The Michigan Daily — michigandaily.com
Arts
Monday, November 23, 2015 — 5A

Classifieds

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

ACROSS
1 Popeye’s
nemesis
6 Electrolux, briefly
9 Nos. on beach
lotion labels
13 Pachelbel
composition
14 Tel Aviv’s
country: Abbr.
15 Opera highlight
16 Small thicket
17 Online
matchmaker
19 “Look before 
you __”
21 School course
with slides
22 =
25 Lawyer’s charge
26 Carry with effort
27 Partner of hither
28 For the lady
29 Inlaid designs
32 Apple music
players
34 “U Can’t Touch
This” rapper
36 Web destinations
38 Worded
42 They’re usually
divided into
scenes
43 Wisecracking
West
44 MLB’s Indians,
on scoreboards
45 __ Vegas
46 Looked ready to
fight
50 Obscure from
view, as in an
eclipse
52 Continually
53 See 42-Down
55 Vacant
58 San __: Riviera
resort
59 Ambient music
pioneer Brian
60 Bete __
61 Tijuana three
62 Athletic center
63 Pig’s sniffer

DOWN
1 Secretly keep in
the email loop,
for short
2 Philosopher __-
tzu

3 Disconnects from
the outlet
4 Where sailors go
5 Ryan or Tatum
6 Compete
7 Hearth
receptacle
8 Online guy with a
list
9 O.T. prophet
10 Reviewed for
errors
11 Piano players?
12 Make a proposer
smile
18 Director Howard
20 Gives a pep talk,
with “up”
22 Stately tree
23 Status __
24 Slugger Sammy
28 Bar mitzvah
dance
30 Bill totals: Abbr.
31 Cocktail rocks
32 Announcement
upon arrival
33 For each
35 Movie-rating org.
36 Like large
reptiles,
compared to
smaller ones

37 “My treat”
39 Many a
November birth,
to astrologers
40 Helper for Santa
41 Dict. entry
42 With 53-Across,
physics Nobelist
who devised the
formula that
begins 17-, 22-,
34- and 46-
Across

43 Problem on the
Caine
46 Drunkard
47 Captain of the
Caine
48 Coin toss call
49 Exorcism target
51 General __
chicken
54 __ de plume
56 Capote
nickname
57 To this point

By Clement McKay
©2015 Tribune Content Agency, LLC
11/23/15

11/23/15

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Monday, November 23, 2015

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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Odesza not stopping 
rise anytime soon

CONCERT REVIEW

By REGAN DETWILER

Daily Arts Writer

With some people in full fairy 

costume, with light-up capes, 
glowing sunglasses and multi-
colored luminescent balloons 
floating through the crowd, most 
were there to rave, emphatically 
bouncing with every vibration of 
the ubiquitous bass.

Odesza, made up of Harrison 

Mills (previously CatacombKid) 
and Clayton Knight (Beaches-
Beaches), has only been playing 
together since 2012. Yet there we 
were Friday night at the Detroit 
Masonic Temple in a jam-
packed, sold-out theater where 
every person knew every song. 
The show was insane — a sonic, 
visual and tactile trip.

In a phone interview with 

The Michigan Daily before the 
show, Mills described Odesza’s 
show last year opening for GRIZ 
at Masonic as “one of the hyp-
est shows we’ve ever played.” 
Emphasizing the possibilities 
the Masonic’s stage offered for 
visuals, Mills said he couldn’t 
imagine what playing a head-
line show there would be like — 
well, it was incredible.

Like I said, only a year ago 

Odesza opened for GRIZ, but 
if the two were to play a show 
together now it might be the 
other way around.

“To a lot of people it’s really 

fast climbing, but it’s kind of felt 
like a slow progression to me,” 
Mills said. “Especially in the 
last year it’s been a rapid rise.”

That seems fair to say, see-

ing as just a few months ago the 
only song my alternative music 
friends and I knew was their 
most popular “Say My Name,” 
which is now only one of many 
tracks people would be able to 
reel off. Their wide-ranging 
fan base has to be one of the 
main reasons for such a surge in 
popularity. Odesza has been, for 
me, an offshoot of several art-
ists on the edge of more main-
stream EDM genres: minimal 
techno like Nicolas Jaar, synth-
folk like Bibio or more serene-
upbeat French electronica like 
Mome or Petit Biscuit.

But the crowd on Friday 

in Detroit was not there for a 
serenely introspective jam sesh. 
They were there to party. This 
taught me something about 
shows: you take the wildest 
subset of an artist’s fan base, 
and that will make up the vast 
majority of the crowd. I prob-
ably should have known that 
from the time I got knocked 
around by some moshing met-
alheads at the Smashing Pump-
kins a couple years ago, but hey, 
nobody’s perfect.

Warming up the crowd was 

Jai Wolf, who generally had a 
pretty mellow stage presence 
but played some good mixes 
of CHVRCHES’s “Mother We 
Share” and Drake’s “Hotline 
Bling,” then finished with his 
own dreamy “Indian Summer.” 
After Jai Wolf was Rufus du Sol, 
an Australian trio more focused 
on vocals than either Jai Wolf or 
Odesza, but who really made the 
audience move.

Everyone went crazy when 

Odesza came onstage. Both 
Mills and Knight had their own 
controllers and drums, some-
times bringing up a guitarist, a 
trombone and a trumpet player. 
But the coolest part of the set 
was the combination of sounds, 

lights and animation that was 
playing 
on 
the 
five-paneled 

screen behind the artists.

The visuals ranged from gold-

painted women to this really 
cool dyed red and blue vapor (or 
something), but the sweetest one 
was this anime compilation that 
lasted for a few mixes, includ-
ing their older “IPlayYouListen” 
and the newer “Kusanagi.” This 
makes sense, since Kusanagi is 
the name of the main charac-
ter in the acclaimed 1995 anime 
Ghost in the Shell.

The highlight of the show, 

though, was “Say My Name,” 
which involved an explosion 
of lights and confetti pouring 
from the ceiling. The crowd was 
ecstatic, and that just showed 
how focused on the crowd 
Odesza was. They thanked us 
several times throughout the 
night for being there and being 
excited. Positivity and grati-
tude were definitely a focus for 
the duo through the past couple 
years touring and making new 
music, according to Mills.

“It’s 
always 
still 
positive, 

which I think helped us so 
much,” he said. “It’s really felt 
like opportunities are ahead of 
us.” It doesn’t seem like their rise 
is going to let up any time soon. 

ZACH MOORE/Daily

Odesza performs at the Masonic Temple last Friday.
Subtle ‘Spotlight’ 
trusts its viewers

Film documenting 
pedophilia scandal 
unfolds gradually

By JAMIE BIRCOLL

Senior Arts Editor

In nearly every shot that takes 

place outdoors in “Spotlight,” 
the camera captures a church. 
Sometimes a character points it 
out, noting, for 
example, 
its 

proximity 
to 

a playground. 
In 
others, 

the 
camera 

lingers 
on 
a 

steeple 
and, 

in others still, 
a 
tower 
sits 

unassumingly, 
blending 
in 

amongst 
the 

modern architecture.

The city of Boston has a 

small-town feel, possessing a 
deep connection to its history, 
and so rooted with it a deep 
connection to religion; from 
its founding, Boston has been a 
Christian city. And somewhere 
along 
the 
way, 
when 
the 

institution 
of 
the 
Catholic 

Church became ingrained into 
the fabric of the city itself and in 
the hearts of the predominantly 
Catholic 
populace, 
religion 

seemed to forsake morality to 
maintain that institution.

“Spotlight” is the true story 

of The Boston Globe’s Spotlight 

investigative 
team 
as 
they 

exposed the decades-long mass 
cover-up of the Church’s blind 
eye to priests who had molested 
children. 
Like 
its 
subject, 

the 
film 
unfolds 
gradually, 

creeping along ever closer to its 
conclusion. Since the narrative 
itself is fairly well known (the 
story won a Pulitzer Prize in 
2003 after it was published in 
January 2002), its dramatic 
turns stem not from sudden 
twists but from the careful 
revelation of new information — 
the “eureka” moments that link 
seemingly disparate threads.

The film relies primarily 

on its narrative and actors to 
carry the audience through 
this tale. There is no complex 
cinematography to catch the eye 
— shots instead are, with few 
exceptions, fairly stationary. 
The only truly “cinematic” 
moment in “Spotlight” comes 
with the slow zoom out of the 
camera as the team talks on 
the phone with a priest-turned-
psychotherapist as he discusses 
the seemingly endemic issue 
of child molestation in the 
Catholic church; that zoom out 
parallels the team’s realization 
of the scope of the matter at 
hand. 
“Spotlight” 
concerns 

itself with, like its subjects, 
revealing the information in a 

direct, uncomplicated manner. 
Like any good reporter, it wants 
to nail the story, make it stick 
and let the public decide how to 
process that information.

“Spotlight” then could be 

best described as understated; it 
does not idolize its protagonists, 
nor does it necessarily vilify (to 
the extent expected, at least) 
its antagonists. It presents its 
characters as human beings, 
each of whom possess some 
sort of flaw, whether it’s an 
excessive commitment to work 
or the inadvertent perpetuation 
of the corrupt system. Multiple 
characters utter phrases like 
“I was just doing my job” and 
“It didn’t seem plausible at the 
time,” 
which 
maybe 
serves 

as 
a 
psychological 
defense 

mechanism 
for 
those 
even 

tangentially involved, but also 
simply 
highlights 
the 
very 

human quality of stumbling — to 
err is human, after all. 

The 
actors 
maintain 
this 

realism superbly. Rather than 
approach his or her character 
with 
the 
intent 
of 
reaping 

Oscar gold, each actor finds 
the character’s need to balance 
the emotions of such a highly 
controversial 
and 
significant 

story with the dutiful necessity 
of completing the task. These 
main 
characters, 
journalists 

and lawyers mostly, recognize 
that they serve the public, not 
themselves 
and 
the 
broken 

system.

Of the Spotlight team, Mark 

Ruffalo (“The Avengers: Age of 
Ultron”) stands out the most, 
if only because he speaks the 
one charged monologue about 
the obligation of publishing the 
story immediately for the sake 
of any victims. But Michael 
Keaton (“Birdman”) and Rachel 
McAdams (“Southpaw”) both 
inject nuance and care into 
their roles as equally as Ruffalo 
does into his. Liev Schreiber 
(“Pawn Sacrifice”), as the new 
editor of The Globe, and Stanley 
Tucci (“The Hunger Games: 
Mockingjay – Part 2”), as a 
frazzled lawyer looking to finally 
bring abuse victims’ cases to 
the public, embrace the quirk 
of their characters, portraying 
them as somewhat off-putting 
but also endearing. It cannot 
be overstated just how finely 
attuned each of these actors are 
to their roles; it’s so refreshing to 
watch an ensemble piece where 
the whole is greater than the sum 
of its parts.

Comparisons 
to 
“All 
the 

President’s Men” are inevitable, 
and certainly not misguided, 
though “Spotlight” is far less 
political than the former. Both 
films focus on the day-to-day, 
the unfolding of a story as it 
slowly generates steam until the 
wheels spin fast enough that it 
ultimately writes itself. It doesn’t 
always run smoothly — leads 
get lost, more pertinent matters 
arise (9/11 occurred as the 
story just started to pick up for 
Spotlight). And, in each, the job 
never ends — both films’ closing 
shots suggest the real work has 
only just begun. The characters 
identify and open the floodgates, 
but it’s in realizing, accepting and 

fixing the fallout from the deluge 
that poses the real challenge.

But in depicting just how 

those floodgates do get opened, 
the film poses some very taught 
questions. Tucci’s character, in 
talking with Ruffalo, points out 
that the two men exploring the 
scandal, himself and the new 
Globe editor, are Armenian and 
Jewish, respectively, and that 
this is not a coincidence. Time 
and routine inevitably lead to 
complacency, and complacency 
leads to blindness. It takes some-
one outside the system, like a 
journalist or sometimes a film-
maker, to dig where others feel 
is hallowed ground, or point the 
camera where we fear to look 
— and sometimes that means 
reminding us of just how badly 
we messed up. “Spotlight,” in 
this sense, is a modern, real-
life fable that reminds us how 
far we’ve come, but cautions us 
to avoid complacency. The real 
work, after all, has only just 
begun.

A-

Spotlight

Open Road 
Films

State Theatre, 

Rave and 

Quality 16

OPEN ROAD FILMS

“You get that new Norah Jones? It’s fire.”

No sudden 

twists.

