Mount Hood

“Turning the Tide” on college admissions

By: Katrina Penaflor 
Managing Editor

The expectation levels for college admissions varies across the field. Typically, schools take a balance of GPA, SAT or ACT scores, and an accumulation of extracurricular activities.

In a recent New York Times article, OP-ED writer Frank Bruni addressed a study titled “Turning the Tide,” which discussed the flaws in the college admission process, primarily at the Ivy-League level. He went on to say how a university’s expectations and approval process may not benefit students at every income level.

Western’s application process, in comparison to non-Ivy-League or private universities, is primarily standard, meaning that when a student applies, Western takes into account their transcript, SAT or ACT scores, and a completed application.

SAT and ACT scores are not required for the WOU admissions process if the universities GPA requirement of 2.75 is met, but they are beneficial for scholarship purposes.

Like Western, “a growing number of colleges have made the SAT or ACT optional,” said Bruni in his article.

“Some of those alterations would simultaneously level the playing field for kids applying to college from less advantaged backgrounds,” said Bruni, who continued to point out the correlation between household income and standardized test scores.

An additional point “Turning the Tide” made was the negative effects college admissions have on high school students.

Not only can they cause a heavy workload with additional Advanced Placement (A.P.) courses—which are not available in all high schools—and extracurricular activities, but the pressure of becoming an ideal candidate can bring increased anxiety.

“Poorer high schools aren’t as likely to offer A.P. courses, and a heavy load of them is often cited as a culprit in sleep deprivation, anxiety and depression among students at richer schools,” said Bruni.

Western has tried to combat the stressful application process by heading directly to high schools and having students apply in an environment familiar to them.

“Something that we do to make it more convenient, and reduce that stress and make it more WOU focused, is we do instant Wolf onsite,” said Luanne Carrillo, admissions counselor and multicultural recruitment coordinator.

This means the university will work with the students’ counselors and faculty to ensure the necessary paperwork is acquired and the students only worry about their application and application fee.

This provides the opportunity for any questions about the processes to be directly answered and students will receive an admissions decision the same day.

Possible changes or reassessments can even go back to what is acceptable on a high school level.

Carrillo suggests, “looking back at the high school concept and saying ‘should you all still offer D’s?’ because D’s are not passing for a university.”

As “Turning the Tide” suggests, finding well-rounded students goes beyond the number of club activities and SAT scores. It is a university’s job to see how their admissions requirements can shape the behavior of potential students, and if that is happening in a positive or negative fashion.

Sing Hallelujah for the Old Machine

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By: Darien Campo 
Staff Writer

Three Blind Wolves is a three-piece indie rock band that hails from Glasgow, Scotland. Though they’ve not been active long, they have quickly proven themselves to be a stellar group that is well worth listening to. Their unique sound, self-described as “folk-tinged psychedelic blues-rock,” is brought to life in their first full-length album “Sing Hallelujah for the Old Machine.”

Released in 2013 under Scottish indie label Instinctive Raccoon, “Sing Hallelujah for the Old Machine” is a piece brimming with a tremendous amount of power and emotion.

The tracks are a fantastic blend of driving guitar rock, backed by a complex orchestra of instruments. Mandolins, slide guitars, and horns fill out the sound on this album, bringing a very country/folk feel to the music. Almost like The Decemberists meets Arcade Fire.

Listeners are served with a wide array of arrangements on “Sing Hallelujah.” From songs like “Parade,” which pound the crunching guitar and hit us with a rousing chorus, to songs like “When the Garden Gets Near,” which features no more than Ross Clark and his acoustic guitar. And even with the diversity in dynamics, all of the songs seem equally compelling.

The album spans 11 tracks of raw humanity, poured out into your headphones. We’ve all listened to sad music, but you’ve probably never heard it sung like Ross Clark.

Clark’s vocals soar from soft whispers, mumbled into the microphone, all the way to roaring screams of power. Clark’s lyrics weave a gorgeous tapestry of wanting. Each song is a thread through different aspects of loss and loneliness, all penned by Clark himself.

“Sing Hallelujah for the Old Machine” is less about wallowing in our own sadness, and more about rejoicing in it. These songs almost seem to celebrate our human ability to experience such emotional pain. It brings a delightful edge to what could have just been a series of sad songs.

On the album’s single, “Parade,” Clark said: “Times are hard just now. You’ve got to keep yourself moving on.”

If you’re looking for a new rising band to keep an eye on, it’d be hard for me to find a better recommendation than Three Blind Wolves, and their album “Sing Hallelujah for the Old Machine.”

Guns and Gore: New Doom Releasing This Year

By: Ashton Newton
Staff Writer

When gamers hear the name Bethesda, they may be too focused on some of their newer material like “Fallout” or “Skyrim” to remember the roots of the company, a huge part of the early gaming industry: “Doom.”

The original “Doom” was first released in 1993 and shocked the gaming industry with its graphic and bloody gameplay. Since its release, “Doom” has had numerous sequels, remasters, and a film. The newest “Doom” will be released this May.

“Doom” follows a Space Marine working for the Union Aerospace Corporation who fights hordes of demons and undead. The original “Doom” was one of the first ever first person shooters and paved the way for current first person shooter games.

The newest Doom was announced at E3 2015, executive producer Marty Stratton promised “badass demons, big effing guns, and moving really fast” as the game’s key principles.

“Doom 3” was released in 2004 and pushed the boundaries for violence in games, just as every installment of “Doom” had done in the past. The newest “Doom” is no different; the newly released campaign trailer shows off the game’s action with chainsaws, dismemberment, and buckets of blood. It’s safe to say that those with weak stomachs should stay far away.

From the trailer, the new “Doom” is looking to be one of the most violent games ever created. The studio is shying away from the horror aspects of “Doom 3,” and jumping right into the fast-paced, gory goodness of the original.

Doom will be released on May 13 for Playstation 4, Xbox One, and PC, and is up for pre-order now.

Hooray for Hollywood: “Hail, Caesar!” Review

By: Declan Hertel
Entertainment Editor

There is a subgenre of movies that I started to enjoy with “The Big Lebowski,” began to love with 2014’s “Inherent Vice,” and have truly begun to appreciate with “Hail, Caesar!,” the latest offering from near-legendary filmmakers Joel and Ethan Coen: comedic neo-noir that is light on plot and heavy on mood.

In these films, what is happening is not nearly as important as the world it’s happening in and the people it’s happening to. The mood is what matters, character is what matters, and the meandering, disjointed plotline (or more appropriately, plot-dots (coined it)) becomes secondary.

I have to admit, I didn’t expect this at all from the Coen Brothers, two of my favorite filmmakers ever. Even the aforementioned “Lebowski,” which shows elements of plot-dot structure, still has a clearly visible and comprehensible progression of events, or as much of one as a noir can have. Noir has never been a genre known for easy-to-follow, A-B-C plotting, but these particular sorts of noir films take the inherent complexity and winding stories of the genre to their logical conclusion.

But just because I didn’t expect it doesn’t mean I didn’t love it. A sunny, comedic neo-noir taking place during the Golden Age of Hollywood, starring an astounding number of supremely talented actors, as created by the Coen Bros? It sure feels like someone asked me what I would really, really dig in a movie, although I don’t remember such an incident.

There are no real standout performances in “Hail, Caesar!” because literally everyone in the film is fantastic and clearly having the time of their lives playing these larger-than-life Hollywood types. Although, one performance that does rise above is Alden Ehrenreich as Hobie Doyle, a slightly dim, yet earnest and kindhearted star of many silly cowboy flicks.

Ehrenreich is a relatively unknown name in Hollywood at the moment, but I hope that this movie puts him on the map for real. Every moment he’s onscreen is an absolute joy and his adorable rapport with Veronica Osorio’s character in the middle third of the movie melted my heart (speaking of unknowns, I would also love to see Osorio get more work).

The best thing about this movie is that it not only takes its setting from the Hollywood Golden Age, but it also plays like a movie from the era. It’s a feeling that’s hard to describe, but it’s at least partially due to about half the cast getting at least one moment to be the undisputed star of the picture. It harkens back to when times were perpetually trying and movies were about entertainment: escapism. Before “intellectual” movies, before cinema was an “art,” and film was trying to find what it was. And it was entertaining. That’s what “Hail, Caesar!” is; it’s entertainment of the purest form.

I won’t pretend to know what the motivation behind “Hail, Caesar!” was for the Coen brothers. But as it is, it is a wonderfully fun piece of entertainment that doesn’t have any illusions of being something “greater.” It comes in, makes you all happy and fuzzy, and leaves. And sometimes, a film doesn’t need to do anything else.

The Super Bowl Ads Were the Real Winner This Year

By: Ashton Newton
Staff Writer

With Super Bowl 50 came a new batch of hilarious, awesome, and strange commercials. For years, Super Bowl commercials have been making us laugh, cry, and have warm feelings inside, and Super Bowl 50 was no different.

This Super Bowl felt specifically tailored toward fans of comic book movies. “Deadpool” had a pretty large presence, “Captain America: Civil War” had an awesome new trailer, and Coca-Cola had a movie-quality Hulk vs. Ant-Man commercial, with the two characters fighting over a can of Coke mini.

Turkish Airlines gave everyone a look at Gotham City and Metropolis to promote the upcoming “Batman v Superman” starring Ben Affleck as Bruce Wayne and Jesse Eisenberg as Lex Luthor.

Doritos delivered some extremely funny material, as always. One featured dogs dressed as people to buy Doritos from a store, and the other featured an ultrasound where the baby wanted Doritos enough to be born early.

The NFL itself had a notable ad that spanned the length of the entire game featuring a choir of “Super Bowl babies” playing off the statistic that 9 months after the Super Bowl, winning cities see a huge growth in children born.

Super Bowl 50’s commercials were star-studded. Kevin Hart chased his daughter’s boyfriend, Key and Peele danced in a hallway, Alec Baldwin entered a hilarious battle of words, and Steven Tyler talked to himself in Skittle form.

One commercial managed to become trending on Twitter. Mountain Dew’s Puppy-Monkey-Baby instantly became a big deal, not because it was funny but because it was so strange. The commercial received very mixed feelings from people on social media.

The strange was definitely a huge part of the Super Bowl ads this year too. One ad featured a personified intestine running to go to the bathroom. Another featured a man and his humanoid marmot hiking in the woods, until the man attempted to kiss the marmot.

The Super Bowl wouldn’t be the Super Bowl without some sentimental ads, too. One in general stood out for Audi. The ad features a retired astronaut who felt like he was blasting off into space one more time while behind the wheel of an Audi. Jeep also touched the hearts of millions with an incredible commercial detailing all the events that Jeep has been there for, including “running from dinosaurs” and “on the beaches of Normandy”.

Overall, the Super Bowl commercials did what Super Bowl commercials do best and left viewers happy, entertained, and a little confused (I’m looking at you puppy-monkey-baby).

From PAC to GNAC

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By: Alvin Wilson 
Staff Writer

Alex Roth is a third-year business major and basketball player who came to Western for a second chance.

As a guard for the Wolves, Roth averages 10 points per game, with an average of 43 percent from the field, 44 percent from the three-point line, and 73 percent from the free throw line.

Roth started his college career playing basketball for Oregon State, but after contracting a rare nerve disease in his shoulder, he was forced to stop playing.

He decided to transfer to Western after being contacted by a coach who believed he could be useful to the Wolves.

“My main motivation for coming to Western was a second chance to play the game I love,” said Roth. “I was contacted by Coach Shaw with the opportunity to continue playing, so I thought I’d give it a shot here.”

He said his favorite thing about Western is its size and proximity to Salem, where his family lives.

“I love the size of the school and the fact that my friends and family can come to my games,” said Roth.

“So far the biggest difference between both schools is obviously the school size,” he continued. “On the court, though, the biggest difference is the size and speed between PAC-12 and GNAC players.”

Changing schools after two years can be a difficult transition for some to make, but Roth said it hasn’t been difficult for him, saying, “Overall, the transition has been very easy. My teammates, coaches and members of the Western Oregon community have welcomed me with open arms, and I thank everyone for that.”

Roth said his role for the Wolves is different largely because he was injured for two years at OSU, and there’s more opportunity for him to improve here.

“When it comes to my role on the team, I like Western much more due to the fact that at Oregon State I was injured for two years and not playing, but now I have a chance to compete and battle for a top 5 team in the country,” he said.

Roth is optimistic about the current season. Western is currently at the top GNAC and is also ranked No. 1 in Division II.

“We want to win every single day, and hopefully that ends with a national championship victory,” said Roth.

Wolves get devoured by Seawolves

By: Jamal Smith 
Sports Editor

Coming off a heartbreaking 61-62 loss on Thursday, Feb. 4 to the University of Alaska Fairbanks Seawolves, the women’s basketball team looked to climb up the GNAC standings with an upset over the No. 2 ranked University of Alaska Anchorage (UAA) on Saturday, Feb. 6.

UAA had dominated the GNAC conference, coming into the game in first place with a record of 12-1. Western on the other hand, was positioned at the bottom of the GNAC, but a victory would have moved the Wolves up from the bottom spot.

Although the Wolves hung in there for the first half of the first quarter, the Seawolves built an early lead and crushed Western’s hopes of an upset, winning 77-42.

Senior Emily Howey (C) led the Wolves in scoring with eight points and had six rebounds, two assists, and two steals in 23 minutes of play. Senior Michelle Bromagem (G) had six points and junior Launia Davis (G) and freshman Kaylie Boschma (G) each scored five points.

From the opening tipoff, the Seawolves swarmed the Wolves on defense and showed why they belong at the top of the GNAC. UAA took the early lead but the Wolves hung in there, only trailing by five points or less with five minutes to play in the first quarter.

Western tried to keep pace with UAA but costly turnovers and the Seawolves stifling defense proved to be too much for the Wolves to handle and the score got out of hand.

The first half ended with UAA up 38-13. Western shot a dreadful 6-of-27 from the floor in the first half, including going 0-for-7 from distance.

In the second half, the Wolves’ shots started falling and they finished the second half shooting 9-of-23. Unfortunately, the Seawolves continued their red-hot shooting and increased their lead.

Western finished the game shooting 30 percent (15-for-50) from the floor.

The Achilles’ heel for the Wolves this season has been coughing up points from turnovers. This game was no different with the Seawolves scoring 26 points off of 22 Western Oregon turnovers. In contrast, the Wolves only scored two points off of 15 UAA turnovers.

Up next, the Wolves hit the road on Thursday, Feb. 18 to face Northwest Nazarene University. Western is looking for revenge against the Crusaders who edged the Wolves 63-51 last month. The next home game is on Thursday, Feb. 25 against Saint Martin’s University.