Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Welcomed at the
door
6 “Shame on you!”
9 German trick-
taking card game
13 St. Teresa’s town
14 Use as a source
15 Egg on
16 Shade lighter
than jade
18 Reckless act
instigator
19 Witty Bombeck
20 Euros replaced
them
21 Buffoons
22 Target Field, e.g.
24 Nowhere near
cool
26 N.L. mascot
whose head is a
large baseball
28 Cracks up
31 Finnish
telecommunica-
tions company
34 Lindsay of
“Freaky Friday”
(2003)
36 Bud’s partner
37 Exclude from the
list
38 Shrewd ... and a
phonetic hint to
this puzzle’s four
longest answers
39 Creatures of
habit?
40 Like Mars,
visually
41 Storybook
elephant
42 Sneaks a look
43 Points of view
45 Sleeping giant
47 Actors memorize
them
49 Riddle-ending
question
53 Chew out
55 “Now it makes
sense”
57 One-named
supermodel
58 __ Scotia
59 London co-
creator of the
International
Plant Names
Index
61 Meryl’s “it’s
Complicated”
co-star
62 Chevy
subcompact
63 Pasta tubes
64 Skip a turn
65 Headed up
66 Infuriated with
DOWN
1 Sushi bar brews
2 Prevent
3 Bedrock wife
4 Words starting a
confession
5 Lawmaker’s
rejection
6 22-Across level
7 Energetic mount
8 He’s a doll
9 Numbers game
10 Super-strong
adhesive brand
11 Soil-related prefix
12 Pro shop bagful
14 Forensics facility
17 Feeling blue
21 Cereal
component
23 Nest egg letters
25 Big name in
facial scrubs
27 Forum robes
29 Traffic alert
30 Puzzle (out)
31 Screenwriter
Ephron
32 It may be a bad
sign
33 Extreme care
35 “Fasten your
seatbelts”
38 Violin protector
39 “Swell
suggestion!”
41 Calisthenics
movement
42 After-school org.
44 Shrubs with
lavender blooms
46 Perlman of
“Cheers”
48 Colander cousin
50 Change, as a
motion
51 Old Testament
food
52 Illustrator’s
close-up
53 Easy-peasy task
54 Picnic soft drink
56 Neighbor of Nor.
59 __ Kan pet
foods
60 Tach reading
By C.C. Burnikel
©2016 Tribune Content Agency, LLC
11/09/16
11/09/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Wednesday, November 9, 2016
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
ATTRACTIVE WOMEN
For Victoria’s type lingerie photography.
Great $! For interviews call the studio
734‑369‑5300 or email photos to
crimsonapplesstudios@gmail.com
! 2 RENTALS LEFT ‑ BEST DEAL !
! NORTH CAMPUS 1‑2 Bdrm. !
! Riverfront/Heat/Water/Parking. !
! www.HRPAA.com !
CARLSONPROPERTIES
.COM
734‑332‑6000
ARBOR PROPERTIES
Award‑Winning Rentals in Kerrytown,
Central Campus, Old West Side,
Burns Park. Now Renting for 2017.
734‑649‑8637. www.arborprops.com
FALL 2017 HOUSES
# Beds Location Rent
7 1129 White St $4900
6 418 N. State $4440
6 1119 S. Forest $4050
5 910 Greenwood $3900
5 1016 S. Forest $5250
5 1024 Packard $3625
4 827 Brookwood $2900
FOR RENT
HELP WANTED
O
n October 27, Twitter
announced that they
would be discontinuing
one of its most popular and
universal
apps:
Vine.
While
the
company
said
that they will keep
existing Vine videos
for archival purposes,
users will no longer
be able to create six-
second looped clips.
For those who don’t
use Vine or are not
particularly familiar
with the app, this
may not be relevant
news at all. But for
those who do use it,
the death of Vine is an immense
tragedy.
Since
that
fateful
announcement, Vine users have
been mourning the loss of the app.
To commemorate Vine’s legacy,
popular Viners, such as chloe lmao
(920.4k followers) have, generated
specialized remakes of the Vines
that made them viral. They’re also
changing their usernames to their
Instagram and Twitter accounts,
hoping that their followers will
continue to interact with them,
post-Vine mortem. Other popular
Viners, like leathershirts (311.3k
followers),
GETTER
(396k
followers) and J. Cyrus (1.5 million
followers) showcased their sense
of dread for Vine’s ending with
comically dark clips. Users have
also created mini montages of
viral Vines and reposted old viral
Vines for nostalgia’s sake.
It’s strange and sad to think
that an app that has given so much
joy to so many people will soon
be gone. But what was it about
Vine that made it so special? Was
it having the ability to produce
memes at a remarkably rapid
pace? Or was it the physical and
virtual community it formed
among the app’s active content
creators?
Despite all of its flaws and
detractors,
Vine
possesses
a
myriad of wonderful qualities.
During its first month of activity
in January 2013, BBC News
called Vine “mesmerizing” and
a “bewildering carousel of six-
second slices of ordinary life rolls
past.” But since then, the app has
become a triumphant achievement
in online creativity, encouraging
tech-savvy millennials to go out
and make their own content on
their mobile devices.
The app’s hook of recording
something under six seconds
may have been daunting at first,
but the six-second limit ended
up cultivating a plethora of
videos that were a combination
of surreal, hilarious, iconic and
singular. With the right music,
editing,
setting,
acting
and
timing, Vine could
make anything seem
possible.
Users would mash
up pop music with
infamous
scenes
from TV and film,
incorporate
hip
hop into awkward
situations
and
synchronized dance
routines, capture cool
moments
in
slow-
motion and poke fun
at current dance trends. Vine also
created its own vernacular that
would bewilder any baby boomer
or Gen-Xer, producing phrases
like “A potato flew around my
room,” “Suh dude,” “Do you gotta
bae or nah?” “Do it for the Vine”
and “Eyebrows on fleek.”
Like its video counterpart
YouTube and its parent company
Twitter,
Vine
provided
a
landscape
for
today’s
youth
to integrate pop culture with
comedy, shed light on national
issues through relatable content
and
—
most
importantly
—
connect with one another through
an online, globalized community,
all within six seconds.
In addition to all that, Vine
was a major source in making
talented (and even untalented)
people famous. Andrew “King
Bach”
Bachelor
(16.2
million
followers) was one of the first
Viners who gained an enormous
amount of popularity. Most of his
Vines, which garnered thousands
of likes and revines, were filled
with racially tinged humor and
funny catchphrases like “But
that backflip tho.” Though he
is currently the most followed
person on Vine, Bachelor is now
an established online personality,
having taken his Vine fame and
put it to good use on Instagram,
YouTube and even film and TV.
He starred in the Wayan Brothers
parody film “Fifty Shades of
Black” last January and had a
guest spot in Joe Swanberg’s
Netflix anthology series “Easy.”
Even if Bachelor and his
other Vine compadres may not
be everyone’s cup of tea — they
mostly perpetuated and satirized
racial stereotypes in their Vines
— it still goes to show how much
power Vine obtained as a tool for
stardom.
Previously
unknown
musicians Bobby Shmurda and
Shawn Mendes received record
deals after Vines of their work
(Shmurda’s “Hot N****a” and
Mendes’ renditions of pop jingles)
became viral. Songs that already
existed, such as OG Maco’s “U
Guessed It,” Chedda Da Connect’s
“Flicka Da Wrist” and T-Wayne’s
“Nasty Freestyle,” also became
well-known after Vine users
popularized them. Essentially,
Vine
recognized
voices
that
would have otherwise not been
seen or heard by social media
users, paving the way for artists to
express their creative selves.
Vine also encouraged people
to infuse the medium with social
commentary.
For
example,
the app became a huge part
of documenting the Ferguson
protests in 2014. Recorded Vines
of the protests helped catalyze a
national conversation on police
brutality after police shot and
killed Michael Brown. Had Vine
not existed or reached the peak
of its popularity at that time,
Ferguson’s
social
significance
would have been much more
diluted.
Why, then, has Twitter decided
to take away Vine from its loyal
followers? The reasons given
for Vine’s demise are varied,
including a decline in the app’s
popularity and changes in the
company’s goals. But perhaps
the main reason could be that
Viners have outgrown Vine. Most
of the app’s bad aspects involve
vapid imitators who aggressively
replicate trends in a deceptively
simple and unoriginal way. Users
also tend to make Vines that
require a minimal amount of
work. This pertains specifically to
condensed Vines that use scenes
from TV shows and movies with
the addition of a few visual or
audio changes for comic effect.
Sometimes, they would make for
clever Vines, but mostly they fail
to capture what made Vine so
good in the first place.
Regardless
of
its
defects,
though, Vine will be forever
missed. It gave our generation an
accessible, short-form platform
of entertainment, a place to
joke around and express our
individuality through the ever-
growing medium of social media.
Until Twitter announces the app’s
official death date, at least we can
continue to watch and laugh at
our favorite Vines loop endlessly
until there’s nothing left to fill the
existential void of reality.
Rosenberg is doing it for the
Vine. If you want him to stop,
email samjrose@umich.edu
SOCIAL MEDIA COLUMN
Abrupt end of social media app makes for a bitter goodbye
A eulogy for Vine
SAM
ROSENBERG
Fashion, with its air of magic
and
enchantment,
has
long
fashioned
fairy
godmothers
of its own — Coco Chanel and
Miuccia Prada in particular
come to mind. But Christian
Dior,
equally
iconic
and
unforgettable,
stands
one
of
fashion’s
greatest
fairy
godfathers.
In 2014, the Tribeca Film
Festival
released
Frederic
Tcheng’s
(“Diana
Vreeland:
The
Eye
Has
to
Travel”)
documentary “Dior and I” to
illustrate the continuation of
Christian Dior’s legacy through
the eyes of new creative director
Raf Simons. The film is mostly
in French but utilizes English
subtitling.
The opening presents the tall,
intimate and quintessentially
French character of Christian
Dior,
followed
by
the
less
abstract, charming and shy
figure of Raf Simons. Simons
and his team face the priceless
privilege and daunting pressure
of carrying out Dior’s particular
brand of craft, to create a
breathtaking collection in mere
weeks.
Faced with every imaginable
obstacle in the business, the
team faces crippling challenges
but triumphs by the skin of their
teeth. The show goes underway
and
achieves
overwhelming
success, especially in harkening
back to days of classic haute
couture.
Tcheng gives his viewers
an exclusive look into the
mechanics of bringing such
art to life, only hinted at in the
layers of tulle and hand stitching
floating down the runway. Each
of the team members has their
own snippet of the film, a chance
to comment on their own role
in the process while running
around to finish the day’s work.
But the chaos, stress, and
scramble of putting together
the
modern
collection
are
juxtaposed by shadowy intervals
of Dior’s history. Women dressed
in vintage Dior framed in black
and white cinematography swirl
to Christian Dior’s soft, alluring
voice.
The film does two things
admirably.
Primarily,
almost akin to the feeling of
desperate hope inspired by an
inspirational sports movie, the
audience is breathlessly rooting
for Simon, and his team to win
the metaphorical trophy of high
fashion approval. While they
pray to the spirit of Christian
Dior, the audience is praying for
the flustered seamstresses and
the nearly faint Simons.
Secondly, the film resurrects
the
word
“sublime.”
Every
stroke
of
genius,
fortunate
moment or execution of another
piece is marked by someone’s
proclamation of “sublime!”(in
a perfect French accent, of
course) making us wonder why
anyone ever stopped saying that
word.
The film reminds us why we
find ourselves so fascinated by
fashion. “Dior and I” bestows
a glimpse into the raw vision
that is molded by blood, sweat
and tears in order to make true
couture. And more than any
sports team, the house of Dior’s
teamwork behind the scenes
was
unparalleled
and
awe-
inspiring. Much like the work it
displays, the film is sublime in
its portraiture and reminds us
why Dior will continue to mark
the pages of Vogue for years to
come.
SARAH AGNONE
For the Daily
Fashion’s fairy godfather: A stylish
retrospective on ‘Dior and I’ doc
An inside look at Raf Simons, one of France’s most iconic ateliers
STYLE NOTEBOOK
NETFLIX
Look at alllllll that #content.
“XOXO,” a film set at an
electronic dance music festival,
tells the story å six strangers
who float in and out of each
other’s music fest
experiences.
Just
like an EDM fest in
real life, there are
too many flashing
neon
lights,
too
many people doing
too many drugs and
an aggressively bro-
ey crowd. But to say
there is a real plot
or character development would
certainly be an overstatement.
Most suprisingly, “XOXO” is
one of the recent productions put
out by Netflix as original content.
For the most part, Netflix has
put out middling to high quality
original content ranging from
likes of Tallulah” to “Beasts of
No Nation”. Recently, however,
there seems to have been a
lowering of the bar as exemplified
by “Crouching Tiger, Hidden
Dragon: Sword of Destiny,” “The
Ridiculous 6” and most recently,
the underwhelming “XOXO.”
In the film, Ethan (Graham
Parker, “The Good Wife”) has
recently had his new single,
featuring vocals from his mom,
go viral on YouTube. His best
friend and manager, Tariq (Brett
DelBuono, “Let Me In”), books
him a spot at XOXO, a music
festival that spans less than 12
hours. From there on out the
movie primarily consists of EDM
intercut with shots of women’s
cleavage. That’s about it. Ethan
has trouble getting into the
festival because his manager
hasn’t made proper arrangements
for him. Tariq gets held up
working at his father’s restaurant.
But when Tariq finally arrives at
the festival, he ends up making
out with a scantily
clad
woman
who he finds out
had acid on her
tongue.
Many
more
shots
of
characters kissing
women
wearing
few
articles
of
clothing and ass
shots follow. The
movie indulges the viewer in the
excess of EDM culture without he
or she having to attend an actual
event.
“XOXO” is voyeuristic in how
it looks at the EDM subculture.
Screenwriter
and
director
Christopher
Louie
(“Lucky”)
doesn’t leave much room for
critical thought or exploration
of the culture it presents. This is
not to say that people shouldn’t
be able to act, dress and party the
way they want to, but rather that
the way it should be presented
in a film is a critical and artistic
choice. “XOXO” reduces other
aspects of EDM culture and
affirms that there is only one
acceptable
behavior.
When
Kyrstal (Sarah Hyland, “Modern
Family”) is getting ready for the
festival, she puts on an outfit but
is told by her friends that it isn’t
sexy and revealing enough. She
succumbs to peer pressure and
changes. Although there is an
obvious questioning by Krystal,
the movie ultimately presents
peer pressure as acceptable.
At another point in the film, a
group of “bros” want to beat up
a character, but are convinced by
a tripping Tariq that they need
to be happy and loving and all
end up dancing together. There
are clear attempts to show the
misinformed actions of certain
characters, but no character
is developed enough to lend
the feeling that they learned
something and their behavior
will permanently changed. The
troubling thing is it seems Netflix
is OK with putting out this kind
of low-quality content.
There is no doubt that movies
like this have long been made
and will continue to be made.
There will always be a place for
B-grade movies, and there should
be. They can be fun, entertaining
and enjoyable in a way that more
serious works simply can’t be.
Using tropes and stereotypes
that people have seen so much
they know them by heart is part
of the fun of the B-movie, yet it
doesn’t seem that Netflix should
be the company producing and
distributing movies of this sort.
The
company
should
more
carefully choose the original
movies it puts out and think about
how they reflect the company.
The Netflix banner at one point
denoted a show or a movie you
could expect to be good, but now
this doesn’t seem to be the case.
Netflix shouldn’t demean itself
or its audience by producing
movies like “XOXO” that only
use stereotypical characters and
erotic images to engage their
audience.
‘XOXO’ sets Netflix back
JOE WAGNER
Daily Arts Writer
Netflix’s latest original film a dismal showing for platform
D
“XOXO”
Now Streaming
Netflix
FILM REVIEW
6A — Wednesday, November 9, 2016
Arts
The Michigan Daily — michigandaily.com