Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Mythical bird
4 Spanish hero
played by Heston
9 Bush successor
14 Oktoberfest gripe
15 Protest sign word
16 Purple Heart, e.g.
17 *One harvesting
honey
19 Freezing cold
20 Count in music
21 Nothing, in
Normandy
23 Floor cleaner
scent
24 MIT part: Abbr.
25 *One planning a
job
27 Words before
grip or life
29 Pub offering
30 Mom-and-pop
org.
32 Havens
36 Exorcism target
40 *One calling
strikes
43 Cara or Castle
44 Pursue
45 Pop
46 Westminster
show org.
48 Wraps up
50 *One working at
a low level
56 Dench of “The
Best Exotic
Marigold Hotel”
59 Biceps exercise
60 Genesis brother
61 Surround
62 Bird that lays
blue eggs
64 Lone Ranger
epithet, or what
each answer to a
starred clue often
is
66 Muscat resident
67 Not as happy
68 Yale Bowl rooter
69 Class-ending
sounds
70 River to the
Rhone
71 Fish eggs
DOWN
1 Synagogue
official
2 It has a floor but
no ceiling
3 Competition with
knights
4 Olympian’s blade
5 Novelist Harper
6 “It’s a Wonderful
Life” director
7 Strand during a
blizzard, say
8 Yankee shortstop
Jeter
9 Online “Wow!”
10 “Hey, the light is
green!”
11 Wing it at the
lectern
12 Augusta’s home
13 Birch family tree
18 Flier usually
shorter than its
tail
22 Gun lobby gp.
25 False idol
26 “Grumpy” movie
heroes
28 Sunflower State
capital
30 __ Beta Kappa
31 A.L. East team
33 Cul-de-__
34 Biblical suffix
35 50-Across milieu
37 Season in a
Shakespeare title
38 “Chopsticks __
fork?”
39 “Game of
Thrones”
patriarch Stark
41 Making possible
42 __-friendly
47 Epidemic-fighting
agcy.
49 Kept the party
hopping, briefly
50 Cape Cod catch
51 New York
governor Andrew
52 Like city folk
53 Poetic feet
54 Lab containers
55 Follow
57 Way to get info,
on retro phones
58 Kind of navel
61 “Present!”
63 Grafton’s “__ for
Noose”
65 Lead-in for plunk
or flooey
By John R. O’Brien
©2015 Tribune Content Agency, LLC
03/24/15
03/24/15
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Tuesday, March 24, 2015
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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6 — Tuesday, March 24, 2015
Arts
The Michigan Daily — michigandaily.com
TV REVIEW
Internet revival
Fan favorite
‘Community’
returns to Yahoo
Screen
By ADAM THEISEN
Senior Arts Editor
“Community” is immortal. Not
only has it survived practically cer-
tain death by cancellation multiple
years in a row,
but it has gone on
to outlast every
comedy
NBC
tried to replace it
with. Now, a few
cast
members
short, the show
has moved from
network TV to
Yahoo
Screen,
where
it
will
serve not as the
main
product,
but as a means
to draw the few-million, fiercely
loyal
remaining
“Community”
fans into the fledgling online plat-
form. Though it’s missing a few key
organs (only four of the seven in the
original group are still at Green-
dale), what’s left of the show is just
as alive and unique as Franken-
stein’s monster. “Community” isn’t
quite as quick or groundbreaking as
it was in its prime, and it now exists
in such a bubble of its own creation
that it’s impossible to imagine the
show as accessible to anyone check-
ing it out for the first time. Howev-
er, the first two episodes of the sixth
season are more than entertaining
enough for hardcore fans, and after
all these incarnations, “Communi-
ty” is still funnier and more unique
than it has any right to be.
The fantastic cold open of the
first episode will likely be a sea-
son highlight. After a classic Dean
(Jim Rash, “The Way Way Back”)
announcement to, as Abed (Danny
Pudi, “Captain America: The Win-
ter Soldier”) puts it, “catch every-
one up,” (“Welcome to Greendale!
Now ranked fifth on Colorado’s
alphabetical listing of commu-
nity colleges! Rest in peace, Fatboy
Slim’s DJ School”), the one problem
that the group forgot to solve last
season comes back to bite them: the
roof collapses due to an overload of
Frisbees.
Soon after, we’re introduced to
Francesca “Frankie” Dart (Paget
Brewster, “Criminal Minds”), a
consultant brought to Greendale to
fix all of its problems. The always
hyper-aware Abed describes the
pompous Frankie as having “the
most interesting take on not being
interesting,” as she appears to be
devoid of quirks and entirely pro-
fessional. She immediately imposes
rationality on the school, solving
many of its ridiculous problems in a
much faster way than the old “Save
Greendale” group ever did.
For a while, her plans work, but
Jeff (Joel McHale, “The Soup”),
Britta (Gillian Jacobs, “Life Part-
ners”) and Annie (Alison Brie,
“The Lego Movie”) quickly rebel,
setting up a secret speakeasy in
the back of Shirley’s old sandwich
shop. The rationality that Frankie
tries to impose on the whimsical-
ity of Greendale calls to mind the
conflict of Captain Hook and Peter
Pan’s Lost Boys, in which the study
group that’s been stuck at a low-tier
community college for six years
continues to use Greendale as a way
to avoid growing up or facing the
real world.
The second episode contains
a funny, if a bit insignificant, plot
featuring the Dean’s new entirely
inefficient virtual-reality system, in
which simple tasks require incredi-
ble fitness (to delete a file, for exam-
ple, one must slowly suffocate it in
water). This storyline mainly served
to introduce new group member
Elroy Patashnik (Keith David, “The
Princess and the Frog”), a tech
inventor who has seen better days.
Patashnik, as the gruff older guy,
replaces last season’s Buzz Hickey
(Jonathan Banks, “Breaking Bad”),
who replaced Chevy Chase’s origi-
nal Pierce Hawthorne.
The other main plot of episode
two features our first-ever meeting
with Britta’s parents. Though Britta
has been rebelling against her par-
ents since the show began, this epi-
sode revealed that, well, there’s not
much to be rebelling against. Her
parents are lovable hippies who are
infatuated with their daughter, and
make the closest contact they can
by covertly assisting Britta finan-
cially through her friends. Britta’s
freak-out when she discovers this
news and long-term imagined
rebellion establishes her once again
as the character that “Community”
has never gotten quite right. After
playing Jeff’s intellectual equal in
the early episodes, Britta has spent
years backsliding into the role of
the group’s ditzy screw-up, a char-
acterization that can be funny, but
just doesn’t feel natural. It’s the one
area of “Community” where Dan
Harmon and crew’s incisive wit just
doesn’t hit the mark.
The beginning of “Community”
’s sixth season shows us that the
show can be just as silly as it ever
was. Though it has flaws — and it
has regularly been flawed through
its entire run — those flaws can be
forgiven when a show is as different
and hysterical as “Community.” It’s
not meant for the casual fans, but
if the episodes keep up in quality,
hardcore fans will be watching the
show for as long as its characters
are stuck at Greendale.
B+
Community
Season 6
Premiere
Yahoo Screen
New episodes
released every
Tuesday
Rap and the cross-
cultural experience
By REGAN DETWILER
For The Daily
I’m the last person you
would guess that listens to rap.
Though I respect it as an art
form and am amazed by the tal-
ent of musicians such as The
Notorious B.I.G, Lauryn Hill,
Jay Z and Drake, I’ve just never
been into it. As an former ballet
dancer and eager British alter-
native-pop listener, it’s almost
comical to imagine my some-
times high-strung, neurotic self
attempting to dance to some-
thing like Kendrick Lamar’s
good kid, m.A.A.d city.
Another thing: I’m a middle
class white girl who grew up
in a Midwestern suburb that
was 89.6 percent white in 2010.
The first time I even started
hearing any real rap — rap that
wasn’t just featured in a pop
song — was at high school par-
ties, where I would see other
privileged white teenagers nod-
ding their heads and rapping
along. At these parties I would
observe my peers and con-
sciously listen. I would listen
to the lyrics behind the heavy
beats and the often cacopho-
nous syllables spewing from
the rappers’ mouths. What I
heard were anthems of life in
the streets, of gang violence and
innocence lost to institutional-
ized racism that plagues our
society. What I saw were my
white peers nodding along as if
they understood.
It seemed to me like my peers
only listened to rap in order
to adopt some sort of image,
to exude an attitude of cool,
of detached understanding of
what’s really going on. But the
lyrics
told
heart-wrenching
stories of tragedy – of hurt, of
oppression, of death, of cop-
ing. And these traumas are the
harms inflicted largely upon
members of the Black popula-
tion in America and elsewhere,
not of the stereotypical, afflu-
ent white kid.
Along
with
my
apparent
inability to dance like a normal
person, it was this element of
rap in the context of my identity
and my listening environment
that made me feel uncomfort-
able nodding and swaying to
the beat. How could I pretend
to empathize with such heavy
damages?
The root of my discomfort is
that I felt like I couldn’t justifi-
ably enjoy the music if I didn’t
fully understand the cultural
background of the musician,
especially as a member of the
group
that
has
historically
oppressed the people who iden-
tify with this culture.
I started throwing this idea
around with friends, one of
whom challenged me in a way
that sort of eliminated the issue
of race. This friend identifies
with rap because she grew up in
a very rural area whose inhab-
itants have a generally lower
socioeconomic status, resulting
in hardships similar to those
referenced in a lot of rap lyrics.
Although she’s white and the
area she grew up in is predomi-
nantly white, other elements
of her life allow her to deeply
empathize with the true mean-
ings of the music.
The recent release of Ken-
drick
Lamar’s
new
album
To Pimp A Butterfly is what
sparked this introspection into
my own disconnect with rap.
Having read a book about ado-
lescents in the drug exchange of
Detroit in Anthro 101 and now
taking a linguistic anthropol-
ogy class called Language and
Discrimination, I felt like I had
a new understanding of the
Black community’s experiences
in places like Compton, where
Lamar is from, when I listened
to the album.
After listening to it, I started
reading some articles about the
artist and his latest release. In a
piece from the New York Times,
Kendrick says, “You take a kid
out of Compton, and he has to
meet these different types of
people that are not black,” ref-
erencing the sense of obligation
he feels to communicate with
his ever-expanding fan base.
Though
his
fan
base
is
increasingly diverse and he
does seem to feel an obligation
to communicate with popula-
tions that aren’t Black, Kendrick
emphasizes in this article that
he isn’t creating music for the
purpose of commercial success.
If anything, both the sound and
lyrics of To Pimp A Butterfly are
more dense than in his previous
releases, “daring fans to invest
in close readings” instead of
selling out. He’s forcing his
broad fan base to confront the
issues that are at the heart of
mainstream rap, regardless of
listeners’ backgrounds.
All of the things I’m men-
tioning seem to raise the same
question: Is it possible to enjoy
music without understanding
the cultural background and
empathizing with the emotion-
al experiences of the musician?
This question, however, has the
underlying
assumption
that
affluent white kids listening to
rap, who make up a substan-
tial portion of Lamar’s follow-
ers, aren’t understanding or
empathizing with what they’re
listening to. Though this may
seem like the case on the out-
side, it may not be entirely true.
What led me to this conclu-
sion is another one of Lamar’s
quotes from the same article.
“This is me pouring out my soul
on the record,” he said. “You’re
gonna feel it because you too
have pain. It might not be like
mine, but you’re gonna feel it.”
That’s what converted me.
With race relations in the Unit-
ed States being one of the most
prominent issues within com-
munities, politics, the media
and elsewhere, it’s understand-
able for someone like me to feel
like they don’t “have the right”
to enjoy rap. But music in gen-
eral is about the human experi-
ence — the joys and hardships
we face and the emotions
we feel resulting from these
things. While it’s absolutely
imperative to recognize and
honor the cultural and histori-
cal background of music, lis-
tening to rap doesn’t have to be
solely about race; it can also be
about the shared experience of
being human.
Now, I listen to Kendrick
Lamar’s album with a new-
found sense of pleasure. My
pain is not the same as his,
but I can still feel the soul he’s
poured into it.
TOP DAWG
I’ll pimp your butterfly.
My pain is not
the same as his,
but I can still
feel his soul.
WOULD YOU INVITE
MADONNA TO THE
WHITE HOUSE?
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