Classifieds

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

ACROSS
1 Hershey’s toffee
bar
5 Res __ loquitur:
the thing speaks
for itself
9 Online shopping
mecca
14 Chip in a chip
15 Seasonal song
16 Hunky-dory
17 Start of a knitting
project
18 Prefix with space
19 Dry Italian wine
20 Tailpipe emission
23 Hot state
24 Beatty/Hoffman
box office flop
28 Tug-of-war
injuries
32 Former fillies
34 Ready for a refill
35 Freelancer’s email
attachment: Abbr.
36 Glider on runners
37 Flowing garments
38 Sonar signal
39 Word in a bride’s
bio
40 Went a-courting
41 Two-time US
Open winner
42 Hair-smoothing
hairs
45 Library machine
46 “__ the Walrus”
47 Shellfish
cookouts
54 Medicare
prescription drug
section
57 Pre-coll.
58 Brandy bottle
letters
59 Prospero’s
servant
60 Highest sudoku
digit
61 Hip bones
62 Free, in France
63 Armoire feature
64 Counting-out
word

DOWN
1 Cyber Monday
event
2 Fort with lots of
bars

3 “Then again,” in
tweets
4 Fixed
5 “Be right with
you”
6 Pound, but not
ounce
7 Medieval laborer
8 Six-time All-Star
Moises
9 Slips past
10 __ pork:
Chinese dish
served with
pancakes
11 Letters often
after a perp’s
name
12 Loo
13 Corrosive
substance
21 “Exodus” author
22 Money makers
25 Warbles
26 Musical set in an
orphanage
27 Replies to an
invite, for short
28 Make available
29 “__ coffee?”
30 Louvre Pyramid
architect
31 Pages with views

32 Rachel Maddow’s
network
33 Final Olds made
37 Charming
snake?
38 2007 animated
film in which Sting
voices himself
40 Coax
41 Big chunk
43 Many a
bridesmaid

44 Less cluttered
48 Shift 
(for oneself)
49 Hodgepodge
50 “How awful!”
51 Cruise stop
52 Pork choice
53 Do a vet’s job
54 Chum
55 NPR journalist
Shapiro
56 Bone in a cage

By Gail Grabowski and Bruce Venzke
©2016 Tribune Content Agency, LLC
09/14/16

09/14/16

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Wednesday, September 14, 2016

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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6A — Wednesday, September 14, 2016
Arts
The Michigan Daily — michigandaily.com

By SAM ROSENBERG

Daily Social Media Columnist
W

e live in an age 
where 
originality 

is gradually dying 

out. From superhero blockbuster 
movies to Top 40 pop music to 
network sitcoms, almost every 
medium relies on a formula and 
it’s becoming more apparent every 
day. Though certain works have 
tweaked their respective formulas 
in new and exciting ways, there 
are some that can’t help but be 
processed and standardized into 
the same product with a subtly 
different appeal. What’s even 
more appalling is how people 
who use these formulas are able 
to accrue social currency and 
monetary value by simply copying 
off of more talented and lesser-
known artists.

This pattern of copycatting 

other 
people 
is 
especially 

evident on social media outlets 
like Instagram, where popular 
users 
like 
@TheFatJewish 

(8.9m followers) and @fuckjerry 
(9.7m followers) are known for 
reposting funny memes that have 
originally appeared on Tumblr, 
Reddit, Imgur and Twitter. They 
may credit the original creators, 
but the way @TheFatJewish, @
fuckjerry and similar accounts 
capitalize 
on 
other 
people’s 

creativity feels somewhat greedy 
and even downright immoral.

@TheFatJewish, 
@

fuckjerry 
and 
other 
copycat 

Instagrammers — @miinute (80k 
followers), 
@thefunnyintrovert 

(237k 
followers) 
and 
@

americadoingthings 
(81.9k 

followers) 
— 
have 
managed 

to make a lucrative lifestyle 
for 
themselves, 
simply 
by 

re-captioning a picture to make it 
seem as though they’ve changed 
it to fit their own personality. 
In particular, @TheFatJewish, 
whose 
real 
name 
is 
Josh 

Ostrovsky, has become a massive 
success due to his immensely 
popular 
Instagram 
account. 

Currently raking in six figures, @
TheFatJewish signed with CAA 

in 2015 and also helped launch 
White Girl Rosé, a wine targeted 
to his millennial audience. @
fuckjerry, also known as Elliot 
Tebele, has also made a paramount 
empire 
for 
himself, 
having 

founded his own agency titled 
Jerry Media. He is set to make $1.5 
million to 3 million in revenue over 
the next 12 months, according to a 
Forbes interview in April. Tebele 
has also branched out, creating 
other 
meme-filled 
accounts, 

including a Kanye parody account 
(@kanyedoingthings, 
919k 

followers) and a daily pizza picture 
blog (@pizza, 455k followers), and 
a fashion meme Instagram (@
beigecardigan, 2.5m followers).

Both of their successes are 

definitely admirable, considering 
how they know exactly how to 
market 
themselves. 
However, 

that doesn’t excuse the fact that 
both 
@TheFatJewish 
and 
@

fuckjerry make careers out of 
stealing 
intellectual 
property 

from other people for the sake of 
entertaining avid Instagram users 
and subsequently grossing lots 
of money. @TheFatJewish has 
especially attracted controversy 
from other artists and comedians 
for stealing jokes and ideas, 
provoking the ire of Timothy 
Simons, 
Patton 
Oswalt 
and 

Kumail Nanjiani. And while @
fuckjerry has attempted to expand 
on his social media enterprise, 
he continues to capitalize on 
providing 
“funny, 
relatable” 

content that already exists on other 
platforms and attempts to fit his 
own spritz of a joke in the caption 
to make it seem more “authentic.” 
 
 
 
 
 
 
 
 
 

To me, it seems rather unfair 

for people to dilute posts, made by 
others who actually put in effort, 
to make a buck. Twitter accounts 
like tina (@tinatbh, 777k followers) 
and Common White Girl (@
girlposts, 6.44m followers) also 
share similar copycat approaches, 
generating a massive amount of 
followers from reposting funny 
videos and memes that are clearly 
from different sources. On a more 
psychological level, online copycat 
culture also reinforces the idea 

that in order to be funny or make 
money, you as a millennial should 
take advantage of social media 
and copy other people as well. 
Do people not see the plagiaristic 
façade behind these accounts? Is 
anything even original anymore? 
Does God exist? The answers to 
these questions are uncertain.

Granted, for those wanting to 

succeed, it is really hard to make 
your own individual voice stand 
out from a crowd of like-minded 
people. This is probably why it’s 
much easier to use other people’s 
work as a means of not only 
generating content, but attracting 
a bigger audience. Heck, I’ll even 
admit that in high school, I used 
to copy funny Tumblr posts and 
pass them off as my own Facebook 
statuses without crediting the 
original creator. I loved getting 
likes from people, but I didn’t 
know then what I know now 
about the morals of intellectual 
property. As a social media user, 
the most effective way to honestly 
portray your ideas and thoughts is 
through your own voice. It’s OK 
to be inspired and influenced by 
other artists and yes, sometimes 
using borrowing (and crediting) 
the work of another person can 
help articulate your idea for an 
essay or article more clearly. But if 
you want to make a genuine living, 
please don’t try and steal someone 
else’s work and pass it off as your 
own. Simultaneously, even if you 
credit other people for using their 
work, it still doesn’t justify taking 
advantage of them and making 
gargantuan amounts of money. 
Sure, you might be able to score 
an interview with Katie Couric 
like TheFatJewish or create your 
own meme-based board game 
called “What Do You Meme?” like 
fuckjerry. But to quote from a cool 
Pinterest post I saw, “Create a life 
that feels good on the inside, not 
one that just looks good on the 
outside.”

Rosenberg is The Daily’s new 

Social Media Columnist. Email 

him at samjrose@umich.edu.

SOCIAL MEDIA COLUMN

The soul-sucking pit 

of capitalism

‘Bird’ is zany progress

By SHAYAN SHAFII

Daily Arts Writer

If you do the same thing long 

enough, eventually something will 
stick. Hip hop 
is 
constantly 

changing, 
but 

that 
can 
be 

mostly 
attrib-

uted to new and 
unique 
artists 

bursting 
onto 

the scene year 
after year, rath-
er than estab-
lished stalwarts 
reinventing 
themselves album after album. 
Popular rap music is a revolving 
door; last year’s Bobby Shmurda 
was this year’s Fetty Wap, who has 
already been eclipsed by the unfor-
gettable Desiigner. Travis Scott is 
the guy who stands on the other 
side of that door, taking photos 
with rappers as they enter while 
covering his face and talking about 
“vibes.” It’s been a couple of years, 
and now he’s just “that guy.” It’s 
finally stuck.

Birds in the Trap Sing McKnight 

is a continuation of what Travis 
has always done; it’s like he just 
changed clothes and invented a 
new gang sign. He’ll never be as 
influential or memorable as any 
of the rappers he poses with, but 
that’s fine. Maybe “the culture” 
needs an annual aggregator in the 
form of a “Travis Scott Album” — a 
summary of the year’s most excit-
ing entrants and sonic trends.

Much like how Kanye West has 

made a living out of orchestrat-
ing unlikely collaborations (think: 
Chief Keef with Justin Vernon) 
to make music greater than the 
sum of its parts, Travis tailors 
the red carpet for each of his 
album’s guests. In a way, it’s actu-
ally remarkable how he coordi-

nates appearances from Kendrick 
Lamar and Andre 3000 to make a 
project that doesn’t feel like a DJ 
Khaled album. Yet, like Khaled, 
Travis Scott is more brand than 
man. The album credits just fuel 
his status as the shape-shifting kid 
with cool friends.

Even the title — Birds in the Trap 

Sing McKnight — feels fit for some 
sort of luxury-trap motion pic-
ture. It conjures imagery of doves 
pouring out of an Atlanta kitchen 
window while Curtis Snow cooks 
crack in a Pyrex pot. It has noth-
ing to do with his music, message, 
fans, whatever, but it sounds as 
cool as he wants it to be.

To focus too much on the con-

text of a Travis Scott album would 
be reductive in nature, though. At 
the end of the day, it’s 54 minutes 
of actual music. I can’t tell you to 
like or dislike it. If you only listen 
to music because it sounds cool 
on Xanax, I guess you’ll like this 
album. Executive-produced and 
mixed by Houston legend Mike 
Dean, Birds features some of the 
most lush production this year, 
ensuring that the project will at 
least rest easy on the ears.

“Coordinate” lurches under a 

synth melody from TM88, with 
a hook that’s guaranteed to fea-
ture on every fit-pic caption this 
year: “Coordinate the Xan with 
the lean in my rockstar skinnies”. 
The track feels mostly inspired by 
Metro Boomin’s record-breaking 
run through Summer 2015, and 
Xanax too.

“Way Back” features classic 

GOOD Music ad-libs and Swizz 
Beatz vocal samples while lift-
ing a synth melody straight from 
MadeinTYO’s 
“Uber 
Every-

where.” Travis juxtaposes nostal-
gia for Dark Twisted Fantasy-era 
West with newer and more dis-
posable SoundCloud-rap, which is 
actually a creative palette unique 

to him. Swizz’s voice echoes and 
reverberates off the walls of Tra-
vis’s imaginary trap; neon-haired 
friends nod in enjoyment.

“Through the Late Night” is 

a song about staying up late, at 
night, while your parents sleep 
down the hall. Kid Cudi finally 
collaborates 
with 
his 
surro-

gate child, humming for most of 
his verse before rapping about 
dimethyltryptamine and “effer-
vescent vibes.” Paying homage, 
Travis actually interpolates lyrics 
from Cudi’s 2009 smash hit “Day 
‘N’ Night,” another song about not 
sleeping.

The album’s standout track, 

“Goosebumps,” has shades of 
“Antidote” — Travis’s most suc-
cessful pop crossover attempt thus 
far. The Cardo and Yung Exclu-
sive beat is reminiscent of the 
atmospheric tones that character-
ized Kendrick Lamar’s untitled 
unmastered., but with Travis’s 
knack for earworm melodies and 
textures layered on top. Kendrick 
himself makes an appearance and 
drops the best verse of the entire 
album, alternating flows like he’s 
trying to dodge the beat. He moves 
to a steep falsetto after mirroring 
the melody of the hook, stuttering 
and stopping to catch his breath 
but moving again before you can 
even catch a glimpse.

All in all, the new Travis Scott 

album sounds nice. The beats are 
cool. No one will complain if you 
play this at a party. Your friends 
might admit it could have been 
better “lyrically” and recom-
mend you check out Rodeo, where 
Travis really lays down his “life 
story” or something. If you’re into 
stuff like being outside, at night, 
while wearing vintage band tees, I 
recommend you check out the hot 
new Travis Scott album Birds in 
the Trap Sing McKnight, in stores 
now. Xans sold separately.

EPIC

Too spooky.

ALBUM REVIEW

B-

Birds in the 
Trap Sing 
McKnight

Travis Scott

Epic

TV REVIEW
‘Mississippi’ explores 
grief on a spectrum 

By DANIELLE YACOBSON

Daily Arts Writer

Watching “One Mississippi” 

feels like laughing at a funeral. 
The Amazon original, justly 
advertised as 
a dark com-
edy, 
falls 

somewhere 
between hav-
ing a fantastic 
sense of humor 
and being seri-
ously messed-
up. 
As 
the 

show explores 
weighty themes — death, loss, 
illness — a bitter hilarity levi-
tates the grief, just like that 
inappropriate smile that loves to 
wickedly curl during a sad story.

Inspired by comedian Tig 

Notaro’s (“In A World”) life, 
the series follows a version of 
Tig as she returns to her home-
town in Mississippi after her 
mother’s sudden death. As she 
copes, heavily relying on sar-
casm and deadpan jabs, she is 
forced to face her own mortality 
in the aftermath of her recent 
cancer treatments. While her 
twisted humor can often read 
as apathetic, perhaps it’s Nota-
ro’s aloofness that makes “One 
Mississippi” so endearing. It’s 
almost as if Tig is learning to 
walk all over again, taking her 
first steps in a world that is com-

pletely unfamiliar.

Grief has many faces; it can 

be cold and hot, loud and quiet, 
sometimes 
even 
completely 

silent. “One Mississippi” deli-
cately illustrates a spectrum of 
mourning through the strained 
relationship forced between Tig 
and her stepfather, Bill (John 
Rothman, “Ghostbusters”). Bill, 
a serious and reserved man, is 
completely removed from the 
humor that Tig uses to cope with 
tragedy. Riddled with obses-
sive-compulsive-tendencies, 
he actively distances himself 
from sentiment. Yet, however 
absent he seems at the begin-
ning, the series meticulously 
chips away at his cold exterior to 
reveal a genuine care for Tig. In 
“Effects,” the second of the six 
episodes released on Amazon 
Prime, Bill’s rigorous internet 
search for treatments of Tig’s C 
Diff (a bacterial disruption of the 
colon) leads to the episode’s gut-
wrenching punchline: a fecal 
transplant. The joke seems juve-
nile and uncomfortable, which 
is perhaps what makes laughing 
irresistible. But despite the slew 
of poop jokes that Tig doesn’t 
hesitate to share, Bill offers to be 
the fecal donor without hesita-
tion. Maybe that’s what family is 
all about?

While comedy is often used 

to take a break from the sad-
ness, the series employs a beau-

tiful artistry in its treatment of 
tragedy. The script isn’t packed 
with dialogue or soul-searching 
monologues on the meaning of 
life and death. Instead, pain and 
sadness are best articulated in 
just a few, well-selected words. 
On the night before the funeral, 
Tig’s girlfriend, Brooke (Casey 
Wilson, “Happy Endings”), tells 
her that tomorrow is a big day. 
“Every day is now a small day,” 
Tig replies.

As she retraces her steps 

throughout her hometown, Tig 
remembers her mother, Caroline 
(Rya Khilstedt, “Home Alone 
3”) in a series of flashbacks. 
Dressed in vibrant florals with 
a metallic snake coiled around 
her forearm, Caroline ironically 
breathes life into “One Missis-
sippi.” Memories of her are filled 
with laughter and spunk, char-
acteristics that are devoid in the 
shattered family she left behind. 
She is the source of happiness 
which, by itself, is laced bitter-
sweet.

While at times the acting 

feels stilted and the characters 
detached from their surround-
ings, the series is relatable 
to anyone who needs a little 
laughter to ease the pain. The 
soundtrack is riddled with the 
same irony, as Tig cues “One of 
Us is Dead” by The Earlies. It’s 
delicate and sarcastic; funny, yet 
unthinkably tragic.

B

One 
Mississippi

Now Streaming

Amazon Prime

