and that likely won’t end when the year does too.

— Shayan Shafii, Daily Arts Writer

11. Drunk, Thundercat On his third studio album, bassist and vocalist Thundercat solidifies his brand: a marriage of goofy techno-funk and dissonant jazz. On Drunk, Stephen Bruner’s seemingly improvised melodies and signature falsetto have a certain mesmerizing charm. When

blended with his undeniably groovy beats and bass lines, they create a sound that is just left of center. For 51 minutes, you are in Thundercat’s ethereal and almost nonsensical world, as he meows in the background of “A Fan’s Mail (Tron Song Suite II)” and asks where he left his phone

on “A Bus in These Streets.”

As a bonus, you run into yacht rock legends Kenny Loggins and Michael McDonald and hiphop king Kendrick Lamar while you’re there.

— Mike Watkins, Daily Arts Writer

12. MASSEDUCTION, St. Vincent

Read more online at

michigandaily.com

the b-side

5B — Thursday, January 4, 2018

Community Culture on Ann Arbor’s best venues 1. Power Center The Power Center serves as the home for multiple organizations and functions on campus, such as the School of Music, Theatre & Dance, the University Musical Society, the musical theatre troupe MUSKET and more. A building acutely aware of its geometrical design, the Power Center’s architectural layout demands to be noticed: From the outside mirrored walls and the solid concrete spiral

staircases to the malleability of the stage’s orientation, you’re hit with imagination and creativity the moment you enter. Although the theater is designed to be spacious and grand (fitting a little over 1,300 seats), every seat is no more than 80 feet away from the stage, drawing in each audience member for an intimate experience. Dazzling performances — like SMTD’s “The Little Mermaid,” performed by

the musical theatre department, and UMS’s “Written in Water,” performed by Ragamala Dance Company — left their mark on the Power Center’s stage in 2017.

Awaiting more art, more drama and more talent, the Power Center will be sure to imbue audiences with magic this upcoming year.

— Erika Shevchek, Daily Arts Writer

2. The Michigan Theater The Michigan Theater has long been the jewel of Ann Arbor. The theater is perfectly marketed for a university town, since it features films and hosts live performances.

Established in 1928, its appeal is everlasting. Stepping through the front doors feels like entering a

new world, full of vaulted ceilings and rich gold embroidery lining the walls. Two grand sweeping staircases — which double as a classic photo-op station — beckon guests to explore the extravagant balcony level. The theater is a breath of fresh air, but the location

itself is a blend between antique and modern. While the interior may seem like it belongs in another century, the bustle of downtown Ann Arbor lies right outside its walls.

— Trina Pal, Daily Arts Writer

3. Hill Auditorium Hill Auditorium plays host to many of Ann Arbor’s famous concerts. Throughout its 104 year history, the hall has hosted performances by the Berlin Philharmonic, the Israel Philharmonic Orchestra, the London Philharmonic Orchestra, the New York Philharmonic, the Vienna Philharmonic, Leonard

Bernstein, Robert Frost, Elton John, Sergei Prokofiev and the Grateful Dead. This past semester, the hall hosted Hillary Clinton and Bassem Youssef (among others). It was designed in 1913 as an acoustically perfect environment, the goal being that a pin being dropped on the stage could be heard by every seat. I really enjoy

attending performances at the Hill Auditorium by students at the School of Music, Theatre & Dance — the fancy ceiling (with a Michigan “M” in the center) and the picturesque exterior give an exciting and sophisticated feel to every performance.

— Sammy Sussman, Daily Arts Writer

4. Someone’s Basement The Midwest has commonly been seen as an expansive mecca of DIY culture, and Ann Arbor is right in the center of it all. Something about this town and the people in it just oozes creativity that’s ready to show itself off at all costs … even if it’s in a basement. House shows have served as the venue for

some of my favorite memories here in Ann Arbor. They’re often made up of some of the most unique and passionate acts in the area, with shows ranging from local punk bands to three hour performances of a Philip Glass opera. Their informal nature fosters a supportive environment for artists to

share a piece of themselves with audiences in a way that feels completely devoid of any commercial motive. There’s no place where you’ll experience such raw emotion and intimacy like a house show.

— Ryan Cox, Daily Arts Writer

5. The Ark I love The Ark. I’m shouting it from every ice-laden, snowridden rooftop in Ann Arbor, and I’m screaming it at you.

The club seats roughly 400, and it’s an oasis of folk music.

With round tables in the front and rows of seating further back, there’s no bad place to land. It’s the kind of space that lends itself to being fallen in

love with. In 2017 alone, The Ark hosted the likes of Billy Bragg, Stephen Kellogg and Howie Day. It balances big names with up-and-comers, welcoming new artists with the same fearlessness that drives the soul of hip-swaying, feetstomping roots music. There’s an attainability inherent in the air there. The nature of the

venue strips each performance down to the barest of bones; it’s just us and the artist, every time. It’s cozy and loving, and it’s a stunning manifestation of my favorite aspect of folk music: overwhelming intimacy oozing from a wild, wild heart.

— Arya Naidu, Senior Arts Editor

6. Lydia Mendelssohn Theater Tucked into the side of the Michigan League, the Lydia Mendelssohn Theatre is like the charming little grandpa in the family of Ann Arbor venues. Stepping into the solidoak-paneled theatre feels like stepping into an older era — after all, it was designed in

1929. The few renovations have hardly changed its character.

2017 saw performances such as the School of Music, Theatre & Dance’s “One Hit Wonder,” Rude Mechanicals’ “Equus” and a variety of student and community group performances. Like the League, there is a certain elegance and charm permanently hung in the air. It is one of the few

theaters in the United States to have a curved wall at the back of the stage, creating unique uses of lighting and sound.

With only 644 seats, The Lydia Mendelssohn Theatre delivers an intimate experience that makes you feel like you’re at a private show.

— Fallon Gates, Daily Community Culture Editor

7. Literati Coffee and books: the two things that make any place feel warm and cozy. Located on E. Washington in downtown Ann Arbor, Literati Bookstore has both. Literati has brought a number of renowned authors and poets — like Roxane Gay, Tiya Miles and Alise Alousi — for readings. They have also partnered with the Zell Visiting Writers Series, which was made

possible through Janey Lack, the University of Michigan Museum of Art, the Department of English Language & Literature and the Office of the Vice President, to help bring writers from all over North America and abroad to host public readings.

You can grab a cup of coffee, listen to readings from your favorite authors and then head downstairs to stock up on books.

Not in the mood for a reading?

Musicians also perform at Literati, and the bookstore’s cozy vibes create an intimate audience experience. Regardless of the type of performance it is hosting, Literati has the heart, warmth, coffee and books needed for a relaxing time.

— Nitya Gupta, Daily Arts Writer

8. Zingerman’s Greyline Walking into Zingerman’s Greyline, one feels as though they have left campus and

arrived somewhere almost futuristic — somewhere you might find yourself on a

weeknight, floating around the room with a champagne flute in hand without worrying about

paper deadlines or coming exams. I attended a reading at the Greyline on a Monday evening in late November. I felt incredibly underdressed in my thrifted jeans and my Converse, with the soles peeling away.

But after sitting in the dimly lit Greyline for a while, I might as well have been wearing a shimmering cocktail dress

The Michigan Daily — michigandaily.com

and stilettos. In other words, the glamour of the venue itself is pleasantly consuming.

Illuminated by low-hanging and ultra-modern chandeliers, the Greyline’s sleek hardwood floors and gray walls are juxtaposed against the shelflined walls of Ann Arbor’s bookstores with a long, stocked bar replacing the usual coffee

counter. The Greyline hosts a variety of both personal and public events, from wedding rehearsals and bar mitzvahs to concerts and readings. If you want to escape college and feign sophistication for a night like I did, attend a Greyline event.

— Jenna Barlage, Daily Arts Writer

9. The Streets of Ann Arbor

There is so much art to behold just by walking around the University’s campus and the city of Ann Arbor. Art is in the small downtown shops selling handcrafted goods. Art is in the crafty fairy doors that are hidden all around the city. There

is live music at your fingertips from the man in a wolf mask who walks around, jamming with his violin to groups of people banging on upside down buckets. The University campus contains buildings with a variety of thoughtful and interesting architectural designs. If finding art in nature is your thing, the Arboretum is the prime place to

appreciate art its most natural form. The diverse audience is made up of families, onlookers and students from all over Michigan. Just step outside of your dorm and immerse yourself in the art that Ann Arbor provides free of charge.

— Isabelle Hasslund, Daily Arts Writer

10. UMMA The 10th best venue goes to the University of Michigan Museum of Art, the University’s space to share its art collection and my space to take a study break. While most works on and within the walls of this public art museum are static, they entertain

through visual stimulation. By exhibiting a myriad of artistic styles and movements, the UMMA’s collection is a spectacle of diverse visual representation.

The UMMA is also home to temporary exhibitions and special events. The UMMA’s

website features information on their current happenings, including movie nights at the museum, after-hours viewings and, recently, a chocolate tasting.

— Alex Suppan, Daily Arts Writer

Top Performances of 2017 1. Betroffenheit Watching this performance tore my heart out of my body, placing it in a vulnerable light where I was faced with my own deep sorrows of loss, the kind I tend to conceal.

It was that beautiful kind of sadness, where I couldn’t help but stare in awe at a man who poured out his desolation into divine, moving art. Jonathan Young, co-founder and artistic director of Electric Company Theatre, wrote

and starred in “Betroffenheit.”

His daughter died in a house fire, while he survived, and Young choose to publicly express that personal trauma through a blend of theatrics and dance.

It is the greatest performance I have ever witnessed. Voices were everywhere; they seemed to be attached to the walls, to the doors and to the fixtures. The five other dancers elevated elements

of madness and feelings of isolation with intricate costumes, schizophrenic personalities and absolutely stunning dance. With a thousand layers, this piece got inside my head. “Betroffenheit” is profound because it drew out raw emotion that will stay with me for years to come.

— Fallon Gates, Daily Community Culture Editor

2. The NY Philharmonic’s performance of Mahler’s “Symphony No. 5” This past November, the New York Philharmonic performed Gustav Mahler’s “Symphony No. 5” in Hill Auditorium as a part of their weekend-long orchestral residency. It seemed as if all of Ann Arbor showed up to watch these world-class musicians perform the work of one of the greatest composers of all time. Mahler’s symphonies are known for their lengthiness and unpredictability.

However, time seemed to f ly

by while sitting and hearing the glorious sounds that resonated on the stage before me.

The unpredictability of Mahler’s music comes from his attempt to describe the highs and lows of life through music, challenging the conductor, musicians and audience members to embark on their own personal emotional journey throughout the symphony. I found myself really getting into the emotions that the music conveyed

and ended up sobbing the entire time — a response that surprised me. The conductor, Jaap van Zweden, masterfully shaped each phrase of music with his entire body, keeping strong communication with the orchestra. Van Zweden’s energy was contagious, and the audience was at the edge of their seats the entire performance.

— Isabelle Hasslund, Daily Arts Writer

3. DakhaBrakha Like all the best pieces of my life, Ukrainian folk-punkers DakhaBrakha first fell into my world via an NPR Music Tiny Desk Concert. It’s 13 minutes and 57 seconds of otherworldly rhythms, unbelievable artistry and woolen hats. I, of course, was in love. I didn’t really understand it — and I still don’t really understand it — but I loved it nonetheless.

The quartet came to the

Michigan Theater back in March, and I threw myself at the opportunity to go because I wanted to live in the feeling of suspension their Tiny Desk gave me. The group is so intensely mesmerizing. It’s hard to describe how acutely their sound resonates because everything about them — from their look to their instruments to the language they sing in — is foreign to me. Yet, they

still cut deep. The show was entrancing. DakhaBrakha is a testament to the universality of music, using traditional Ukrainian folklore as a launching point to navigate the sounds of our world. It was a meditative moment in a semester of chaos, and it was one I’ll always love.

— Arya Naidu, Senior Arts Editor

4. Hussain, CrossCurrents In early November, UMS welcomed Indian classical music legend Zakir Hussain to the Michigan Theater to perform with his newest musical venture, CrossCurrents. CrossCurrents, which includes famous bassist Dave Holland, is a musical group that blends Indian classical and jazz music together. Growing up surrounded by Indian classical

music, I was pleasantly surprised at the jazz inf luence CrossCurrents brought to such a traditional genre. As a University student who witnessed many racially charged incidents throughout the semester, this message of co-existing peacefully gave me hope. From the racial slurs written in the West Quad dorms to the current protests over Richard

Spencer’s possible appearance on campus, the student body needed CrossCurrents’s reminder that, though we may be incredibly different, we’re all united as students of the same university.

— Trina Pal, Daily Arts Writer

Read more online at

michigandaily.com

the b-side

6B — Thursday, January 4, 2018

The Michigan Daily — michigandaily.com

Best Style Moments 2017 Best Books of the year 1. “We Were Eight Years in Power” by Ta-Nehisi Coates For most of us, 2017 was a year synonymous with the beginning of Trump’s presidency. Starting in January, we said goodbye to the age of President Obama and hello to the madness that the White House has been ever since, which has arguably done more than anything else to color

PIRELLI’S

1. Pirelli’s 2018 calendar The Pirelli corporation has been publishing artisticallyinclined calendars since 1964, but none have made a statement as great as their 2018 project, unveiled in November of 2017.

Shot by the legendary Tim Walker, “The Cal” features an

all-Black cast in an adaptation of “Alice’s Adventures in Wonderland.” TV personality RuPaul makes for a spellbinding Queen of Hearts, model Duckie Thot stole our hearts as Alice and the aforementioned Slick Woods portrays an eerily convincing

Mad Hatter. If it’s not obvious yet, this is about far more than a calendar: In 2017, Pirelli reminded the fashion industry that minorities have every right to their own beautiful narratives.

—Tess Garcia, Daily Style Editor

2. Liselore Frowijn SS18 In October, Dutch designer Liselore Frowijn threw Paris Fashion Week for a loop: Not only was her Spring Summer 2018 show bereft of celebrities, but the rising star used the runway as an opportunity for social commentary. The

20-look production celebrated Mexican culture with vibrant patterns, billowy, climateappropriate separates and frequent reference to the nation’s flag. Stoic faces of models boasted phrases like “Batalla” and “No Wall,” an

obvious dig at the Trump administration. That’s a bold move for a talent as fresh as Frowijn, who earned her BA in 2013, and it certainly paid off.

Look out for this one.

the course of this year. For this reason, the most important book published in 2017 has been Ta-Nehisi Coates’s “We Were Eight Years in Power: An American Tragedy,” a collection of eight essays published over the course of Obama’s eight years of presidency. Coates combines compelling personal narrative with impeccable research to paint a comprehensive picture of American life from all angles

— from slavery to politics to entertainment, from the very beginnings of America to its current state. One of the most multifaceted, cohesive and well-researched books of recent years, it is also one of the most significant, especially during a time when history and facts themselves are being questioned.

—Laura Dzubay, Daily Arts Writer

2. “Hunger: A Memoir of (My) Body” by Roxane Gay “Hunger: A Memoir of (My) Body” is a thought-provoking, moving and transformational book that challenges the assumptions of physicality and reveals the deeply intimate relationship between psyche and body. Roxane Gay, the incredibly sharp and resonant author of “Bad Feminist” and “Difficult Women,” explores the struggles

of being fat in a fat-phobic world, the irrevocably damaging effects of trauma and the dynamics of constructing a reality. Gay’s memoir reads quickly but leaves a lasting impact. With her frank and pointed writing, Gay brings attention to the physicality of everything — the body, food, skin, movement — and forces you to think about the tactility of occupying space. The book is not a story of one woman’s triumph over her demons and finding peace, but is instead

a gripping attempt to wrestle the representation of unruly bodies from a prejudice culture and to reclaim the narrative.

Roxane Gay criticizes the hypocrisies of culture that push women to criticize themselves while affirming her legitimacy as a woman and as a person.

“Hunger” is one that sticks with you and forces you to look at the world around you with careful perspective.

—Sydney Cohen, Daily Arts Writer

3. “Gather the Daughters” 3. Fenty Beauty release by Jennie Melamed In October, Dutch designer Liselore Frowijn threw Paris Fashion Week for a loop: Not only was her Spring Summer 2018 show bereft of celebrities, but the rising star used the runway as an opportunity for social commentary. The 20-look

production celebrated Mexican culture with vibrant patterns, billowy, climate-appropriate separates and frequent reference to the nation’s flag. Stoic faces of models boasted phrases like “Batalla” and “No Wall,” an obvious dig at the Trump

—Tess Garcia, Daily Style Editor

administration. That’s a bold move for a talent as fresh as Frowijn, who earned her BA in 2013, and it certainly paid off.

Look out for this one.

—Tess Garcia, Daily Style Editor

4. “The Ten” collection It’s still unclear how Virgil Abloh evolved from a Kanye West background player into an A-list fashion influencer in just two short years. However, it couldn’t be any clearer that 2017 belonged to him: After designing limited edition concert merchandise for Travis Scott, guest-speaking at a series of Ivy League colleges (including Harvard) and watching his staple clothing label (OFF-WHITE) be anointed

a GQ-darling, Abloh linked with Nike for a collaborative sneaker collection. Unsurprisingly, the resulting kicks became the year’s most-hyped.

Virgil Abloh’s “The Ten” collection was first teased on Twitter, where the creative director spent months sharing photographs of his re-designed Air Jordan 1s prior to their official release. In the shots, many of which became viral hits, he’s shown scribbling well-

known nicknames (such as “Air La Flame” for Travis Scott) on pairs’ rubber soles — a subtle sign of customization which doubled as organic marketing.

When the collection finally dropped though, it featured remixes of nine other iconic Nike classics from Abloh and sold out instantly, crashing the brand’s SNKRS release platform in the process.

—Sal DiGioia, Daily Arts Writer

“Gather the Daughters” is one of the best debut novels I’ve read in the past few years. Perfect for any lovers of current timely and classic favorites — “The Handmaid’s Tale” in particular, and “The Giver” as well — it tells the tale of a world in which women, once they reach a certain age, have one final summer of freedom left before they are to be married off and have children.

Except the generation of youth

that serves as the focal point of this story are getting restless, and asking questions that the older men in charge of the community would prefer remain unspoken.

The future of these girls and their unprecedented rebellion hinges on qualities that are as ferocious as they are delicate: the fierceness of a young girl’s love of freedom, another’s hunger for knowledge and a third’s tragic desire to just

get out. It is a heartbreaking story conveyed in gorgeous, often startlingly poetic prose. I can’t remember the last time I sat down and read a book in one sitting without intending to — but “Gather the Daughters” almost requires it.

—Sophia Kaufman, Daily Arts Writer

Read more online at

michigandaily.com

BEAT THE WINTER BLUES WITH KINESIOLOGY COMMUNITY PROGRAMS

5. Woods’s Vogue editorial All in a year’s work for Slick motherf*cking Woods.

Nick Remsen’s profile of Slick Woods, an androgynous, gaptoothed model who this year rose to fame, is short and sweet, but its mere existence speaks wonders. In 2017, it became possible for norm-defying

beauties like Woods to grace fashion’s most prestigious runways, to be featured in global makeup campaigns (more on Fenty Beauty above) and, put bluntly, to be in Vogue (double entendre intended). A bald-headed, tomboyish woman of color has been dubbed “the

Face of the New American Style” by the world’s most respected fashion publication.

Together, Remsen and Woods have left a permanent wound on the face of conventional fashion.

—Tess Garcia, Daily Style Editor

6. Lil Uzi Vert donning blouse, chokers, purse Lil Uzi Vert had a wildly successful year — one that few artists in history have matched blow-for-blow. After opening for The Weeknd on Starboy’s European tour, the Philadelphia-raised crooner enjoyed a summer residency atop Billboard charts (with breakout hit “XO Tour Llif3” spending 39 weeks on the scoreboard) and even earned a number one album (via his major-label debut, Luv Is Rage 2). Still though, the most talkedabout aspect of Uzi’s viral fame this year was his obscure, often close-to-the-edge

style. His rise to prominence perfectly coincides with the reemergence of emo-trendy and, as a rainbow-haired sadboy who’s effectively paved his own lane in hip hop, Uzi is a figurehead of the movement.

Known for crossing boundaries in song, dress and syntax, Lil Uzi Vert hardly deviated from his norm when he posed for a now-famous photograph while donning a pink, striped Valentino blouse, a white-gold, spiked choker and a Guoyard bag over his shoulder. Of course, the photo made waves online, evolving

into an iconic meme within the hip-hop community and earning threads of backlash from veteran emcees (who argued that Uzi looked soft).

Yet, for youthful streetwear nerds and fashionable rap fans alike, its surrounding conversations only cemented Lil Uzi Vert’s position as the most inf luential newbie in the game. Of course 50 Cent was jealous — where the fuck is he?

—Sal DiGioia, Daily Arts Writer

Read more online at

michigandaily.com

Beginning & Intermediate Tennis • Beginning & Intermediate Swim* Coached Swimming Workouts Tricks and Tips – Improve Your Swimming Strokes WSI: American Red Cross Water Safety Instructor* LG: American Red Cross Lifeguarding* American Red Cross Adult/Child CPR/AED and First Aid *May be taken for academic credit.

REGISTER ONLINE AT UM-KCP.EVENTBRITE.COM kines.umich.edu/KCP

Rm 3064 CCRB | 401 Washtenaw Avenue Ann Arbor, MI 48109 734.647.2708 Kerry Winkelseth, Director | kebwink@umich.edu