Mount Hood

Review of the unsettling film “The Lighthouse”

Never Retallack  |  Entertainment Editor

There are films that require more than one viewing — and then there are films like “The Lighthouse.” Those like the latter require at least 10 viewings to fully grasp what happened on screen. 

The drama-horror movie directed by Robert Eggers — the same man who brought the fan-favorite “The VVitch” (2015) to life — stars only two cast members: Willem Dafoe as Thomas and Robert Pattinson as Ephraim.

“The Lighthouse” was unique as soon as it started — switching from widescreen trailers to old-fashioned fullscreen, the entire film was in black and white. This set the dark and somber tone of the film before meeting the characters.  With just two men on an isolated island, maintaining the lighthouse becomes a lot more challenging as strange events chip away at their sanity.

The movie is set in the 1890s on a mysterious island in New England. Thomas is the “wickie” or lighthouse keeper, and when Ephraim arrives to do grunt work on the island, he becomes Ephraim’s cruel boss.

Without spoiling too much of the plot, there are several odd elements to this movie that viewers should know about: obscene amounts of masturbation, lots of tentacles, sirens and violence against seagulls.

Throughout the entire two and a half hours of the film, I felt a general discomfort and unease in my stomach, struggling to watch or fathom what I was watching.

A challenging element of the movie was the thick sailor accent that Dafoe spoke with, making most of what he said unintelligible. It would be beneficial to rewatch the film but with subtitles provided; there was so much symbolic imagery — I can’t imagine what I missed in the dialogue.

The film only gets more complicated when the audience doesn’t know who to trust — both Thomas and Ephraim tell completely different tales, and with no clear clarification, it becomes hard to know what is reality in this twisted nightmare.

Between endless amounts of drinking, constant yelling and general distrust, the relationship between Dafoe and Pattinson’s acting was captivating and disturbing. 

Overall Rating: I think the film alludes to a much bigger picture that I could not grasp, but I highly recommend this movie to anyone looking for something unique and challenging for the brain.

 

Contact the author at howlentertainment@wou.edu

Cannon Gallery — a platform for stunning faculty work

Never Retallack  | Entertainment Editor

Cannon Gallery — Western’s very own art exhibit within Campbell Hall, opened its biennial production of faculty art on Nov. 13. The exhibition will be open until Dec. 13 and holds works from the following: Jen Bracy, Clay Dunklin, Jodie Garrison, Mary Harden, Rebecca McCannell, Peter Hoffecker Mejia, Sung Eun Park, Gregory Poulin, Daniel Tankersley, Diane Tarter, Garima Thakur and Jen Vaughn. 

The only art faculty member not showcasing in the exhibition is Paula Booth, who happens to be the gallery conductor; she and her team of interns and students displayed all the faculty’s pieces into a fluid gallery.

There was a very eclectic collection of art that faculty had submitted; these pieces were whatever the professors were working on since the last biennial showcase. Each professor used a different medium; Poulin used oil on canvas, Thakur created a video, Tarter used collage on blackboard and it goes on and on, with each faculty member showing their different specialties.

The flow of the gallery was interesting. Walking in, viewers made two circles around the perimeter before going through the middle.  Booth and her team strategically placed Thakur’s modern video next to Poulin’s classic still-life oil paintings. The stark contrast between pieces was pleasant as a viewer — the way each transitioned to a different faculty’s art was never predictable.

I am no art expert, and some of the pieces left me contemplating what their true meaning was, such as Park’s mixed media work — simple, yet complex. Dunklin’s piece, “Play On,” was a video that reminded me of a more positive episode of “Black Mirror,” featuring trippy visuals and quirky messages on the screen. A couple pieces that did stand out to me in their message were Bracy’s mixed media on wood pieces called, “Packing Heat” and “En Mass(e),” which show horrifying statistics of gun violence within the United States. 

Talking to Professor Rebecca McCannell about her three pieces, “Illumination,” “Chaos” and “Vertigo,” I was surprised to learn about the complexity of her artwork. Her method was that of reductive screen printing, a tedious process that requires precision when attempting to add colors to a piece layer by layer. McCannell went as far as changing the craft of screen printing to better suit her project. 

“I developed this method where I paint a piece of clear plexiglass with red paint, and then any area I want light to shine through I have to scrape away with a palette knife or exacto blade,” explained McCannell. 

McCannell’s pieces were based on photographs that she took underneath the Eiffel Tower which is a unique perspective — less glamour of the overall appearance, but rather the inner workings. 

This gallery was interesting to walk through; whether an art connoisseur or not, this exhibition showcases stunning art by Western’s faculty, and definitely deserves recognition and praise. 

 

Contact the author at howlentertainment@wou.edu

Photo by Mikayla Bruley

Get to know the musician Kali Das on his college radio tour

Never Retallack | Entertainment Editor

Interested in hearing music from a unique artist? Check out Kali Das, a musician living in New Mexico, reaching out to universities on his college radio tour so that his music travels far and wide.

 

Q: Tell me a bit about yourself, how long have you been making music? 

K: I have been recording music for over ten years. I mainly play synthesizer and guitar although I am more well-versed in synth.

Q: What inspired you to start creating music? 

K: I initially started playing music as a part of my spiritual practice. I did a lot of chanting music but have transitioned from that to more mainstream music. I still try to put out conscious messages that I feel will help the audience or make them think. I think though I wanted to have some separation from my spiritual practice and my music although I guess they are still interlinked in a more subtle way.

Q: What is your goal when it comes to producing music? 

K: My main goal is to be in the moment and expressive of where I am at for better or for worse. Musicians are either praised or ignored, and of course there is everything in between, but I think a true artist tries to express his own unique voice regardless of whether that voice is popular or not.

Q: How would you describe your music or your style? 

K: It is multi-genre. Like many artists these days, I have so many influences that I do not particularly feel comfortable in a box. So I have done everything from hip-hop to world music.

Q: Are you part of a band? How exactly do you write and create your music? 

K: I bring in musicians as needed. In terms of the writing process, I pretty much always write lyrics first if the song has lyrics. I try to focus on what I am trying to say. Once I have the lyrics and message, it becomes much easier to add instrumentation to drive the point home.

Q: Are you working on anything else besides music? 

K: I am also a healer and have an energy/body work practice. I plan on getting a masters degree at some point but have been procrastinating.

Q: What are your implications with your new EP? 

K: The lead song of the EP “Don’t Vote 4 Trump” is a call to move our country in a more progressive direction. Trump and what he represents are not conducive to moving forward in a healthy way. The other songs are mainly love dirges. “So Beautiful,” for example, is a song about a guy who falls in love with his dentist, yet he doesn’t feel he’s good enough for her. That one is supposed to be funny. “Pale Blue Moon” was with regard to an epic heartbreak, epic for me, not necessarily for anyone else… “Learn to Fly” is about letting go of those we love when the time comes. The title of the album “Don’t Vote 4 Trump and other love songs” implies that even the first song is a love song because love isn’t always about a partner, but it’s also about your commitment to the world.

Q: Why are a couple of your songs on the EP purely instrumental, or rather, why no lyrics?

K: I just thought they were great songs. I feel music sometimes captures what words never can.

Q: What is the reaction you are hoping to receive from your EP? I am hoping it helps encourage people to be more open and expressive about who they are and to question the political process which has been dominated by money for decades now. Our political lobbyist and election systems need a total overhaul to get money out of politics, which I believe is possible, but there (are) a lot of powerful forces against change.

Q: What is the most important element of creating music for you? 

K: Authenticity. There are a lot of talented people. A lot less authentic people. I have met a lot of people who will say something to your face, but something totally different is going on inside. I strive not to be that way. I strive to be authentic.

Q: Where can people find your music? 

K: On my website kalidasworld.com or gottaimpeach.com It will also be on Spotify and Youtube and all major digital platforms on the official release date November 15. 

 

Contact the author at howlentertainment@wou.edu

Photos by Kali Das

Western dancer and first-time choreographer gets involved in the arts community through an award-winning rock musical

Caity Healy | Managing Editor

With Western Oregon’s Creative Arts Division as robust and successful as it is, with several programs and departments, students involved in it often choose to get involved in the arts in their community beyond the ways they are offered on campus. One such student is Noah Nieves Driver. 

Nieves Driver is a senior at Western, currently in his second year of the ASL/English Interpreting Program. On top of this, he has been a dancer for nearly as long as he can remember. 

“I started dance when I was three. And I continued with that all the way until I was 9-ish, then I got back into it when I was 13,” Nieves Driver explained. While he can’t pinpoint the exact reason he stopped at age nine, he can remember exactly what inspired him to start again at 13.

“I saw Alvin Ailey perform in my hometown, Tacoma, Washington, and I was like, ‘I want to get back into this,’” Nieves Driver recalled.

While his history with dance has been long and extensive, an opportunity for him to do something new came up in the summer of 2019: choreograph a show titled “Next to Normal” — this was his musical choreography debut.

“I choreographed a play in high school … and I took the choreography sequence here at WOU, so I learned how to choreograph for myself,” Nieves Driver said. “But show-wise, this is the first actual show I’ve choreographed.” 

Nieves Driver has been involved in local theater in the neighboring communities to Monmouth for awhile, and when he heard that the Majestic Theatre in Corvallis, Oregon was putting on “Next to Normal” —  a show about a suburban household coping with mental illness, delving into the ways a mother navigates her illness and the treatments that go along with it, as well as the impact it has on her family — he contacted the director, Ruth Mandsager, to see if she’d be interested in him doing the choreography.

“I love the show, I love the people who are a part of the production, and I just had this vision for it and I was like, ‘I want to see this come to life,’” he added. Mandsager gladly accepted his offer, and they got to work. Nieves Driver explained that the songs are very grounded in reality, and therefore wanted to make sure there was a purpose to the choreography that he was planning.

“I just listened to the songs a lot … I tried to understand what the characters were feeling,” Nieves Driver said. “I was working with the music,” he added, asking himself things like, “‘okay what is the music doing here? Oh, it’s accenting that. Let me follow that or let me do the opposite to create some contrast with that.’” 

As a choreographer, Nieves Driver felt elated by how this process went, and explained that, ideally, this is just the beginning.

“I’m hopeful that I can get in — at least in this area — as a prominent choreographer, and then hopefully become a director so that I can cast more people of color in traditionally white roles,” he explained. “In this area, there aren’t a lot of opportunities for people like me, like black people, to get cast in stuff … so with traditionally white roles … why is it traditionally white? Is it connected to the story? Is it about race? If not, then why does that matter? So, there wasn’t a lot of work here for me as a dancer, so that’s kind of why I went into choreography. But I think I’m going to focus more on that, and less on the dance aspect.”

“Next to Normal” does have a content warning under the Majestic Theatre’s website, as it includes subject matter and language regarding depression, self-harm, drug abuse and suicide. 

For those interested in seeing the show, there are still a few more opportunities. It runs Nov. 13–16 at 7:30 p.m., and Nov. 17 at 2:30 p.m. Tickets are $16 for students, $18 for adults, and only $10 for those that go Thursday, Nov. 14. 

“Support local theater, we really need it,” Nieves Driver commented. “Everybody has been putting their full heart into this show and I think you can see that from just watching it.”

 

Contact the author at chealy16@wou.edu

Photos courtesy of Mark Hoffman (play)

Photo by Caity Healy (headshot)

Thanksgiving is not always traditional, Hulu’s “Into the Dark: Pilgrim” proves a much darker version

Never Retallack  | Entertainment Editor

Thanksgiving — a holiday with an iffy history at best, but an excuse to gorge oneself on all the delicious food one can imagine. It usually includes an immense amount of family time — wanted or not.

Hulu released their latest movie in their horror series, “Into the Dark: Pilgrim” (2019), written and directed by Marcus Dunstan.

This twisted tale introduces the audience to a dysfunctional family: a father who is always on his tablet, a stepmother who is seemingly cold, a daughter who struggles with abandonment issues and a charmingly naive young son. 

What could possibly go wrong when the stepmother, Anna, decides to hire a group of pilgrim reenactors to stay with them for Thanksgiving? Cody, the daughter struggling to accept Anna as her stepmom, is immediately hesitant to jump on the bandwagon, and expresses her discomfort.

The arrival of the Pilgrim reenactors is immediately disconcerting. Ethan is the Pilgrim in charge, seemingly cool and collected, while delivering each line with a gentle smile on his face. 

The impersonators are unsettling throughout, the female Pilgrims unwavering in their praise of Ethan and how he changed their lives with a sort of reverence that is similar to cult followers.

The movie builds tension, alluding to a sinister side of the Pilgrims’ plans, leaving the audience feeling uncomfortable and on edge for most of the movie.

While I don’t want to spoil the movie for those who have not seen it, I’ll tell you the goal of the Pilgrims in the plot. 

Ethan wants the family to appreciate what they have: food, shelter and each other. The means to which he teaches this lesson are unconventional and horrifying.

While this movie was surprisingly dark and twisted, it was equally amusing. Dunstan managed to weave humor into many scenes, whether through utilizing slow-motion fight scenes, or Cody delivering dark jokes, there were numerous times where I caught myself chuckling.

Overall rating: I highly recommend this unique horror-comedy; it is the perfect way to get into the holiday spirit — watching a family unite together to fight the evil that hounds them.

The end was not quite a twist, but did leave the audience wondering whether or not this movie was more supernatural than it appeared. 

This movie reminds people of what is truly important— appreciating the good things in life and accepting that families aren’t always perfect.

 

Contact the author at howlentertainment@wou.edu

Nightmare Factory: water sprays, spooky maze and endless fun

Never Retallack  | Entertainment Editor

The Oregon School for the Deaf, located at 999 Locust St NE in Salem, has orchestrated a spooky haunted house for the last several years called The Nightmare Factory.
I first went in 2017 and was pleasantly surprised by the low fees and relatively small lines; this year, I decided to go on the day of Halloween in hopes of it being a slower night.
The grand amount of time spent in any of the lines added up to about an hour and a half, and the fee was only $15. For a VIP pass, it would cost $25 which is a relatively good price for what you get. The VIP pass allows customers to skip the line and go straight through to the haunted house.
Once at the actual entrance of the haunted house — or rather school — each group was sent to one of three different hallways. This allows the employees to better monitor the smaller groups of about seven to eight people by letting in one hallway at a time.
The set and props were impressive; every detail was carefully thought out, and the actors were fully committed to terrifying as many people as possible.
While this was a no contact haunt, several actors would act like they were going to touch customers’ faces, just to cause tension. There were also several points where water would be sprayed at those going through the house. The water was quite unpleasant, seeing as it was aimed right at eye level — not a fan favorite.
There may not have been one central theme, but they did have several throughout the night including clowns, zombies and ghosts. Having sets like a scary swamp and a carnival provided an immersive ambiance for the night.
There was a long portion with strobe lights, while the haunt-goers had to weave through a maze, convincing my group at one point that we were going in circles.
After a full thirty minutes of screams and fog machines, the exit led to the chilly outdoors.
Overall rating: This haunted house greatly improved from how it was two years ago; it fully developed into a heightened version of what it used to be. With actors committed to scaring each person, and a set so thorough, it seemed there was no escape — I have no complaints. I highly recommend anyone in need of a good fright to check it out next year.

 

Contact the author at howlentertainment@wou.edu

Photo by Emily Hedges

Shane Dawson and Jeffree Star create a hit YouTube series and amazing makeup products

Never Retallack  | Entertainment Editor

On Sept. 24, Shane Dawson, a famous YouTuber, released a trailer called, “The Beautiful World of Jeffree Star.”

Shane Dawson started posting YouTube skits in 2008. As one of the original YouTube stars, Dawson has evolved with his channel, growing from inappropriate skits to making mini-documentaries.

Jeffree Star had an even earlier start on the media site; beginning in 2006, his main purpose was posting makeup tutorials, as well as discussing his personal life. 

Star has over 16 million subscribers and Dawson has over 20 million subscribers, collectively making them a powerhouse team.

On Aug. 1, 2018, Dawson posted a video called, “The Secret World of Jeffree Star,” where he showed how Star is not only a beauty influencer, but also has a multi-million dollar makeup company. During this video, Star joked about Dawson creating a makeup brand in partnership with him, but it wasn’t until later that they agreed to go through with the idea.

Starting in Sep. 2019 Dawson’s series, “The Beautiful World of Jeffree Star” shows the entire process of creating an idea for makeup, the money and time that goes into it, and the overall drama in the beauty world.

There are six videos, each running an hour long, that have been released so far, letting the world see the challenges that Star and Dawson went through for work and in their personal lives.

On Oct. 29, a new video revealed Dawson’s eyeshadow palette, “Conspiracy,” and his other products. The name and concepts for each product — even down to the name of each shadow — is connected to memes within his YouTube channel and his life. 

On Nov. 1, Dawson’s makeup was released on Star’s site which struggled to remain functioning for the first hour that the makeup was presented.

Most of Dawson’s products had sold out within a few hours, and the remaining products were there as a byproduct of the site crashing and not making them available until later in the day.

The video shows Dawson and Star trapeze through the complicated world of beauty, and Dawson will continue to produce videos covering their journey of what happens after his product has been released.

Those who would like to buy any of the merchandise released can visit https://jeffreestarcosmetics.com/collections/shane-x-jeffree-conspiracy-collection.

 

Contact the author at howlentertainment@wou.edu

Photos courtesy of jeffreestarcosmetics.com

Review: Sequels are hard to do right, “Zombieland: Double Tap” was up for the challenge

Never Retallack  | Entertainment Editor

When “Zombieland” came out in 2009 many were shocked by how fun this zombie comedy was to watch, receiving more positive reviews than not. Ten years later, Reuben Fleischer returned to direct the sequel, “Zombieland: Double Tap.” 

For those who saw the first film, they will know that the sequel title alludes to Jesse Eisenberg’s character, Columbus, rules for surviving in the zombie apocalypse. Shooting a zombie twice to ensure that they are dead — or rather, double tap.

Throughout the first and second film, Columbus is narrating the story in the past tense, delivering punchy one-liners and guiding the audience through the movie.

Along with Eisenberg, the rest of the original cast also starred in the sequel: Emma Stone as Wichita, Woody Harrelson as Tallahassee and Abigail Breslin as Little Rock.

While the only character who looks physically different is Breslin, now a young adult, Columbus’ character development was interesting to see. He was more physically daring and ready to fight the new breed of zombies that terrorize his group. 

Keeping true to the brand of “Zombieland,” the sequel was full of surprises, dark humor and lots of gore. The introduction of a new community of survivors who are weed-loving pacifists was a jab at millenials and earned some hearty laughter from the crowd. 

Zombie movies are a hard genre to nail. After “Shaun of the Dead” (2004), I think a niche for more comedy horror movies emerged. Comedy horror is one of my favorite genres; it takes situations and creatures that normally fill an audience with fear, and turn it into something laughable.

Overall rating: I prefer the first “Zombieland” but when it comes to sequels, they did a great job of creating a new idea while keeping the core elements of what made it successful in the first place. Anyone who enjoys a funny horror film with a great cast of characters should check out “Zombieland: Double Tap.” 

 

Contact the at howlentertainment@wou.edu

Photos courtesy of zombieland.com

Album review of “Mala Santa” from the impressive Becky G

Never Retallack  | Entertainment Editor

Those who are ready for an album to dance to, take a listen to Becky G’s new album released on Oct. 11, “Mala Santa.” 

Rebecca Marie Gomez, known as Becky G, is only 22 years old and was discovered in 2011 while covering songs on YouTube. She initially released songs in English, some well known such as “Shower” and “Can’t Get Enough ft. Pitbull” before she switched to her Latin roots in 2017 and released songs solely in Spanish.

Just this month, Becky G was awarded the Extraordinary Evolution Award at the Latin American Music Awards, a result of the success she has achieved and a prediction of all that is to come from this star.

She is also an actress, starring as the Yellow Power Ranger in the 2017 film “Power Rangers,” and some animated movies as well. Currently, Becky G is more focused on her music.

Her album “Mala Santa” is a reflection of her journey in the spotlight — being signed onto a contract at only 14  years old, she went through that challenge of growing from a young innocent teen to a woman while the world watches.

She decided to name her album “Mala Santa” because she felt as if she is the music industry’s mala santa. In Spanish “mala” means “bad” and “santa” is referring to the concept of “holy” in her lyrics. So in essence she is a singer who is neither bad nor holy, but something in between.

“I think people now understand and see that I am still very much so that sweetheart, that little angel that they first met, I’ve just grown up into a woman,” Becky G said in an interview with Billboard.

Out of the 16 songs on her album, nine of them feature other artists; a great amount of collaboration went into completing this. Every song has a catchy chorus, an undeniable beat, and Becky G’s amazing voice serenading listeners. Most of her songs have themes such as love, drinking, partying, heartbreak and misunderstandings.

While these themes are quite similar among most pop, the catchiness and fast-paced songs are enthralling. Each bop on the album encourages listeners to dance along. 

Her song “ME ACOSTUMBRE” featuring Mau y Ricky is one of my favorites on the album, really showcasing her vocals with bigger runs and more focus on her voice.

The must-listen song will have to be “MALA SANTA” as it is a sensual play discussing essentially her naughty and nice side, which ties to her album cover of her in all black on one side and all white on the other: a balance between her devilish and angelic aspects.

Overall Rating: Regardless of your Spanish comprehension, this album is a crowd pleaser for anyone needing an album to dance to.

Contact the author at howlentertainment@wou.edu

Photo courtesy of iambeckyg.com

An exploration of the popular haunted house Fear PDX

Never Retallack  | Entertainment Editor

Haunted houses —  a Halloween classic, and a way to be terrified that is safer and more interactive than a horror movie. 

I am personally a huge fan of these events and I go to at least two or three different spooks every October. Fear PDX is a particular haunted house that I have been going to for the past few years. Based in Portland, they offer a collection of different themed houses on one site.

We waited approximately 2.5 hours outside before even getting inside the venue. A notable difference this year while waiting in line was the inclusion of a DJ. While that may sound weird or out of place, dancing to the early 2000 bops he was playing, it was a perfect way to kill the time.

There was also a good number of scary actors going around and interacting with the masses — jumping, crawling and revving a chainsaw as they went.

Up until this year, Fear PDX was typically held in the Moda Center and the eager crowds had to wait in a large line for at least an hour before entering the floor where the different themed “houses” were. Then, they’d wait in those individual lines for about 30-40 minutes. 

This year, they held their attraction on Glisan Street in an empty building where they combined all of the themed houses into one seamless walk. The four houses set up were: Doll Factory, Dead City, The Mansion and Dark Carnival.

By far, the Doll Factory was the scariest, with actors delivering each line with an eerie voice and looking at us with unblinking eyes —  not breaking character at all. 

The actual experience of going through the house was full of strobe lights, fog machines, loud sound effects and a lot of screaming, but the amount of time spent walking through each house took a total of 30 minutes.

The general admission ticket cost $28, while the VIP pass that allowed you to skip the lines cost $50. There was a bonus house that cost an additional $8 and was “interactive,” meaning the actors were allowed to grab you. I personally am not a fan of houses such as these so I don’t know how scary this particular portion was.

Overall rating: The spooks provided by Fear PDX were decent enough for the amount paid; the wait time was a little ridiculous — also typical for a successful haunted house. The added touch of a DJ did not go unappreciated, and there was enough happening in the actual haunted houses to keep me jumping in fright and eager to escape back into the night.

Contact the author at howlentertainment@wou.edu

Photos courtesy of fearpdx.com

It’s not too late to get in the spooky spirit, check out Huluween

Never Retallack  | Entertainment Editor

The staff of the Western Howl recommended our favorite horror movies in Issue 3— accessible to read on wou.edu/westernhowl — and now I want to focus on what the streaming service Hulu has to offer for their Halloween special, “Huluween.”

When on the Hulu website, simply search “Huluween” and there will be a page that has organized hundreds of spooky movies into categories: Hulu Originals, Huluween Essentials, Huluween Film Fest, For the Family, Hauntings & Supernatural and many more.

Seeing as there are hundreds of movies and television shows compiled on these lists, I will cover only the Hulu originals, seeing as they are new and possibly only available for a limited time.

For full length original movies they have created: “Little Monsters” (2019); “Wounds” (2019); “Uncanny Annie” (2019); “School Spirit” (2019)  and “I’m Just F——- With You” (2019).

I watched “Uncanny Annie,” which was a campy teen slasher film, but a highly entertaining and an easy watch. The monsters and jump scares kept me enticed, while some of the cheesy lines and poor acting kept my eyes rolling.

“Little Monsters” was a pleasant surprise; the comedic horror movie was a joy to watch. Featuring a tough kindergarten teacher unwilling to let her class get scared in a highly dangerous situation, singing to them while flesh-eating monsters were only a feet away was the only way to succeed.

Hulu also has a series of horror films all under the category “Into the Dark,” which encompasses full-length films as well as shorts.

Some of the better rated from this anthology are: “Culture Shock” (2019); “Pure” (2019); “They Come Knocking” (2019); “All That We Destroy” (2019) and “Treehouse” (2019).

There are several options available for their Huluween special, and while it is not a free streaming service, it only costs $5.99 a month. You can also try a one week free trial to get your fill of horror instead.

For those interested in trying some new scary films — full-lengths or shorts — the options on Hulu are quite entertaining.

Contact the author at howlentertainment@wou.edu

Photos courtesy of hulu.com/press

Review of the true crime tv series “Unbelievable”

Never Retallack  | Entertainment Editor

Editor’s note: Content warning — this review covers subjects such as rape and sexual violence in relation to true events.

According to Bloomberg after the “#MeToo” movement began in 2017, just one year passed and there was more than one sexual assault crime reported everyday. Bloomberg goes on to say that the “#MeToo” movement has made tolerance for sexual assault far lower.

The new Netflix original eight-part series, “Unbelievable,” covers the true story of 18-year-old Marie, played by Kaitlyn Dever, a Washington resident who reports she was raped at knifepoint. The two male detectives who were in charge of her case had suspicions that she was lying due to inconsistencies in her story, and after being coerced by the police, she eventually said that she had made it up.

These detectives took a rare step in charging Marie with a gross misdemeanor for filing a false police report — no one went to court with her besides her lawyer. After admitting to a false report, she lost the small support she had; her peers ostracized her.

The show then moves from Marie’s tortured and isolated character to two female detectives in other states dealing with similar rape cases. Toni Collette (Detective Rasmussen) and Merritt Weaver (Detective Duvall) play the unstoppable detectives.

Rasmussen and Duvall eventually piece together that there have been many rape cases that all have striking similarities, but because each crime had been committed in different counties and states, no one was piecing it together.

The show is somber and hard to watch, recounting tragedies, leaving the audience members with a heavy heart. “Unbelievable” does a phenomenal job of showing the inner workings of the justice department, and the challenges assault victims face.

The writers of the show faced another challenge aside from the delicate topic they were covering: the fact that they were basing the show’s premise on a real life case. “Unbelievable” deserves praise for how it addresses the relevant issues of rape and social justice, with amazing actors and a compelling plot. This is definitely a show worth watching.

Overall Rating: This show is hard to watch but definitely a powerful depiction of a terrible crime, I highly recommend this series to anyone who enjoys intense dramas and is interested on how sexual assault cases can be dealt with by the police.

Contact the author at howlentertainment@wou.edu

Photo courtesy of Netflix

Up and coming artist: girl in red

Never Retallack  | Entertainment Editor

Bedroom pop —  what is it? According to the Urban Dictionary, it is “a genre (of) DIY indie music, bedroom pop is characterized by its lo-fi quality and often contemplative lyrics. Guitars and vocals often feature heavy use of reverb or delay.”

This genre is similar to other styles such as shoegaze, dream pop, jangle pop and emo.

For those that typically listen to this kind of music, they’ll want to check out up-and-coming bedroom pop artist “girl in red.”

Marie Ulven is only 20 years old and has slowly risen to fame since her debut in her home country of Sweden in 2017. Her first song released, “i wanna be your girlfriend,” was unapologetic and unique. Ulven frames a lot of her music on love, as do most pop artists, but she makes it clear that she is not straight and not ashamed.

Her songs can also touch on darker subjects such as depression and death, and despite the somewhat sinister lyrics like, “Summer depression, so much time to question my life,” from her song “summer depression” I still find myself singing along with a smile.

Her most recent album, “chapter 2” released on Sept. 6 contains only five songs, but each one is catchy and a must-listen. The first song on this album, “watch you sleep.” is quite slower than her other songs, and stars her voice without the intense guitar and drums that normally accompany her music.

I was lucky enough to see Ulven perform in Portland at the Holocene club on Sep. 22. The stage was small as well as the venue itself — there was no more than about 150 people there — and despite Ulven being such a young artist, her fan base was quite diverse.

Ulven danced on stage like nobody was watching, and even though she played a guitar the whole show she had no problem jumping along with the audience. At one point she crowd surfed, despite her manager initially saying no — she convinced him while standing on stage — excitedly throwing herself into the crowd and singing all the while.

An interesting quality about Ulven that I noticed is her personality, perhaps it’s because she is still a relatively small artist, but she made sure to talk to audience members before, after and during the show. Joking around about relatable things such as procrastination and having a caffeine addiction.

Her quirky and fun-loving attitude resonated differently than her angsty and dark music.

Ulvan has been featured on several up and coming artists to look out for lists, including Ones to Watch, praised for her ethereal voice and modest behavior.

The style of bedroom pop has been on the rise with famous artists such as Clairo, Foxes of Fiction and King Princess. They all feature similar music of complex or poetic lyrics accompanied by heavy-lidded artists who sing alongside intense guitar and drums.

Contact the author at howlentertainment@wou.edu

Photos courtesy of worldinred.com

Art on campus: Bellamy Hall and a Self-Reflection Progression

Never Retallack  | Entertainment Editor

Walking on the main street of campus, it might not be apparent that Bellamy Hall holds a series of three sculptures meant to encourage self-reflection.

The first piece: Created by Colin Lambert and Peter Adams in 2009, titled “Self-Reflection Progression: Line Drawing” is placed on the wall outside of Bellamy, facing towards the science building on the ground level. The sculpture features a human face made of mild steel and seems composed of only one single line.

The plaque below this piece reads, “The first of three portraits that make up Self-Reflection Progression, map the development of an individual’s personal humanity, from a linear outline to a fully dimensional ‘colossus’ peering back through a polished brass mirror.”

The second piece: Inside the south entrance of Bellamy Hall, the second piece in this collection titled, “Self-Reflection Progression: Portrait,” presents a more formed version of the face outside. Rather than simple line work, it has dimensions using faux limestones and brass.

The plaque below this piece is far longer, but the most important part of what is shared is, “The work alludes to the potentiality for an ever increasing depth and dimensionality of our humanity.”

This artwork carries a deeper meaning than one may originally assume, as it tries to make people reflect on who they are and how they develop over time.

The third piece: The last piece for this collection is “Self-Reflection Progression: Tonal Torrazzo.” It’s made of stainless steel and, rather than protruding like the second piece, it is one dimensional like the first piece, but with much more detail for the image.

The plaque beneath says essentially the same as the first, and yet the meaning is still valuable, to take time to reflect on who you are and how you got there.

For those who have a little free time on campus, swing by Bellamy Hall and take the time to look at an artist’s reflection, and maybe join in as well.

Contact the author at howlentertainment@wou.edu

Photos by Caity Healy

The Cascadia Chamber Opera: A group more focused on the art than the money

Never Retallack  | Entertainment Editor

I should start by saying, I have never been to an opera before. Whenever this artform was mentioned before, I pictured a huge theater, an audience full of wealthy people with little binoculars and people on stage yelling so loudly that they could shatter a glass. On Oct. 6, my mind was changed: The Cascadia Chamber Opera surprised me entirely with their stunning performance.

The Cascadia Chamber Opera was founded in 2009, compiled by a group of local and regional musicians presenting opera in a concert format rather than a full performance. A concert format is a more laid back version; the singers are dressed nice, but not in costumes, and they only have a pianist accompanying them, rather than a chorus and full band. They performed songs from different pieces, creating a more diverse performance.

This format allows the group to travel, which is far different from most opera houses that typically stay stagnant due to their large stage props. 

The Cascadia Chamber Opera is a unique group that aims to disrupt misconceptions about opera — such as the idea that it is an elitist artform. They keep all of their tickets low in cost, and often free for students to reinforce their motto of accessibility. 

“Our mission is to bring opera to more people, accessibility is key,” said Bernie Robe, a board member for the group.

This was apparent from the start, with their low prices: $8 for general public, $5 for seniors and students, and completely free for Western students. They are an all English opera group, which they decided to do to make their performances feel less intimidating for people who don’t have experience with opera.

Their performance was from the works of Gilbert and Sullivan, victorian composers who based much of their music on mocking British society, according to the artistic director Bereniece Jones-Centeno. Jones-Centeno guided the performance at Western, introducing the plot before each song that way anyone could enjoy, regardless of their previous knowledge of that piece.

With the guidance from the artistic director, I was able to sit back and enjoy the lively performance by the singers. While there were no costumes, nor set pieces, the artists delivered with their spectacular voices and expressive faces.

Each new character that was introduced was properly conveyed from the way the singer would interact with the audience, winking or scowling while belting notes with perceived ease. 

While there were around 20 songs sung, stopping at around nine for intermission, the show felt fast paced and engaging—  never a dull moment with the playful lyrics and energetic performances from the singers.

Before their performance I interviewed Jones-Centeno who discussed the importance of opera.

“The main idea with opera is that it is all encompassing, using the expression of the human voice, opening it up and telling a story through singing it… telling the human story,” Jones-Centeno said.

Contact the author at howlentertainment@wou.edu

Photos by Never Retallack

A comparison of Batman’s arch nemesis: The Joker

Never Retallack  | Entertainment Editor

“Have you ever danced with the Devil in the pale moonlight?” This quote from “Batman” (1989)  will ring true with the Joker, a character from the DC Franchise first introduced into the Batman comics in 1975 as a supervillain. His character is quite complex and has been interpreted many different ways throughout time. I will analyze each Joker that has been represented in film from as early as the 1960s.

“Batman” (1966): In this classic Batman TV series, Cesar Romero plays the devious Joker. The way this Joker was portrayed was quite comical; Romero was dressed in the typical makeup and green hair, but his evil plots often failed and he couldn’t even beat Alfred, Batman’s butler.

“Batman:The Killing Joke”(1988): This animated movie was based off of the comic of the same name, and starred Mark Hamill as the voice of the Joker.

This was a darker version of the character, shooting and paralyzing Batgirl before stripping her naked and taking pictures of her. Joker also says something that insuates he went as far to rape her afterwards as well. This appalling behavior was the first hint that the Joker wasn’t just a simple trickster. The writer, Alan Moore, says he regrets writing the comic, as the public outcry over this behavior towards Batgirl caused a large backlash for him.

“Batman” (1989): Jack Nicholson was known for his crazed character in “The Shining” (1980), and this equally crazed portrayal of the Joker followed the comics quite closely. The villain starts off as a normal man— that is until he falls into a vaut of chemicals — transforming him into a ruthless and cunning criminal. Nicholson’s Joker was unnerving but still followed a twisted humor, yet was not quite intimidating.

“The Dark Knight” (2008): As stated by the LA Times, this film is a turning point for the Joker, with Heath Ledger’s twisted performance of an unhinged villain who wreaks chaos and terror on the city of Gotham. Ledger’s Joker hinted at a sign of mental illness, never revealing his backstory in this film, but hinting at the terrors he’s faced throughout his life. The past Jokers were portrayed as silly and angry characters, resenting Batman and the wealthy, but Ledger’s often slipped into a crazed madness —  not quite angry, but seemingly calm in his destruction.

“Suicide Squad” (2016): Jared Leto’s interpretation of the Joker led to a lot of backlash when first released; this modern day gangster version was bizarre in the world of Joker. Leto also received criticism due to his method acting, even going as far as to send used condoms and dead rats to his castmates. This showed the mentality of this Joker; a twisted man who enjoyed to cause discomfort, and that is what was delivered in “Suicided Squad.”

“The Joker” (2019): This film has received some concerns similar to the movie, “Extremely Wicked, Shockingly Evil and Vile” that showed the notorious killer Ted Bundy as a family man —  a character to sympathize with. There was similar concern with “The Joker,” starring Joaquin Phoenix, as it led audience members to try and sympathize with the classic villain and even view Thomas Wayne (Batman’s father) as the antagonist. 

Phoenix played the saddest version of the Joker: losing his access to medication, living with his ill mother, being mugged several times and being ridiculed for his dream of being a stand-up comedian. This doesn’t take away from the horrendous crimes he commits, although the audience is left wondering whether what they see is reality or all part of his delusion. 

“The Joker” was not for the faint of heart, containing far more graphic scenes than ever used before, often leaving audience members gasping in horror and watching with mouths agape.

 

Overall, the classic villain, the Joker, has been a prominent member of the Batman franchise, and he has been portrayed in a variety of different ways since the 1960s. His origin story was based off the comics for several of the earlier Batman films, where a struggling crook frustrated with society falls into a vat of chemicals and becomes a disfigured and devious monster. 

Ledger and Phoenix’s portrayal were outliers among all the films released; Ledger’s Joker was shrouded in mystery, never revealing his origin story, while Phoenix’s was void of a chemical influence. Both of these Jokers were more twisted than the others, showing unmistakable signs of mental illness, and rather than the comedic Romero or cruel Nicholson, they were shown as sad men driven to madness.  

 

Contact the author at howlentertainment@wou.edu

Photo courtesy of dccomics.com

Review: “Creepshow” hits the macabre-mark with Shudder’s new collection

Caity Healy | Managing Editor

I remember when I was little — probably far, far too little — I sat down with my dad and watched “Creepshow.” I remember being enthralled by the collection of short 15-minute stories, which were just the right length for my adolescent brain to focus on; the eeriness to each tale had me glued to the screen. Of course, I had to watch the sequel, “Creepshow 2,” which had me just as intrigued. 

Now that I’m older, it’s easy to understand why I was so mesmerized by these films. It was Stephen King’s screenwriting debut, which pretty much explains everything — I love his work. It’s clear to see how his childhood of watching B-list horror movies and reading countless scary stories, as he explains in his memoir “On Writing,” had an impact on the way these films were written. It was also directed by George A. Romero, the director of “Night of the Living Dead” — another clear reason I fell in love. And, lastly, the special effects makeup was done by Tom Savini, one of my current-day horror-makeup idols. Oh — and Ted Danson is in it, so that’s probably what really drew me in. 

Having loved this 1982 horror-comedy anthology film for so long, I was both elated and nervous when I heard that Shudder, a horror-only streaming service designed for scary flick-fanatics with its several subgenres of horror, was creating a 12-part series with the same title. So when it was finally released on Sept. 26, I sat down to watch with a myriad of expectations and nerves, and began the first episode.

Episode 1 was comprised of two stories, “Gray Matter,” which was directed by Greg Nicotero and was a direct homage to the short story by the same name written by Stephen King, and “The House of the Head,” which was directed by John Harrison. But before either could begin, the much-loved creature from the original, The Creep, sat down to introduce the story the viewers would soon witness. Full of all the campiness of the original, and the practical effects to match, I immediately fell in love.

“Gray Matter” began with too many Stephen King references to count — everything from the announcement of the missing Grady twins from “The Shining” to a missing dog poster for “Cujo” and a missing cat poster for Church from “Pet Sematary” could be noticed. Diving into the story, everything about it felt nostalgic; it was truly like the original. However, nothing compared to Part II. 

The second story, “The House of the Head,” involved a dollhouse. That was enough to terrify me. But wait — the dolls move on their own. And to top it off, there’s a demonic head of an evil doll that haunts the dollhouse family. Without giving too much away, I’d say this one replicated the comedic-horror that the first film captured so flawlessly. It had me creeped out, laughing and genuinely enchanted by the story. 

Overall Rating: I highly recommend this series to anyone who, like me, loved the original, or loves the feel of practical effects and ‘80s nostalgia.

 

Contact the author at chealy16@wou.edu

Photo courtesy of Shudder

Get to know Associate Professor Cynthia Gutierrez-Garner and learn about her beliefs on social justice in relation to dance

Never Retallack  | Entertainment Editor

Can you tell me your name and your position here at Western?

Cynthia Gutierrez-Garner, and I’m an associate professor of Dance here in the Theater and Dance Program.

Can you tell me a little bit about your dance background?

I was born and raised in Phoenix, Arizona, so my initial dance training was in Ballet Folklorico which is Mexican folk dance. So that really established for me a sense of not only a deeper understanding of my cultural background as a Mexican American, but also in a sense that dance can create a real experience of community. It was a real family experience; it had a major impact on me. Once I got to a studio I started studying the typical things: ballet, jazz, tap. It wasn’t really until in college getting my undergrad that I studied modern dance.

 

Why do you think dance is important?

I think dance is important because it allows the participant —  whether they’re just doing it for fun, or whether they’re pursuing it more professionally — the connection of the mind, body and spirit. Dance really is a vehicle for more exploration, for emotional expression, creative expression and just using your imagination. Connection to other humans makes my life so rich, and dance allows that to happen. Dance can also be used as a form of social justice and is more than just entertainment. It also opens other doors of opportunity, dance will never be a waste of a degree, do what you love and make it count.

Are you working on anything else outside of Western right now?

Yeah, so I have a company based in Eugene. It’s called Company Movimiento, and we had our debut concert last summer. We have a show coming up Oct. 18 and 19 at the Oregon Contemporary Theater, and it is called LatinX Voices, and it is work centered around themes of cultural identity and social justice issues. Some of the pieces are responses to headlines, things that are happening in the world right now, and others are more personal things from my own life. It will include both modern and jazz dance, and I have a cast of about 16, and some of them are current (Western) students, and some of them are (Western) alumni and some are professional dancers in Eugene. 

Why do you direct?

As a person of color you are always aware if you are the only person of color in a room, and as an artist that becomes even more highlighted because there is privilege in art and privilege in dance if you are able to take classes and continue training, and I was always the only one that looked like me in the room. And there wasn’t a problem with that, but I always wondered, why isn’t there more diversity? It’s 2019 and it’s still a problem, so producing for me also feels like I’m doing my part to contribute to that representation, because it’s bigger than me.

 

If you have any questions for Professor Gutierrez-Garner, her phone number is (503) 838-9513, her email is garnerc@wou.edu and her office is located in OPE room 210.

 

Contact the author at Howlentertainment@wou.edu 

Photo courtesy of  V. Paul Virtucio (Head Shot)

Photo courtesy of Jennifer James- Long (group shot)

Hobo Johnson’s newest album breaking barriers for typical rap

Never Retallack  | Entertainment Editor

Leave behind any expectations of what music should be — Hobo Johnson’s album “The Fall of Hobo Johnson,” released on Sep. 13, delivers unique songs that go against the idea of what musicians should create. 

Johnson is often perceived as a rapper, despite saying in his song “Peach Scone” on his previous album “The Rise of Hobo Johnson” that, “people like to say I’m a rapper, I’m actually not.”

The thing about Johnson is that his music is so different from what is popular that people struggle to define who he is — I’d argue that his music is essentially spoken poetry with back up vocals and instruments. 

In his new album, Johnson cleverly incorporates a broad scheme of themes into his songs, from jabbing at the shallowness of media, the vicious cycle of mankind, an anthem of how ugly he is and even a song all about the Subaru Crosstrek XV.

Beginning his album with “Typical Story” was a shock to many fans, myself included, as it was a lot different than the music he had previously released. It felt almost too put together to relate to his usually chaotic music.

His album transitions into a more humorous and chaotic style. His song “You & the Cockroach” essentially picks apart how humans are scared of dying and that leads to problematic solutions, and he even discusses — without naming names — that President Donald Trump will cause Supreme Leader Kim Jung-Un to launch missiles.

His song “Ode to Justin Bieber,” featuring Jmsey and Jack Shoot, took a stab at how superficial the world is, and his frustrations with not being as popular as Bieber, saying that it doesn’t make sense how horribly Bieber can treat others and still thrive in society.

Johnson’s last song on the 12 song album, “I Want a Dog,” is an interesting play on the American Dream of wanting a happy family, but also the unrealistic expectation for every aspect of life to be exceptional. He sings that he just wants a dog and a family, but that he also wishes his dog could talk and his son would be a prodigy.

 

An interesting detail arose when comparing his two albums. Johnson’s 2017 album cover for “The Rise of Hobo Johnson” features a drawing of him looking upwards, but in black and white. His 2019 album cover, “The Fall of Hobo Johnson” depicts him staring down, but he is awash in blues and his hair is sprouting colorful flowers. I am unsure if this was meant to contradict the name of his albums, because the cover for his second album somehow speaks of a more positive idea, while his first album cover seems devoid of emotion and empty.

Overall rating: Johnson’s new album was a rollercoaster of emotion; it did not simply keep one tone throughout. Instead, it switched tones from upbeat to humorous to introspective, all delivered with interesting beats and passionate spoken word. I highly recommend this album to anyone needing pump up music and craving music that’s a little different.

Contact the author at Howlentertainment@wou.edu 

Photo courtesy of Warner Records Press

Why go out this Halloween when we have a list of horror films to die for

Never Retallack  | Entertainment Editor

The month of October is the perfect time to delve into the world of horror. Not sure what to watch? The staff at The Western Howl have compiled a list of different horror movies to watch to get into the Halloween spirit.

 

For those who prefer a good laugh while watching horror: “Young Frankenstein” (1974), “Dracula: Dead and Loving It” (1995), “Tucker & Dale vs. Evil” (2010),  and “Scary Movie” (2000).

If you have an itch for psychological torture: “Midsommar” (2019), “The Babadook” (2014), “Candyman” (1992), “Mama” (2013), “Us”(2019), “Goodnight Mommy” (2014), “Lunacy” (2005), “Saw” (2004), “Teeth” (2007),  “Donnie Darko” (2001), “Silent Hill” (2006) and “The Blair Witch Project” (1999).  

Those who enjoy spooky possession and haunting movies: “The Devil Inside” (2012), “Insidious” (2010), “The Conjuring” (2013), “The Others” (2001), “Sinister” (2012) and “Paranormal Activity” (2007).

Sometimes a good horror movie is also a thriller that keeps you on the edge of your seat: “Resident Evil” (2002), “House of Wax” (2005), “My Bloody Valentine” (1981), “A Quiet Place” (2018), “Get Out” (2017), “Creep” (2014), “The Boy” (2016), “From Dusk Till Dawn” (1996), “Gerald’s Game” (2017) and “You’re Next” (2011).

Don’t have time for a full movie? Check out these bone-chilling shows: “The Haunting of Hill House” (2018), “American Horror Story” (2011-2019), “Channel Zero” (2016-2019), “Two Sentence Horror Stories” (2019), “Another” (2012), “Corpse Party” (2013).

With so many recently released horror movies, it’s important to go back and watch the classics: “The Texas Chainsaw Massacre” (1974), “Halloween” (1978), “Silence of the Lambs” (1991), “The Lost Boys” (1987), “Bram Stoker’s Dracula” (1992), “The Shining” (1980) and “Psycho” (1960).  

For those who aren’t into being terrified but don’t want to be left out: “Hocus Pocus” (1993), “Halloweentown” (1998), “The Nightmare Before Christmas” (1993), “Ghostbusters” (1984) and “Corpse Bride” (2005).

 

Contact the author at Howlentertainment@wou.edu 

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