Mount Hood

Maui Melts student mural

Written by: Jaylin Emond-Hardin | Entertainment Editor

When the Alley Activation Project for the alleyway between the updated City Hall and the new Maui Melts location wrapped up, Western student McKenna Brinkman was tasked with painting a mural on the bare wall that hadn’t been touched by the project.

The project, funded by a grant from the AARP, aims to understand how the pedestrian alleyway can best serve the community. In two phases, the project seeks to incorporate peaceful, calming elements, while also providing an inclusive space and is part of the larger 2042 Downtown Improvement Plan. The 2042 Downtown Improvement Plan is what will guide city policy and planning over the next 20 years. 

Brinkman, who goes by “Mick,” started the mural in October, after Maui Melts owners Graham and Ruthie had seen her chalk art in The Sippery, where she has worked since the spring of this year. 

“One thing I’ve enjoyed about the job is getting to do all the art for the chalkboards,” Brinkman said. “A couple of my regulars (have) been coming in every day since they own and have been working on the new Maui Melts next door. We’ve gotten to know each other through conversations while I make their soy lattes.”

The mural — a painting of an enlarged longhorn beetle, which is native to Oregon — sits on a grey background on the east exterior wall of Maui Melts, facing Monmouth City Hall. 

“Graham and Ruthie were extremely encouraging the whole way through the month-long process,” she said. “I think (a) cool experience I had while doing this mural was talking (with) locals who would ask about it.”

Brinkman has always enjoyed art, something she says was natural to her as a child. When she came to Western as a first-year, she started as a biology major, but after taking a drawing class, she switched her major to art and never looked back. “I’ve enjoyed every single art class I have taken in my time here,” she said. “There has yet to be a moment where I have felt burnt out with art.

“I love how this has further bonded me with the Monmouth community. I am happy to leave my mark, literally, on Motown.”

Contact the author at howlentertainment@wou.edu

Unconventional Christmas carols

Written by: Jaylin Emond-Hardin | Entertainment Editor

“I Won’t Be Home for Christmas” — Blink-182

“If We Make It Through December” — Phoebe Bridgers

“All I Want for Christmas Is You” — My Chemical Romance

“Please Don’t Jump (It’s Christmas)” — Dallon Weekes

“Christmas Saves the Year” — Twenty One Pilots

“Christmas Lights” — Coldplay

“Christmas/Sarajevo 12/24” — Trans-Siberian Orchestra

“Christmas Is Going to the Dogs” — Eels

“Mistress for Christmas” — AC/DC

“White Winter Hymnal” — Fleet Foxes

“Christmas Time (Don’t Let the Bells End)” — The Darkness

“Fairytale of New York” — Vance Joy

“Carol of the Bells” — Bad Wolves

“Jingle Bell Rock” — Thousand Foot Krutch

“Merry Flippin’ Christmas” — Bowling for Soup

“We Wish You a Merry Christmas” — Weezer

“The Little Drummer Boy” — Christopher Lee

“Christmas with the Devil” — Spinal Tap

“The Child With the Star On His Head” — Sufjan Stevens

“Lights On” — Tyler, The Creator

“Holiday” — Lil Nas X

Contact the author at howlentertainment@wou.edu

Native American representation in the media

Written by: Jaylin Emond-Hardin | Entertainment Editor

During the last decade of the 19th century, Native Americans began to take part in public entertainment. Buffalo Bill employed Native Americans in his “Wild West” shows, bringing them, along with buffalo and horses, to Europe to act in romanticized depictions of cowboys, Plains Natives and outlaws. 

As the movie industry evolved, Native Americans were presented as a documentary subject — inventor Thomas Edison captured Lakota ghost dancers on early forms of cameras. The “hostile savage” stereotype first appeared on camera in the 1914 film “The Battle of Elderbush Gulch,” and became synonymous with the Western genre. In the 1950s, John Wayne was at his most macho when he was “finishing the job,” or shooting a Native who was already in their grave. Even the 1953 animated film “Peter Pan” portrays a romanticized stereotype of Natives.

These films hide the true story of what Natives endured, instead pushing “manifest destiny,” or the idea that white settlers were ordained to move west and control North America. In the post-war period, Natives were forced to live on reservations, struggled for rights and political influence and couldn’t own businesses or property outside of reservations. When the 1965 Voting Rights Act was passed — more commonly associated with the breakthrough for African American civil rights — Native Americans were given the right to vote in every state. The more defined Indian Civil Rights Act of 1968 allowed them to push for more historical and realistic media representation without fear. 

The 1970 film “Soldier Blue” was a more empathetic and realistic view of Natives, as they were involved in the filmmaking process. The movie is an allegory for the Vietnam War, wherein a soldier is enlisted to hunt Native Americans but realizes the horror of an invader army killing people on the land they are from. 

Cree activist Buffy Sainte-Marie, who wrote the title track for the movie, had said, “No one knows Soldier Blue in North America. I can guarantee you won’t find three people in the U.S. who know it. It was taken out of the theaters after a few days. … Why? What year did Soldier Blue come out? 1970? Oh, that’ll be Richard Nixon.” Sainte-Marie was also blacklisted in the United States for her political activism by J. Edgar Hoover and the Federal Bureau of Investigation during this time. 

Of course, Native American representation in the media has evolved since the days of John Wayne and Richard Nixon. The comedy-drama show “Reservation Dogs” — fondly called “Rez Dogs” by fans — follows four Native American teenagers growing up on a reservation in eastern Oklahoma. The 2021 show features an almost entirely Native American cast and crew, marking a breakthrough for Indigenous representation in the media. 

The 2023 movie “Killers of the Flower Moon” details the 1920 murders of members of the Osage Tribe, when oil was found on Osage tribal land and local political bosses sought to take control. “Killers of the Flower Moon” was nominated for 10 Academy Awards and seven Golden Globe Awards, where lead actress Lily Gladstone won Best Actress in a Motion Picture. 

“I’m excited to see more Native people actually get representation,” said Western junior Morgan Pemberton. Pemberton is Mi’kmaq and Algonquin from the Kopit Clan and the social media manager for Western’s Native Indigenous Culture Club.

“I think for a long time, even in the 2010s they were still just painting people,” she added, referencing Johnny Depp’s role as Tonto in “The Lone Ranger.”

“I see a lot of (Natives) online talk about how people in interviews will try to get them (to) talk in the traditional Native accent, which is not always accurate. I think even in having just one Native character, they’re a one-dimensional version of what Native people look like when I don’t always think that’s the case.”

Pemberton also talked about how a majority of people who watch shows like “Reservation Dogs” are not likely to be white people, but rather other Natives. The show, after all, is a love letter to Natives, from Natives.

“Not that we have to make everything to teach white people about what (it is) to be Native, but I feel like when they want to include Native people, they want to include a stereotypical Native person, which I think does a service and a disservice. It’s an only good or bad thing.”

Pemberton also spoke about how, growing up, she watched the Disney movies “Pocahontas” and “The Lone Ranger,” considering them less-than-perfect representations of Native Americans. Depp’s role in the latter was a big deal in her house. 

“Pocahontas” is considered perhaps the worst modern representation of Natives and Native history. A romanticized retelling of when the first white colonists arrived in the Americas, the titular figure’s story has little historical accuracy. Pocahontas, whose true name was Matoaka, was around 10 or 11 when the Virginia Company came to North America and did not save John Smith’s life. A few years after the colonists’ arrival, she was taken captive and converted to Christianity. When Matoaka was 18, she married John Rolfe, who was 10 years her senior and had a son named Thomas a year later. 

Matoaka was then taken to England and paraded around as a celebrity, presented as an example of a “civilized savage.” In 1617, the family set sail with the intent to return to Virginia, but the voyage was halted as Matoaka and Thomas both fell ill, and both mother and son died in Gravesend, Kent, England. The location of their bodies is unknown, and Matoaka is considered the first Missing and Murdered Indigenous Woman, or MMIW. 

“It’s really good that we have Native representation because brown Native people are more discriminated against, so having them highlighted is something I really enjoy. I do hope that there is a future in which there is nuance in talking about Natives and I think that starts in classrooms making sure teachers understand what Native identities are,” Pemberton said. 

Contact the author at howlentertainment@wou.edu

Coldplay’s “Everyday Life,” five years in

Written by: Kiera Roedel | Copy Editor

Content warning: this article contains references to police violence, war and suicide.

Nov. 22 was the fifth birthday of Coldplay’s 2019 album “Everyday Life.” The project sticks with Coldplay’s well-established pop-rock sound, but mixes in influences like classical, afrobeat and jazz, making it one of the band’s most experimental releases. 

Lyrically, “Everyday Life” focuses on unity between people, regardless of ethnic or national barriers. This is perhaps best showcased by the fact that the only-ever live performance of the full tracklist was streamed globally from the Amman Citadel in Jordan, though Coldplay themselves are British.

The album’s 16 tracks, split into “sunrise” and “sunset” halves, have proved divisive among fans. Many proclaim certain songs as some of the band’s best ever, while dismissing others as pointless filler. So, five years on, how does “Everyday Life” stack up?

“Sunrise” — “Everyday Life’s” opener is a short instrumental track driven by calm, spare string music. It is compositionally simple and its lack of lyrics really count against it for me — not a favorite.

“Church” — Considered by many to be the true opening track, “Church” is one of the strongest on the album. Its almost four minutes are driven by a strong percussion line while lead singer Chris Martin weaves a love story that compares his significant other to a divine figure. Later in the song, Arabic vocals by guest Norah Shaqur bring the entire song together, and Martin’s sing-rapped couplet at the end over them is nothing short of incredible.

“Trouble in Town” — The first appearance of this album’s oft-discussed political themes. “Trouble in Town” condemns police violence with floaty yet strong piano-centric instrumentals and a profanity-laden recording depicting verbal abuse while a police officer detains a suspect. Not for everyone, but fantastic for those unfazed by its unique characteristics.

“BrokEn” — A divisive song due to its style — an almost a capella gospel track — and a strange choice to follow up “Trouble in Town.” Its strong religious themes and direct references to God would not be out of place if sung by a church choir. I find it catchy.

“Daddy” — This song hits some harder than others. It is sung from the perspective of a child with an absent father figure, wondering where he has been and whether he will ever return. It is slow and ethereal throughout, opening with heartbeat sound effects before a somber piano melody begins a few seconds in. The emotion in this one is bare and painful, definitely a highlight.

“WOTW / POTP” — The sound of this demo track is defined by an acoustic guitar, quiet singing and birds chirping in the background. To me, it has almost no staying power and may as well have not been included.

“Arabesque” — The title here references a style of visual art involving intricate repeating patterns covering large surfaces. Similarly “Arabesque,” one of the album’s singles, discusses unifying the people, proclaiming that we “share the same blood.” Its aggressive, percussive rhythm thumps along like a freight train, and the song is without a doubt in the top 3 best on the album.

“When I Need a Friend” — Another short, less-than-impressive track. Its slow, formless, layered vocals recall holiday carols, or more church-choir music, with a Spanish spoken-word segment inserted awkwardly at the end.

“Guns” — Aggressive and biting, “Guns” begins the “sunset” segment of the album and is perhaps the antithesis to the prior track. It is extremely political, referencing climate change, oppression of the working class, violent revolutions and the military-industrial complex. I love it for that.

“Orphans” — The other single from “Everyday Life,” “Orphans” was a breakout hit and a song that many have likely heard already. It tells the struggles of a girl and her father who become refugees during the oppressive Syrian Civil War. Thematically and musically a masterpiece, this might be the objective best on the record.

“Èkó” — Calm and relaxed, the quaint and hopeful “Èkó” shares the name of a town in southwest Nigeria. Honestly, it serves pretty well as a comfort song, but nothing special. 

“Cry Cry Cry” — Angel Moon, Coldplay’s alien vocalist who is really just a digital effect, sings along with Chris Martin throughout this deceptively optimistic song. It might have been good if its themes were better developed and it had more than a verse and a half of actual lyrics.

“Old Friends” — Another slow, calm song with simple lyrics. It describes a childhood friend of Martin’s who saved him from being hit by a car when they were riding bikes as kids. While the theme is heartfelt, the song isn’t very engaging.

“بنی آدم” — The Arabic title of this song is taken from a Persian poem, pronounced “Bani Adam.” The majority of its lyrics are a verse from the poem, spoken softly in Arabic. A great idea, but it has almost two minutes of piano solo and was likely better suited to being a 90-second interlude rather than the over-3-minute full feature that “بنی آدم” purports to be. 

“Champion of the World” — To be blunt, this is far and away my favorite song on the album. Its lyrics begin with short anecdotes of the failures of the lead singer, going so far as to specifically reference suicide and gravestones. As the music slowly builds, the lyrics pull away from the depression, asserting that whatever happens, we are still here, and that is a success in itself. The song climaxes when Martin and drummer Will Champion sing in duet that “giving up won’t work / Now I’m riding on my rocket ship / And I’m champion of the world.” “Champion of the World” has the overwhelmingly positive theme and grandiose musical style that are hallmarks of recent Coldplay, and to me, it’s probably their single greatest song in the past decade at least.

“Everyday Life” — The final song, bringing back earlier themes of the album like the similarities between and power vested within the people of the world. Musically spare but proud, it uses the same chord progression as the earlier “Church,” which helps tie the album together. While a little unimpressive in the shadow of the previous song, “Everyday Life” is still an excellent closing track. 

Overall, “Everyday Life’s” occasional extremely strong tracks have their impact lessened somewhat by slow and underdeveloped songs that hold almost no significance to the overall styling of the record. Still, those strong tracks stand as some of the best in the history of Coldplay, and are each excellent on their own. Plus, “Everyday Life’s” aesthetic is confident, with unique lyrical themes and experimental music styles strongly contributing to the album’s identity. Lyrically and musically, Everyday Life shows what Coldplay can be when at its best, even if it is interspersed with a few less-than-amazing songs.

8/10.

Contact the author at howlcopyeditor@mail.wou.edu

Trap

Written by: Jaylin Emond-Hardin | Entertainment Editor

Content warning: this article contains spoilers and mentions of violence and suicide

M. Night Shyamalan’s most recent theatrical release, “Trap,” has hit the streaming service Max. The movie follows Cooper Abbott, played by Josh Hartnett, as he and his daughter attend a Lady Raven concert, where it is revealed they are at the center of a dark and sinister plot.

The Federal Bureau of Investigation — FBI — has set up agents, SWAT team members and police officers throughout and around the concert venue and are set on one task: to find the serial killer nicknamed “The Butcher.”

Viewers come to find out that Abbott is who they are searching for and throughout the film, he constantly outsmarts and outmaneuvers the FBI agents and their profiler, Dr. Josephine Grant. 

One of the most pivotal scenes in the movie is when Lady Raven, played by Shyamalan’s daughter Saleka, is trapped in the Abbotts’ bathroom and reveals to the family that their patriarch is The Butcher. She then uses an Instagram livestream to urge her followers to find and free Abbott’s next victim. When chosen as his newest victim, Lady Raven manages to outsmart and escape him, even while Abbott continues to stay one step ahead of the FBI.

At the climax of the film, Abbott returns home, planning on staging a murder-suicide after figuring out it was his wife, Rachel, who had reported him to the police in the first place. What he doesn’t know is that Rachel has gotten ahold of his bag and drugs him using his supplies. When the FBI and SWAT team arrive, Cooper is already hallucinating, seeing the specter of his mother. He is ultimately taken into custody, but the movie concludes with him using the spoke of a bike wheel to unlock his cuffs. 

The film is a true thriller, keeping viewers on the edge of their seats. Shyamalan is best known for his plot twists, like in his movie “The Sixth Sense,” and heavily utilizes them in “Trap.” 

The film is also based on the true story of Operation Flagship.

In 1985, the US Marshals Service sent invitations to 3,000 fugitives — with over 5,000 outstanding warrants between them all — in Washington, D.C., under the guise that they had won tickets to a Washington Redskins football game. That day, 101 fugitives attended and were arrested on the spot. “Trap” follows that sting operation, with the concert being used to find and arrest The Butcher. 

While the movie’s plot is well-written and easy to follow, it is also extremely anxiety-inducing. Hartnett’s portrayal of a level-headed killer is convincing to the point where viewers will feel as if they are caught in the trap with Cooper Abbott. 

My recommendation: if one has a history of post-traumatic stress disorder or may be sensitive to violence, do not watch this film. While the film itself is well done, Hartnett’s chilling portrayal of Abbott may be triggering. Viewer discretion is advised. 

10/10.

Contact the author at howlentertainment@mail.wou.edu

Why you should try “Grey’s Anatomy”

Written by: Hannah Field | Editor-in-Chief

Content warning: this article contains spoilers and discusses fictitious violence

Season 20 of “Grey’s Anatomy” was released to Netflix June 29, 2024, featuring ten episodes on top of its already prominent 430, spanning from 2005 to the present. Since premiering, “Grey’s Anatomy” has been nominated for 39 Emmys, won a Golden Globe Award for Best Drama Series and a People’s Choice Award for Favorite TV Drama, inspired two spin-off shows and hit an all-time audience record of 37.88 million viewers for episode 16 of season two.
The show has gone on so long that most of the main cast has moved on, their characters being killed or written off, with even protagonist Ellen Pompeo — Meredith Grey — stepping back in the latest seasons.

Most credit the success of “Grey’s Anatomy” to Shonda Rhimes, founder of the production company Shondaland and creator of “Grey’s Anatomy.” Rhimes has become well known for her tendency to kill off characters in the most tragic ways possible, with more than nine notable recurring character deaths overall. In 2015, Rhimes left “Grey’s Anatomy,” but the calamity persists in her absence.

Meredith Grey survived not just a plane crash, a shooting, a physical assault, a bomb, drowning and COVID-19, but also managed to scrape by after a miscarriage, the death of her husband, multiple deaths of her friends, losing her parents and even going to jail in season 16 for — easy guess — insurance fraud.

The show has always incorporated real-world issues, mixing them with fictitious characters and applying a level of relatability for viewers to connect to. Characters struggle with infertility, lack of insurance, love triangles, affairs, religion, relationships, family, cancer and more. “Grey’s Anatomy” takes those issues to an extreme level, allowing for an eventful watch in any episode, and often mixes humor in with how the characters interact and work together.

Most iconic are the original five interns of Seattle Grace Hospital, Meredith Grey, Cristina Yang, Alex Karev, Izzie Stephens and George O’Malley, starting strong in season one until, one by one, the team falls apart through loss, separation and other work opportunities. Most viewers refer to the first few seasons of “Grey’s Anatomy” as the best, having great rewatchability and incredible banter.

Although this might be the case for many viewers, the later seasons add more flexibility and characters and the budget increases over time, allowing for incredible set design, new actors and new plots — meaning more riveting turmoil for “Grey’s Anatomy’s” most loveable characters.

At the end of the day, “Grey’s Anatomy” is an ideal show to watch when coping with something difficult — why? Because Meredith Grey will always be having a worse day.

Contact the author at howleditorinchief@mail.wou.edu

20th century grooves

Written by: Sadie Latimer | News Editor

“Ain’t That a Kick in the Head” — Dean Martin

“Lay All Your Love On Me” — ABBA

“Could It Be I’m Falling in Love” — The Spinners

“Don’t Stop” — Fleetwood Mac

“My Girl” — The Temptations

“From Russia With Love” — Matt Monro

“When Winter Comes” — Artie Shaw and His Orchestra

“Waterloo” — ABBA 

“If Anyone Falls” — Stevie Nicks

“I Call Your Name” — The Mamas & The Papas

“Do You Believe in Magic?” — The Lovin’ Spoonful

“Rock With You” — Michael Jackson 

Contact the author at howlnews@mail.wou.edu

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