ACROSS
1 Suggests, with “of”
7 Cashbox feature
11 Wagner’s “__
Rheingold”
14 Uses Blue Apron,
say
15 Baseball family
name
16 Space bar
neighbor
17 “Epic fail!”
20 Lady Gaga’s “__
It Happens to
You”
21 Presidential
nickname
22 Makeup remover
23 Put out
25 Like some cheddar
28 “Ghostbusters”
actor
30 Shanghai-born
ex-NBA center
31 German : Kopf ::
French : __
32 Does really well
34 U.S. intelligence
org.
36 “I don’t believe a
word!” ... or, the
truth about this
puzzle’s circles
42 Deborah’s “The
King and I”
co-star
43 Clearly presented
45 Removed
49 Nation SE of
Cyprus
51 Item on a chain,
perhaps
52 Electrical backup
supplies
55 One may be
broken
56 Afghanistan’s
national airline
57 Northwest
Passage explorer
59 Word with hole or
holder
60 Two of the three
founders of the
Distilleria
Nazionale di
Spirito di Vino
64 Bridge action
65 Brown family
shade
66 “I’m on board”
67 Década division
68 Food buyers’
concerns
69 Scary flier
DOWN
1 English hunters
2 Polynesian catch
3 Unable to
increase
4 Mo. hours
5 Christchurch
native
6 Common animal
kingdom tattoo
subject
7 Bowler, e.g.
8 Cakes go-with
9 In a way, in a way
10 One unlikely to
experiment
11 Uses a
22-Across on,
as tears
12 Come-hither
quality
13 Dear
18 Hot
19 “__ serious?”
24 Pantry stack
26 Picks a fight
(with)
27 Civil rights icon
Parks
29 Red __
33 Calculating
35 Chip shot path
37 Ripsnorter
38 Bit of Christmas
morning detritus
39 Thickening agent
40 Flip
41 Goes around
44 SEC powerhouse,
familiarly
45 Runner’s woe
46 Shag, e.g.
47 Part of Q.E.D.
48 Like some court
motions
50 “Feel the __”:
2016 campaign
slogan
52 Iconic Rio
carnival
activity
53 Like
54 Nasser’s
successor
58 Physics units
61 Fight cause
62 Mozart’s
birthplace, now:
Abbr.
63 Natural
resource
By Jeffrey Wechsler
©2017 Tribune Content Agency, LLC
02/03/17
02/03/17
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Friday, February 3, 2017
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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6 — Friday, February 3, 2017
Arts
The Michigan Daily — michigandaily.com
For most regular, moderately
funny folk — depending on where
you situate yourself on the spectrum
— everyday things are either tucked
away as memories or simply seen
and forgotten (perhaps for the more
conscientious bunch
out there, they are
recorded in a diary).
But for some, like
clever-minded
comedian
Steven
Wright, the day’s
monotony presents
a different kind of
opportunity.
“Whenever
anyone wakes up
in
the
morning
until they go to
sleep at night, thousands of pieces
of information go past them, and
some of those pieces can be moved
around into jokes,” Wright said. “I
just get jokes from noticing things.”
Wright, who has been cracking
people up on stage for over three
decades, is most known for his
signature
deadpan,
monotone
delivery,
which
almost
seems
to border on indifference. The
unexpectedness of a tightly packed
punch line — in the midst of a blank
face and lethargic demeanor with
the added flair of a Boston accent —
has kept the crowd on the edge of
their seats through the years.
“I didn’t really think about it until
someone wrote an article about me
in the Boston paper after I’d been
doing comedy for about two years,”
Wright said about his well-known
comic style. “That’s the first time I
saw the word ‘monotone.’ No one
ever said that to me personally in
my whole life, then I read that, and
it has just followed me my whole
career.”
Being a comedian was something
Wright
had
long
aspired to be and
continued to pursue
as an undergraduate
liberal arts student.
“It
was
my
dream, it was my
goal and my life to
be
a
comedian,”
he said. “So, a year
after I graduated at
college in Boston, a
club opened up, and
as soon as I knew
it was there, I started going to the
open mic nights.”
After three years performing
at Ding Ho’s Comedy Club and
Chinese Restaurant in Cambridge,
Wright was booked for his first
“Tonight
Show”
appearance.
Producing such a roar from the
audience, he was invited back the
following week.
“It was surreal. Of all the things
I’ve done in my career, that’s still
my favorite,” Wright said of his
debut, “going on that show that
first time.”
In addition to standup, Wright
went on to star in multiple films
and TV shows. He earned himself
a Grammy nomination in 1985 for
his debut album, I Have a Pony.
The sequel, I Still Have a Pony,
was also nominated in 2007. Since
2014, Wright has been a producer,
director and guest star of the
FX series, Louie, whom Wright
describes as “brilliant.”
Despite his many detours from
the stage, including doing the
animated voice for the upcoming
animated film, “Emoji,” standup
remains Wright’s passion and forte.
“To be in a scene is good, but it
doesn’t have that edge of danger,”
Wright said. “You can do it again
and again there’s no one really
looking at you. But on stage, all
that energy you get from the crowd
makes it dangerous and exciting.”
Despite drifting askew from the
spotlight of stardom, which Wright
once occupied, he continues to act
as a legacy and hall-of-famer for
comedians and the public alike,
making frequent appearances on
the stage. For Wright’s performance
this weekend, audiences can expect
“eighty minutes of surrealism — a
weird hour.”
Wright didn’t hesitate to
impart some of his own career
wisdom:
“You
never
know
what’s gonna happen — don’t be
afraid and don’t stop yourself
from
at
least
attempting
whatever
thing
comes
into
your head,” Wright shared. “If
it works it works, if it doesn’t it
doesn’t. At least you tried.”
Wright will bring this fearless
attitude with his comedy to the
stage this Saturday.
GRACE HAMILTON
Daily Arts Wrtier
Steven Wright
Royal Oak Theatre
(18+ event)
Saturday, February
4th @ 8 P.M.
Tickets available
online
COURTESY OF STEVEN WRIGHT
Wright to visit Royal Oak
300 ENTERTAINMENT
Migos’ sound defines 2017
Culture, in singular. Anti-
establishment
skaters,
dads
from
the
Bronx,
fraternity
stoners
and
mall-shoppers
who just really
like
memes.
From the overly
active
Twitter-
users
in
Vans
Sk8 Lows, to that Dale from
Accounting who is actually a
huge Public Enemy fan — we’re
all The Culture.
Every now and then there is
an event that grabs all of “our”
attention: a cultural singularity
of sorts that matters to anyone
who matters. A few months ago
it felt like we were all listening
in one room when Frank Ocean
finally released Blonde; before
that, Kanye West had us all
legitimately considering the
merits of a Tidal account.
Regardless of our personal
denominations and sects, we,
The Culture, collectively tune
in to select artifacts that will
be debated in the barber shops
of our time. Hate it or love it,
you’ll at least listen.
Migos, the familial Atlanta
trio
comprised
of
Quavo,
Takeoff and Offset, have had
their
thumbprints
all
over
the sphere of popular culture
worldwide.
Though
they’ve
only managed fleeting moments
of crossover success between
YRN and now, it remains
undisputed that they’re largely
responsible for popularizing
the sound of “now.” As Coke
has become synonymous with
all off-brand, inferior sodas,
Migos now-iconic triplet flow
has
become
the
automatic
association of your favorite
struggling rapper.
Constantly
teetering
between the perils of Troy Ave
and the consistent hit-making
of Future, Migos seems to have
ascended to greater cultural
significance
without
ever
really changing what they’ve
been doing for the past four
years. They’ve survived the
fatal Drake remix, witnessed
blatant
flow-thievery,
and
probably couldn’t care less.
With the eyes of the world (and
more
importantly,
Twitter)
watching, Migos’ latest effort,
Culture, is their most polished
and accessible project to date.
At 13 tracks and 59 minutes in
length, every last detail feels
deliberate.
Like a red carpet event, the
album inevitably kicks off
with the obligatory DJ Khaled
feature.
Though
his
mere
presence
“Culture”
is
the
audio equivalent of hearing
“Attention Walmart shoppers”
in the club, it legitimizes
the fact that Migos have
embedded
themselves
into
a position of longevity. The
feature typically reserved for
blockbuster events is more of
a trophy than anything else.
It’s the victory lap before the
race has even started; it’s an
announcement that “Culture
album coming soon,” on the
intro of the Culture album
while
playing
the
Culture
album. They will no doubt go
on to be preserved in the great
pantheon of artists who have
shared
a
studio
with DJ Khaled,
which
will
dubiously exclude
the likes of The
Beatles, etc.
The
album
doesn’t really kick into life until
after the formalities; “T-Shirt,”
like all Migos songs, is an
exercise in timing and humor,
but brings with it an unusually
pensive edge. Finishing each
other’s sentences and often
entire
verses,
they
deviate
from their triplet staple in
favor of a more staccato and
stop-start flow. Takeoff plays
as the undercover MVP with
an
absolutely
showstopping
verse, ghosting out screaming
“country
grammar,
n*****,
straight out Nawf Atlanta !!!!”
“Call
Casting”
feels
like
a more traditional return to
their
Southern
roots,
with
Zaxby’s
references
and
an
organ so crisp you can almost
hear the Pyrex boiling in
the kitchen. The production
is
particularly
interesting
because most of their Southern
musical references have been
explicitly
rapped,
whereas
here they shoutout the likes of
Andy Milonakis on a beat that
wouldn’t be out of place on a
UGK project.
The momentum builds to an
inevitable peak in the form of
“Bad and Boujee.” This has got
to be the best four-track stretch
of their entire discography
so far, stemming back to that
run on YRN from “Versace”
to “Hanna Montanna.” The
album seems to have taken note
from the Cheef Keef model,
kicking the door in with a
relentless barrage of heaters
— the difference here being
that quality control has limited
them from overflowing with
another 22-track tape.
Earlier this month at the
Golden Globes, Donald Glover
took the stage to accept his
award for Best TV Comedy,
somehow finding a way to
thank the Migos for making
this song along the way. The
memes alone have cemented
it in the history books, and
even that damn Lil Uzi verse
already sounds iconic. We get
it, “Fight Night” and “Versace”
were big, but this is massive.
This is bigger than basement
parties and blunt cruises; this
song bangs in Nigeria. The last
time we saw a single propel a
rap album to such ridiculous
heights
was
probably
Lil
Wayne’s “A Milli” in 2008.
Gucci Mane provides the
only
blessing
that
matters
in Atlanta with a feature on
“Slippery”, weaving in and out
of the beat without even having
to try to mimic the Migos. It’s
not a classic Gucci appearance
by any means, but he brings
with him an air of authority — a
stamp of approval that only he
can offer.
The album closes with “Out
Yo Way,” which is a fittingly
uncharacteristic Migos outro
for an album unlike anything
else they’ve ever released. It
borrows twinges of tropical
synths from “Pick Up The
Phone,” which featured Quavo
and fellow album appearance-
maker
Travis
Scott.
They
alternate between sing-song
rapping
about
cocaine
and
appreciating
women
within
the same verse, reminiscing
on
days
when
they
was
“trappin, cappin’ all through
the hallway.” Though Culture
is unique in its brevity and
newfound
position
in
the
limelight, it remains as absurd
as anything Migos have ever
released.
The main takeaway from
Culture is that Migos have
added
an
edge
to
their
creative process, transcending
what
once
prevented
uncompromising
mixtape-
talents like DMX and Lil B from
crossing over — a transition
we’ve seen in the past few years
with
fellow
Atlanta-native
Young
Thug,
who
recently
released
similarly
polished
projects in Slime Season 3 and
Jeffery.
It’s not so much that the
Atlanta music scene is being
gentrified for the palette of a
larger (and whiter) audience,
but
rather
that
the
most
senior figures on the scene are
maturing and further refining
their releases. This is a city
which still claims Lil Yachty
and Rich The Kid. Atlanta is
still Atlanta — Migos have
simply claimed the biggest
house on the hill. In the words
of DJ Khaled, Culture is the
soundtrack to “repping the
culture from the streets,” but
it’s novelty lies in the fact that
“Nawfside” Atlanta actually
is what Western youth culture
looks and sounds like in 2017.
If you’re not with it, then
congratulations,
you
played
yourself.
SHAYAN SHAFII
Daily Arts Writer
Culture
Migos
300 Entertainment
Every now and
then there is
an event that
grabs all of
“our” attention:
a cultural
singularity of
sorts that matters
to anyone who
matters
INTERESTED IN WRITING FOR ARTS?
WANT TO CULTURALLY ENRICH
YOURSELF?
Email us at arts@michigandaily.com for an application. Any questions or concerns?
Don’t hesitate to reach out?
COMMUNITY CULTURE PREVIEW
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