Mount Hood

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 

Analysis of “It” 1990 vs. 2019

Never Retallack | Entertainment Editor

Remakes — they have been all the rage within the past few years. Consider all of these: Disney reanimations, “Ghostbusters,” “Men in Black,” “Oceans 8” and more. With the recent release of Stephen King’s “It: Chapter 2,” I decided to rewatch the 1990 version to see how the original and newer version contrast.

The original “It” adapted from Stephen King’s novel of the same name was a horror miniseries directed by Tommy Lee Wallace and written by Lawrence D. Cohen. 

According to IMDB, Wallace and Cohen originally planned for it to be a four-part, eight-hour series, but with ABC’s time limitations Cohen condensed the 1,138 page novel into a mini-series of about three hours in length. That is one large difference between the original and the new version — the amount of time dedicated to the story. The newer version of “It,” released in 2017, and “It: Chapter 2,” released in 2019, directed by Andy Muschietti and written by Gary Dauberman, are both nearly three hours in length. I believe having the extra screen time allowed Dauberman to fit more content into the film than Cohen was able to.

For those that have not seen the film or read Stephen King’s novel, “It” tells the tale of an interdimensional monster disguised as a clown named Pennywise. He terrorizes seven children in the town of Derry, Maine. This flesh-eating clown uses his powers to manipulate the children, using their fears against them while they try to stop him from killing other children in their town or themselves.

In the 1990 version, the audience first meets the main characters as adults; throughout the first half of the movie, flashbacks show the children fighting Pennywise. 

In Dauberman’s 2017 “It” film, he focuses on the seven main characters as children. In the 2019 version they are reunited as adults, with occasional scenes showing them as children. 

The different timelines in the original and new version create different paces for the films; the original feels fast paced, almost rushing to give the audience the necessary details to understand the story. 

I think having two three-hour films allowed the audience to get to know the characters better and fully grasp the complexity of King’s story. 

Western senior, majoring in Interdisciplinary Studies, Emily Hedges said, “The newer film’s plot was much easier to follow than the old one.”

One key difference to note between the original and newer versions is the filming styles and technology available. In Cohen’s 1990 version, Tim Curry as Pennywise was terrifying, but like many classic horror films it felt campy and cheesy. No gore or guts were ever shown; any pivotable scary moments with Pennywise were paired with loud music, slow motion and abrupt fade ins and outs. This style is like that of “Psycho,” “The Omen” and other classic horror films. In Dauberman’s newer versions, intense CGI — even altering Bill Skarsgård’s face as Pennywise — creates a modern and horrific image. 

Overall I find both the original and new versions to be entertaining. Depending on the style of horror one prefers; classic versus special effects. While I am still not sure if remaking films is benefiting the film industry at all, I highly recommend both versions of the classic tale of a terrifying clown.

 

Contact the author at howlentertainment@wou.edu

 

A list of events to attend this fall

Never Retallack | Entertainment Editor

This fall, Western Oregon University and different organizations in Monmouth and Independence are orchestrating many events to look forward to in the upcoming weeks.

 

The following is a list of upcoming events within the next few weeks on or near Western’s campus free for students with their student ID.

Friday, Oct. 4: History and Mystery: Held in Main Street Park at 7 p.m., participants are encouraged to bring their own chair and flashlight for an evening unveiling Monmouth’s mysteries.

Saturday, Oct. 5: Independence Downtown Association’s Ghost Walk: Located in downtown Independence at 7 p.m., guided through different shops and historic buildings. 

Sunday, Oct. 6: Cascadia Concert Opera: Playing in Smith Music Hall starting at 3 p.m., featuring a set of guest artists performing selections by Gilbert & Sullivan.

Tuesday, Oct. 8: WOU Faculty Jazz Concert: Performing in Smith Music Hall starting at 7:30 p.m.

Friday, Oct. 11: Human Hands: They will be playing bluegrass and hot jazz mashup in Rice Auditorium, with doors opening at 6 p.m.

Friday, Oct. 11: “Toy Story 4” Movie Night: A free movie showing at the Monmouth Public Library at 2 p.m.

Sunday, Oct. 27: Trunk or Treat: The First Baptist Church is hosting an event with games, candy and snacks from 5:30-7 p.m. at the First Baptist Church in Independence.

 

Contact the author at howlentertainment@wou.edu

Beat the heat with these local concerts

Chrys Weedon | Entertainment Editor

Summer in a small town can often get lonely and boring — especially in a college town, when everyone has gone back to their hometowns for the season.

But the good news is, you can break the summer monotony with the public summer events the cities of Monmouth and Independence provide for their citizens, detailed below.

 

Monmouth:

Every summer, Monmouth has a summer “music in the park” series. Each Wednesday, starting July 10 and ending Aug. 28, a different band will be playing in the Main Street Park Amphitheater. All concerts begin at 6:30 p.m., and the bands cover a wide variety of genres. Attendance is free, and wine, beer and food will be available. Pets are discouraged.

 

July 10: Ted Vaughn Blues Band

Genre: Blues

July 17: Brass Roots Movement

Genre: New Orleans jazz

July 24: Garcia Birthday Band

Genre: Grateful Dead tribute

July 31: Midnight Serenaders

Genre: Swing

Aug. 7: Coming Up Threes

Genre: Celtic

Aug. 14: Cascade Crescendo

Genre: Jamgrass

Aug. 21: Tezeta Band

Genre: Ethiopian Funk

Aug. 28: The Resolectrics

Genre: Rock

 

More information can be found at www.ci.monmouth.or.us under the “things to see and do” tab.

 

Independence:

The Independence Amphitheater in Riverview Park will be the location of the Independence “River’s Edge Summer Series,” a lineup of concerts and movie showings free to the public. Opening bands will begin at 6:30 p.m. and headliners at 8:30 p.m. starting on July 12 and occuring every Friday until Aug. 16. Movie showings will occur every Thursday starting on July 11 and lasting until Aug. 15. Movies in July will begin at 9:45 p.m. and movies in August will begin at 8:30 p.m.

 

Concerts (headliners):

July 12: Erotic City

Genre: Prince tribute band

July 19: Shoot to Thrill

Genre: AC/DC tribute band

July 26: Appetite for Deception

Genre: Guns & Roses tribute band

Aug. 2: Who’s Bad

Genre: Michael Jackson tribute band

Aug. 9: Ty Curtis

Genre: Blues-rock band

Aug. 16: Triple Shot

Genre: Heart, Pat Benatar, and Bad Company tribute band

 

Movies:

July 11: “Bumblebee”

July 18: “Wreck It Ralph 2”

July 25: “Aquaman”

Aug. 1: “Signs”

Aug. 8: “Back to the Future”

Aug. 15: “Captain Marvel”

 

More information can be found at www.independenceamphitheater.com.

 

Contact the author at howlentertainment@wou.edu

“Godzilla: King of the Monsters” review

Chrys Weedon | Entertainment Editor

On May 31, 2019, everyone’s favorite titan made a return in “Godzilla: King of the Monsters,” a sequel to the 2014 movie “Godzilla.” The 34th installment in the “Godzilla” franchise, although not the best in its history, satisfies all of this reviewer’s cravings for more Godzilla screen time and big monsters fighting each other.

The newest “Godzilla” film follows the cryptozoologist organization “Monarch,” and their fight against a group of eco-terrorists planning to awaken all of the titans to bring a natural balance back to the world. 2019 really does love villains who want to restore “natural balance” to the universe, doesn’t it?

While “Godzilla: King of Monsters” introduces a menagerie of new characters, it does bring back one of the most iconic faces from the last movie: Dr. Ishiro Serizawa. Director Michael Dougherty and writers Zach Shields and Max Borenstein included magnificent references to Dr. Serizawa’s backstory, and they didn’t deny audiences any of his critical attitudes toward humanity. Not only that, but they give Serizawa one of the most touching scenes in the movie, where he finally comes face-to-face with the beast of his affection, Godzilla themself. He literally touches the face of God(zilla).

Some movie critics think they’re too good for “Godzilla.” “The plot line is full of holes,” they say, “focus more on the human characters, there’s too much fighting,” they complain. They’re snobs, the lot of them. I would argue that the focus on Godzilla’s fight against Ghidorah and the other titans is a marked improvement from the movie’s prequel. The 2014 movie focused far too much on a romance story, of all things. I’m pretty sure no one is watching “Godzilla” for a love story, unless it’s the romance between Godzilla and Mothra, thank you very much.

All in all, “Godzilla: King of the Monsters” satisfies. There’s lots of fighting and wonderful connections to Godzilla lore. I will admit, the characters did tend to fall flat and the plot lines were convenient, but that’s keeping with the style of the “Godzilla” franchise. This audience member isn’t complaining.

 

Overall rating: I would strongly recommend this film.

 

Contact the author at howlentertainment@wou.edu

Photo courtesy of warnerbros.com

BFA graduates put their hard work on display

Chrys Weedon | Entertainment Editor

As the school year winds to a close, end of the year events are keeping graduating seniors busy. The next event of the year is a new exhibit in the Cannon Gallery of Art featuring the artwork of three Bachelor of Fine Arts students who will be graduating on June 15, 2019.

The end of Spring Term not only marks the graduation of the three featured students, but also marks the first full year of the redesigned Bachelor of Fine Arts in Art and Design program. For the past three terms, Paul Fults, Sabrina Riff and Eric Frey have been developing and honing their artistic skills. The upcoming exhibit puts these artist’s diverse theses on display.

Fults is a sculptor who has focused his thesis on geopolitics and environmentalism. According to a press release about the exhibit, Dr. Kathleen Cassidy, the Dean of Liberal Arts and Sciences, commented on Fults piece “Feeding Time,”saying, “At first I thought it was beautiful, then I saw it wasn’t.” Fults plans on building upon his experiences as a veteran and machinist after graduation while working in the project management field.

Riff is an artist focused on ceramics. For her thesis, Riff has been focusing on character design — specifically, she has created life-size busts of distinctive characters from “Dungeons & Dragons.” Riff desires to continue in the field of character development post graduation, specifically in the movie or gaming industry. “I think the most important thing I’ve learned while in the BFA program is who I am as an artist. Don’t get me wrong, I learned how to better my technical skills and make my visions become reality,” said Riff, “but discovering what I wanted out of this — out of school — that was the most valuable for me … These last three terms have helped me realize my dreams, my ambitions, and how I can make those come true.”

Frey, like Fults, is a sculptor. Frey’s thesis focuses on art in social practice, specifically related to discrimination and bias. One of his projects, the “#WOUborderwall,” has been highly visible throughout the year; it was installed in November of 2018 and has recently been reinstalled in the field next to the Richard Woodcock Education Center. After graduation, Frey will travel to Florence, Italy to pursue a master’s degree in sculpture at the Studio Arts College International. Frey’s goal is to teach and to establish a studio for military veterans to experience art.

The BFA gallery opens on June 5 and will close on June 15, the day of commencement. An opening reception with the artists will be held Thursday, June 6 from 3:30 to 5:30 p.m. A closing reception will also be held after the commencement ceremony.

 

Contact the author at howlentertainment@wou.edu

Photo courtesy of Eric Frey

Music department students shine in recital

Chrys Weedon | Entertainment Editor

In the most recent performance in the music department’s busy spring schedule, the brass and guitar ensembles showed off their skills developed during the past school year. In a hybrid performance on May 28, the two groups played three songs each.

The brass quintet consists of students Ruben Monroy and Kyle Perdue on trumpet, Lisa Munk on trombone, Gabriela Monroy on french horn and Josh Mendoza on tuba. The group is directed by Dr. Keith Karns.

“Brass quintet really isn’t like bigger ensembles — we are very independent while playing, almost like you have five different soloists playing, which makes it really important to know your parts,” Mendoza explained.

Two of the three pieces played by the quintet were works done in some capacity by student musicians. The first song, “Earth Song” by Frank Ticheli, was arranged Josh Mendoza. The second piece, “Hungarian Dance No. 5” by Johannes Brahms, was transcribed by Kyle Perdue. The third song performed by the group was “Brass Quintet No. 1 in B-Flat Minor,” written by Victor Ewald.

Mendoza commented on his experience, playing a song he arranged: “It’s always fun hearing your arrangement being played, especially if you put a lot of time and effort into your arrangement — it makes it all worthwhile.”

In a break between groups, Dr. Karns and Professor Christopher Woitach took the stage to perform a duet written by Frank Foster. Dr. Karns played trumpet and Woitach accompanied on guitar.

Afterwards, the guitar ensemble geared up for their 54th group performance. The group was made up of Michael Cortez, Stacy Henle, Brandon Stewart and Wally Plada. The ensemble was directed by Woitach, who also played guitar in the performance.

The ensemble played three songs: “Cueca” written by Agustin Barrios, “Iko Iko” a traditional song arranged for the group by Woitach and “Ken’s Blues,” which was written by Woitach’s friend Ken Carrier and also arranged by Woitach.

 

Contact the author at howlentertainment@wou.edu

Photo by Paul F. Davis

Stuck in “Middletown” with you

Chrys Weedon | Entertainment Editor

Small towns in America are often romanticized for their character, their whimsy or their nostalgia. But, often behind this rose-tinted picture is the harsh reality that Small Town, USA is often not as idyllic as it may seem.

This is the basis of “Middletown,” the headlining theater production for Spring Term. This play takes all the small-town character and expresses it by focusing on a cast of small-town characters. The plot follows Mrs. Swanson, a lonely housewife with an absent husband, as she moves to Middletown and meets John Dodge, a zany local man with a penchant for suicidal ideation.

“Middletown is about a community of people who live in the same small town. It zooms in on certain stories and relationships in this community through revealing interactions in the town square, the library, at the hospital and in people’s homes,” commented Guest Director Zeina Salame. “It reveals how we learn and grow from our own life intersecting with someone else’s, asking questions about kindred spirits, loneliness, life, history, nostalgia, hope and this world.”

Salame has been a guest artist and instructor at Western for the last two terms. 

“I have loved collaborating with folks who, from day one, were willing to explore ‘what might happen if…’ and give things a try even if those creative choices led us into an unknown,” said Salame.

“Middletown” in its original form, by Will Eno, sought to address a multitude of issues, from suicide to the colonization of America and the eradication of its Native populations. However, as pointed out by Salame and her two student assistant directors, Meghan Doerfler and Rory Krehbiel, Eno was sometimes problematic in his portrayal of some ideas.

To combat this, Salame, Krehbiel and Doerfler made artistic choices in their direction of the play. For example, gender is presented very fluidly, with names and pronouns unaltered no matter the gender of the actors. Also, Sweetheart, a character originally written by Eno that fit many problematic stereotypes about individuals with mental disabilities, was directed in a much different way in order to challenge this negative vignette of a differently-abled person. Instead of being a character pushed to the background, Sweetheart is a connection between the audience and the more dialogue-heavy characters in the production.

In an arena-type layout, every section of the audience experienced a different perspective of the play, accentuating the different perspectives of Eno’s characters and the complexity of the town. A rotating set allowed for the seamless transition between different scenes and took the audience on a tour of Middletown.

Reflecting on her time at Western, Salame explained: “Working with students is my favorite part of everything I get to do. I believe there to be great artfulness in being a teacher. I love helping to shape our field by offering tools to the next generation, as well as genuinely leaning on them to find innovative approaches and solutions to each piece of the puzzle.”

 

Contact the author at howlentertainment@wou.edu

Photos by Paul F. Davis

“What Were You Wearing?” exhibit redone

Chrys Weedon | Entertainment Editor

Communications 436, a class titled Gender Power and Cultural Production, is described in the course catalog as a class to “examine the interplay between feminisms, queer theory and cultural production, focusing on how power manifests in ways that contribute to and constrain communication around gender and sexuality.”

As a final project, the class is recreating an exhibit titled “What Were You Wearing?” Originally created in 2013, the goal of the exhibit is to raise awareness about sexual assault and victim-blaming.

The event involves a room full of displayed outfits that show what sexual assault survivors were wearing at the time they were assaulted. A press release written by the class explained that the project’s goal is “to remind viewers that it doesn’t matter what you wear, sexual violence can happen. It also aims to call attention to the fact that no matter what you were wearing, you did not ask for it or deserve it.”

Sexual assault is a big problem in the United States. According to the press release, one in three women and one in five men have experienced sexual assault at some point in their lives. As reported by the National Sexual Assault Resource Center, eight out of 10 assaults are committed by someone the survivor knows.

Dr. Dana Schowalter teaches this Gender Power and Cultural Production class.

“We’ve done this event in the past here at Western Oregon University, and it has traditionally made a huge impact on everyone that has witnessed the displays. My students putting this project together have agreed that sexual assault and victim blaming needs to be directly addressed,” commented Dr. Schowalter in the press release, “and they are looking forward to getting a chance to bring awareness to the public. It is not easy talking about this subject matter, but we feel it is very necessary.”

The “What Were You Wearing” exhibit will take place on June 5, 2019 from 9 a.m. to 3 p.m. in the Willamette room in the Werner University Center. For more information about this event, contact Jess Elder at 502-801-2900 or Never Retallack at 971-712-9712.

 

Contact the author at howlentertainment@wou.edu

Extraterrestrial excitement in Oregon with UFOfest

Chrys Weedon | Entertainment Editor

Thursday, May 16 ushered in the 20th Annual UFOfest in McMinnville, Oregon. According to ufofest.com, a UFO fever set into the small town of McMinnville in 1950 when a family spotted a flying saucer over their farm. This sighting made national news. 50 years later in 1999, the very first UFO festival reignited the fever of 70 years ago. The festival is the second most popular UFO event, aside from the UFO festival that takes place in Roswell, New Mexico, according to the UFOfest website.

Hosted by the company McMenamins, who owns various hotels, pubs and breweries, the festival took place May 16 through 18. This year’s UFOfest featured free-to-all activities such as vendors, live music, a 5k Alien Abduction Dash fun run and a pet costume ball. The festival also featured a lineup of experts and speakers in the McMenamins hotel that required the purchase of a day or weekend pass to attend.

Guest experts included Bob Lazar, a former physicist employed at Area 51; Joanne Clarkson, a hypnotherapist and tarot reader; George Knapp, a journalist and author; Commander David Fravor, who was a witness to a 2004 UFO sighting titled the “Tic Tac incident” and many other speakers.

Bands played at various locations around the festival, including the band Kirby Swatosh & The Moon Rock Patrol. The pet costume contest drew a large crowd who cheered on a goldfish decorated as a UFO — they won first place. Volunteers from Zero Waste McMinnville were posted at stations around the event, helping attendees sort their waste into different bins for compost, recyclables and garbage.

The main event occured Saturday afternoon at 3:30 p.m. Floats and marching bands paraded through downtown McMinnville, drawing audiences that lined the sidewalks four to five people deep. Lively music and intricately decorated floats representing local groups and businesses entertained bystanders for nearly two hours, and even sporadic rain showers didn’t damper their spirits.

The McMinnville UFOfest once again proved to be a lively event that brought together many different people to celebrate counterculture, conspiracy and a unique tradition that is classic to the Pacific Northwest.

 

Contact the author at howlentertainment@wou.edu

Photos by Chrys Weedon

Students show their hard work through song

Chrys Weedon | Entertainment Editor

Every term, students from the music department have the opportunity to perform pieces they have been working on. On Thursday, May 23 at 11 a.m., the last student recital of the year took place in Smith Music Hall.

In a relatively short program, 10 students put their hard work on display to an audience of their peers, teachers and families. This recital provided one last chance this school year to perform in this setting. The performances were a mixture of piano, voice, guitar and one cello.

Julia Fruit performed “Prelude XII: Minstrels” by Claude Debussy on piano; Tristin Thomas played “Ben’s Song” by Richert on cello while accompanied by Jackie Morelly on piano; Songzi Li sang “Through the Night” by Korean musician IU while Kenneth Soh played the piano; and Virtue Velour and Nikita Williams gave a rendition of “Broken” by Seether joined by Trevor Fischer on guitar.

Velour explained why he chose to perform this song.

“As a classical musician who’s also a big fan of rock and metal, the song is really accessible for a concert format … I just knew that I wanted to do a duet with (Williams), because she has a great voice and I trust her musical instincts,” Velour said.

There were also two performers who played pieces of their own creation. Alex Lancaster played his song “The Night Forest” on piano, a complex piece rich with storytelling. Stacy Henle played guitar and sang “Neskowin Parade,” a song about a small town celebrating the Fourth of July, which she co-wrote with A. Lancaster.

Clocking in at less than an hour, this recital was one of the shortest this year, but contained just as much talent as any other student showcase. Velour explained what he learned from the experience: “Doing a duet is a really good opportunity to learn how to work with your peers. Trevor’s also a great guitarist … so he was fun to work with as well.”

 

Contact the author at howlentertainment@wou.edu

Photo by Ashlynn Norton

BonnaWOU takes the Grove

Caity Healy | Editor-in-Chief

On May 23, the clouds parted as three bands took the stage in the first-ever BonnaWOU festival hosted by SAB. Each band that was involved was local: Jimmy Wolfson, The Ferenjis and Chromatic Colors. Taking place in the Grove from 5 p.m. until about 8 p.m., students and members of the community brought their blankets and made themselves at home on the grass.

Each band performed their set as the sun was shining brightly above the stage that was set up outside. Every band came with their own style, which made it accessible to everyone — there was music that just about everyone could enjoy. All were welcome; some took it as an opportunity to do homework with a show, some just sat and watched and others got up and danced. People came and went all evening as it was a free event, until the music faded that evening with the sunset as a backdrop to a picture-perfect night.

 

Contact the author at howleditor@wou.edu

Photos by Caity Healy

Picnics and prizes: The 51st annual Juried Student Art Exhibition

Chrys Weedon | Entertainment Editor

To celebrate the opening of an exhibition featuring student art, a picnic and award ceremony was held on the lawn of Campbell Hall on Monday, May 13. This gallery has occurred every year for 51 years, and is a juried exhibition, meaning that a juror was hired by the Cannon Gallery to review Western student’s submitted artwork and get the final say in what pieces made it in. Every year, a different juror is hired.

The juror this year was Patricia Vazquez, who holds a BA in Graphic Design and Education and a MFA in Social Practices. Vazquez splits her time between Portland, Oregon and Mexico City, Mexico. Due to a prior teaching engagement, Vazquez was unable to attend the event, but she selected two pieces to receive a juror’s choice award, which includes a $100 prize awarded to each artist. Cory Timmins received one of those awards, along with several others, for a video piece titled “House Hunters Multinational.” Timmins is senior pursuing a degree in Art and Design.

“It was validating to just be selected for the show,” Timmins said. “To win awards on top of that felt incredible. It feels like my art career is off to a great start.”

Many other awards were given out, including awards for best digital piece and best non-digital piece, art faculty recognition awards and outstanding art students in upper level division courses awards.

This year’s student exhibition included art pieces from many different mediums, including mixed media, sculpture, graphite sketches, digital art and oil painting, and covered a broad range of themes such as social justice, consumerism and body image.

“Students from the gallery internship class did a ton of work accepting the pieces, in addition to Paula Booth, who runs the gallery,” commented Timmins.

Every year, the gallery sends out an open call for any Western student, no matter their major, to submit their work for critique.

“We could submit up to six pieces and pay a small fee to have our work critiqued,” explained Timmins.

When asked her opinion about the best part of being involved in the exhibition, Timmins responded: “Being surrounded by other amazing work is the best part of being featured in the show. We have so much talent at Western. I’m inspired in my classes by my peers and even more in awe when I’m in the gallery. There’s so much artwork to love.”

 

Contact the author at howlentertainment@wou.edu

Photo courtesy of Rita Frey

Salem String Quartet visits Smith Hall

Chrys Weedon | Entertainment Editor

According to their website, the Salem String Quartet was named the Quartet in Residence with the Camerata Music Society, the music society of the Mid-Willamette Valley that provides free chamber music events to the public. On May 16, the Salem String Quartet visited the stage of Smith Music Hall.

The quartet’s website reports that the four string players met while performing in Salem in 2008 and naturally came together to form the group. They have been performing in the valley since June 2017.

The Salem String Quartet is made up of violist Brandon Correa, cellist Katherine Perks and violinists Caius and Sigrun Oprea, who are married. The quartet members are from all over the world — Caius Oprea was born in Romania, Sigrun Oprea is native to South Africa, Correa was raised in Honolulu and Katherine Perks grew up in Idaho.

On the night of May 16, the quartet performed three movements of Op. 11 written by American composer Samuel Barber, and No. 2 in G Major, Opus 111 by German composer Johannes Brahms. For the latter song, the group performed as a string quintet, as they were joined by violist George Thomson, the current Director of Orchestras at West Salem High School and Conductor of the Corvallis Youth Symphony.

Salemstringquartet.com describes the group’s performances as “a uniquely satisfying blend of versatility, inspiration, energy, quality and experience.” This explanation also applied to the group’s Smith Hall performance. The show was passionate and lively, as well as one of the most highly attended Smith Hall events this school year.

Similar to most 2018-2019 art performances, the Salem String Quartet’s performance was free for Western students. The quartet will perform one free event every year until 2021 as part of the Camerata Music Society’s concert series, and will participate in other events with the organization.

 

Contact the author at howlentertainment@wou.edu

Photo by Paul F. Davis

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