Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Victorian
5 Like much 67-
Down
10 Bay of Bengal
setting
14 Extinct pigeon
relative
15 First name in
puppetry
16 __ jar: lab glass
17 Hold banned in
amateur
wrestling
19 Take one’s leave
20 Make sure of
21 Stretched to the
max
23 Reggae cousin
24 Premier League
athlete
28 Apply gently
31 CBS-owned
cable sta.
32 Pond gunk
33 Prefix with
footprint
34 Pulls down
37 Winter pick-me-
up?
40 Innocents
44 Mite-sized
45 “Tut-tut!”
46 Actress Tyler
47 Important
stretches
50 Beef cut
51 Maple syrup
source
52 Influential teams
57 Louisville Slugger
wood
58 Comfy footwear
59 Jewish scholar
63 Swindle
65 April golf
tournament, four
of whose winners
appear in 17-,
24-, 40- and 52-
Across
68 Movie plantation
69 Sea-born jewelry
material
70 “Right now!”
71 Song and dance
72 Urgency
73 Snoopy
DOWN
1 Sharable digital
docs
2 Libertine
3 Onetime Palin
collaborator
4 Feathers one’s
nest, in a way
5 Full of: Suff.
6 Gp. with Sharks
and Penguins
7 Decorator’s asset
8 Cheering like
crazy
9 Hangers in
lockers?
10 Justice Fortas
11 Figures in 9-
Down
12 “Very nice!”
13 A proposal may
ultimately lead to
one
18 Lasso loops
22 Dr. Mom’s forte
25 Spiced tea
brewed in milk
26 Toe woes
27 Mustang, for one
28 Chapter 11 factor
29 Berry in faddish
supplements
30 Star of a classic
sitcom set at a
Vermont inn
35 Imprecise degree
36 Like provolone
piccante
38 1998 Sarah
McLachlan ballad
39 Initial request for
an answer?
41 Brontë heroine
42 German actor
Jannings
43 Some outdoor
grills
48 Slot machine part
49 __ tape
52 Macaroni Grill
selection
53 Acting honor
54 Golfer Lorena
55 AOLers, e.g.
56 “Paradise Lost”
figure
60 Spanish smooch
61 Lingerie catalog
buys
62 Car trip game
64 Some advanced
degs.
66 Floor pad
67 Part of IPA
By D. Scott Nichols and C.C. Burnikel
©2015 Tribune Content Agency, LLC
04/08/15
04/08/15
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Wednesday, April 8, 2015
Los Angeles Times Daily Crossword Puzzle
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6 — Wednesday, April 8, 2015
Arts
The Michigan Daily — michigandaily.com
Toro y Moi bores
on latest release
New direction on
‘What For?’ is a
wrong turn
By YARDAIN AMRON
Daily Arts Writer
Before his third album Any-
thing in Return garnered the
critical praise
it did, before it
even dropped
Chaz Bundick,
Toro
y
Moi,
said
—
with
the
certainty
of one David
Foster Wallace
on
taking
a
cruise — that writing the album
was fun, but he would never do
it again.
“I’ve seen artists turn into
characters, and I don’t want to
become the ‘pop music guy,’ ”
Bundick once said in an inter-
view
with
Pitchfork.
“Pop
music is awesome, but I like to
keep changing it up … I’m not
worried about repeating myself
— I’m more worried that I’d just
get bored.”
Sagacious words from the
then-26-year-old. Boredom is a
universal human fear no doubt.
But unlike us common folk who
cope with boredom’s chains
via Facebook and Caribbean
cruises, Bundick seems to have
figured out how to evade the
affliction altogether, at least
musically … well, at least until
now.
A brief tour: Listening to
Bundick’s four records chrono-
logically is a testament to an
artist who detests pigeons and
dreads holes, and refuses to
play in the neat genre boxes
us critics create. The dreamy
slink of his 2010 debut Causers
of This — considered founda-
tional to the rise of chillwave
— was followed starkly a year
later by the velvety funk of
Underneath the Pines, which
proved Bundick could compose
for more than a laptop. Then,
in 2013, he released the weirdly
danceable and unclassifiable
Anything in Return, which Ian
Cohen described on Pitchfork
as a composite of everywhere
Bundick had taken Toro y Moi
to date.
“So there’s silky R&B, roll-
er-rink pop, bubblegum funk,
tasteful chillout music, all uni-
fied by a voice that’s grown
more confident with time,”
Cohen wrote.
What
For?
is
Bundick’s
sharpest departure from every-
thing Toro y Moi has been,
and his disappointing attempt
at a throwback ’70s pop radio
record. The album opens to the
zoom of racecars on a track,
speeds through ten songs in
barely 36 minutes, and never
really slows down to catch its
breath. When the music stopped
after my first listen-through, I
kept waiting for it to start again,
hoping Bundick had included a
hidden track or something. It’s
hard to believe this is the same
guy who’s credited as a founder
of chillwave.
My main bone with the
album is its lack of a defin-
ing moment. Even the singles,
“Buffalo” and “Empty Nest-
ers,” which have Bundick’s new
band at its best, aren’t really
memorable. And for all the time
Bundick spent trying to write
catchy melodies, there’s no song
on the album truly tempting
to return to, no refrain to stick
in our heads, no groove that
makes us want to dance, no real
surprises. The album naturally
fades to the background and
doesn’t demand my attention.
In a word, What For? is boring.
Call it hipsterness or what
you like, but the Bundick aes-
thetic is appealing — he once
told Rookie Magazine he likes
White Vans, hiking, mid-cen-
tury Danish furniture, Weezer,
The Blue Album by Weezer and
rock documentaries, in that
order. And while the beachy
guitars and traditional fills on
What For? fit the ’70s aesthet-
ic Bundick is aiming for, the
album is missing the weirdness
and awkwardness that made
Toro y Moi so great in the past.
Bundick may have been so con-
cerned with escaping his own
boredom, that he actually ended
up writing a boring album.
CARPARK
Not pictured: Moi.
Grace Helbig moves
to the small screen
By KAREN HUA
Daily TV/New Media Editor
From “What’s up, fuckers?” to
“I don’t know,” Grace Helbig has
become the queen of multi-media
since her earli-
est
YouTube
days eight years
ago. Now, she is
the New York
Times
best-
selling writer of
a self-help book
for millennials,
“Grace’s Guide:
The Art of Pre-
tending to Be a
Grown-up;” she
has a top-rated
audio-video
podcast, “Not too Deep;” she is
the one-woman production team
for It’s Grace, her YouTube chan-
nel with over 2 million subscrib-
ers. She has experimented with
new media, film, improvisational
and stand-up comedy, screen-
writing – and now, television.
“The Internet’s awkward older
sister” took her quirky sense of
humor to the small screen, where
she has her own talk show on the
E! network, where she is now
the only woman on late-night
television since Chelsea Handler
stepped down. Helbig describes
it
as
a
“curious
introvert’s
nighttime talk show #notsexual.”
She has always predicted that
the
Internet
and
television
will eventually enter a happy
marriage, while still retaining
their independent identities –
and her show now merges the
two in “a beautiful sandwich.”
“The Grace Helbig Show” should
be the epitome of everything
Grace herself is – a preservation,
yet magnification of her idiotic-
idiosyncratic personality.
The show is set in a Los Ange-
les home akin to Grace’s real resi-
dence where she shoots her web
videos. Unlike all other late-night
shows, her decision to not use a
live audience reflects her Inter-
net-introversion, or as she puts
it, “TGI-Fuck going out, we’re
staying in where we’re safe from
physical and emotional dangers.”
Though her lack of a live audi-
ence may seem to create greater
distance between herself and her
viewers, she uses social media
instead as a virtual connec-
tion to her audience. What new
media (and especially vlogging)
is all about is creating a realistic,
though virtual, sense of reality
and acquaintanceship, which she
emulates in her new TV show.
Grace chooses not to alienate
herself as a “celebrity” with fans.
Rather, her show emits a homey
vibe more like a Friday night
hang-out among best friends.
With late-night shows like Seth
Meyers or Jimmy Fallon, even at
their live tapings, the audience
feels more aloof than ever before.
Grace begins the show with a
“Let’s Browse” segment where
she covers the week’s pop culture
news – attempting to talk sports
and all things relatable in her
typical frenetic fashion, where
she does not try to hide her lack of
true knowledge about the topics.
Even when interviewing celebri-
ties, she strives to learn about the
mundane quirks that draw them
closer to us, instead of promoting
their fame to isolate them even
further from viewers.
Unlike other late-night talk
shows that attempt to create seam-
lessness, trying to hide their tele-
prompters and crew members,
“The Grace Helbig Show” is very
conscious of itself. As Grace stated
in an interview with USA Today,
“There’s no trying to hide that
there’s a crew involved. I (want) the
fourth wall to be destroyed. I want
the audience to feel like they’re on
set; they know the director, they
know the camera guy, they know
the boom operator’s favorite type
of deodorant.” On YouTube, Grace
is a one-woman production team
– directing, writing, starring and
editing all of her own content with
complete control. However, even
though she now must work with
a creative team, the show is still
inherently so Grace. Grace typi-
cally improvises all of her content
in her web videos – and though she
may be following a slightly more
structured script on her show, she
still manages to seem like her free-
form, spontaneous self. In her You-
Tube videos, much of her humor
comes from her editing style, and
the show follows suit with erratic
jump cuts and purposely hyper-
dramatic sound effects.
On YouTube, Grace is famous
for her hilarious “collabs” with
other YouTubers – and her show is
merely an extension of the natural
chemistry and brilliant comedic
timing she exudes. As her first
guest, she brought Aisha Tyler,
who is nowhere near any type of
A-list, but still a talented, highly-
respected
actress-comedienne.
Even though they spoke about
Tyler’s podcast and work, their
conversation was far more casual
and personal, never falling into
the sort of free advertisement most
late-night shows often provide
for guests. Grace later introduces
another YouTube personality like
herself, the German DJ, Flula,
whom she enlists to create an
eccentric theme song for her show.
During his segment, they even
leave the usual set to shoot in his
car – a refreshing change of scen-
ery from the stagnant couch space
usual talk shows stick to. It also is
especially exciting to see a guest
list of underrated celebrities in an
amalgam with new media stars.
Unfortunately, though the show
tries very hard to preserve Grace
just the way she is, because she
is on television for a much wider
audience, she is not able to fully
be her awkward, unrestrained,
uncensored self by dropping an
“eat shit” at any random moment.
The semi-scripted nature of the
show becomes more apparent
when she interviews her real-life
best friend and fellow YouTu-
ber, Mamrie Hart, host of “You
Deserve a Drink.” There is a subtle,
yet slightly uncomfortable sense
of tension as they work through
clearly rehearsed segments of
prepared information to laugh on
cue. Especially during their seg-
ment “Deal,” when they watch
YouTube videos together as they
normally would on a live Friday
night YouTube livestream, it’s
hard to believe or imagine them
preparing themselves to laugh at
content they have already seen and
prepared. For the small screen,
Grace is forced to become, in part,
someone poised and trained for
the camera – a persona that highly
contradicts her usual discombobu-
lated personality.
On YouTube, we love Grace
because she isn’t grace-ful; she
wears the same groutfit for a week
in a row without showering, yet
she still produces hilarious content
that makes us hurl in laughter. We
feel comfortable curling up with
her while we stay in on a Friday
night in our pajamas because she
is always on social media, tweet-
ing that she is doing the same.
But now, because we have a look
behind the scenes, we see that a
three-woman team dolls her up
in lavish garments and jewelry
far more expensive than the items
she vlogs about buying on sale at
Forever 21. Her hair and make-
up are too perfect for the Grace
we know to care about. If the
purpose of the show is to stay in
with her on a Friday night like
she says, viewers wouldn’t feel
as “at home” in her “house” as
they would with the Grace they
do know. Who looks that good at
home with their best friends?
Finally, Grace signs off her first
episode with a compilation video
of clips her viewers have created
– just another way she incorpo-
rates the audience so well. While
Grace’s foremost aims are to
maintain her own creative style
over all else, she still wishes to
work with her viewers, from
their suggestions for set décor
to guest lists and even content
ideas. As she told Entertainment
Weekly in an interview, “That’s
kind of what social media is for
— it’s a two-way conversation. I
would be doing myself a disser-
vice if I didn’t continue that con-
versation with (the viewers).”
Television and new media
are always looking to expand in
unprecedented directions, and
for the sake of being slightly more
revolutionary, at least Grace is
trying something new even if it’s
not perfect. Just as Grace signs
off all her YouTube videos with
her tagline, “I don’t know,” she
doesn’t know exactly what her
show will become, but she aims
to bring her audience along as lab
assistants. Just as she has experi-
mented with a variety of media
in her rise to recognition in Hol-
lywood, she has a beautiful free-
dom to just experiment with this
cross-hybrid of mediums on her
new show.
After all, her sole goal is
just to “make something that
doesn’t suck.” And for her high
aspirations, that is exactly why
we love Grace.
TV REVIEW
A-
The Grace
Helbig
Show
Series
Premiere
Fridays at
10:30 p.m.
E!
B
What For?
Toro y Moi
Carpark
E!
“But who did naming Grace Hedwig?”
ALBUM REVIEW