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.