Mount Hood

‘Tis the season to stay busy

Jade Rayner | Copy Editor

The holiday season is about to hit full swing, with December right around the corner. Whether you’ve been blasting holiday tunes since the beginning of November or you’ve been avoiding the holidays at all costs, it’s time to embrace this season to the max. Break out your planners, folks, because there is no shortage of fun to be had, come Dec. 1.

Being a full-fledged Christmas fan or not, there’s no denying the joy that comes from seeing lights adorn trees as far as the eye can see. To catch a tree lighting in action, and snag some free hot cocoa and candy canes in the process, check out one or three of the many tree lighting events taking place within the first week of December.

Western’s 50th annual tree lighting will take place in front of Campbell Hall at 6 p.m. on Friday, Dec. 1. For more information, refer to page five. Can’t make it that night? Keizer will be holding its annual tree lighting in Walery Plaza on Dec. 5 at 6 p.m. For more information on event details and where to park visit http://keizerchamber.com

Independence is lighting up the night with their Parade of Lights on Saturday, Dec. 2 at 5 p.m. It’s important to note that the parade route will look different than it has in the past. For a complete map of the route, check out the Independence city website. A holiday party will be held following end of the parade at the Independence Elk’s Lodge on Main Street at 5:30 p.m.

For those looking for a little more excitement and a lot more walking than a typical tree lighting has to offer, check out the Oregon Zoo’s 30th year of its ZooLights event. ZooLights takes you on a journey through a spectacle of over a million lights, while also offering rides on the train, pictures with Santa and a variety of food carts. The event runs through Jan. 7, but will be closed Dec. 24 and 25 as well as Jan. 1 through 4.

For those who want to save some money this season, plan on attending one of the value nights for a cheaper admission price. To see a calendar of when those are, as well as pricing and event times, go to http://oregonzoo.org/visit/zoolights.

The Elsinore Theatre in downtown Salem is offering multiple opportunities to get a nostalgia fix with a variety of holiday movies and performances. From screenings of “A Charlie Brown Christmas” and “Elf,” to the Eugene Ballet Company’s “The Nutcracker” and “Sing We Now of Christmas” performed by Festival Chorale of Oregon, the possibilities are plentiful. A full list of performances and movie screenings can be found on http://elsinoretheatre.com.

There are a plethora of activities and events available to attend during the holiday season. As the term winds down, it’s the perfect time to start planning how to achieve a well-deserved break from school and have fun in the process.

 

Contact the author at journalcopy@wou.edu

Review: “Animal Crossing: Pocket Camp”

Stephanie Blair | Editor-in-Chief

I discovered “Animal Crossing” and began my lifelong debt to that nefarious raccoon, Mr. Nook, in 2002, when it first came to America as a game for the GameCube. The game was met by a sea of praise from players and critics alike and was followed by its sequel, “Animal Crossing: Wild World” on the Nintendo DS in 2005. Due to continued critical and cultural acclaim, the game continued to be reincarnated: next as “Animal Crossing: City Folk” in 2008 for the Wii, and finally as “Animal Crossing: New Leaf” for the Nintendo 3DS in 2012.

However, such as it is with many Nintendo games, if those platforms weren’t a part of a player’s childhood then these titles hold no meaning or nostalgia. Now, for the first time, an “Animal Crossing” game is available on a non-Nintendo console: the humble smartphone.

“Animal Crossing: Pocket Camp” is free on Google Play and the iOS App Store, allowing Android and iPhone owners, alike, to experience a taste of the game loved ‘round the world.

However, veteran Animal Crossers may find themselves wanting more from the app. The concept of the new game is that the player’s character is taking a vacation to go camping outside of the city. In this wilderness, other animals from the game series are camping, as well, and will exchange money and materials for favors. Similarly, instead of being perpetually indebted to Mr. Nook for home expansions, a trio of brothers keeps the player in debt through camper upgrades.

There isn’t nearly as much customization available as there was in previous games and the world is incredibly limited. Similarly, beloved characters and places have been cut to accommodate the limitations of cellular platform — or, more likely, to avoid making the entire game experience free to the public. For those who invested significant amounts of time in collecting artifacts and specimens for Blathers at the museum, there’s nothing in the app.

For those who have been shaking trees and running from bees for over a decade, it simply doesn’t provide the same level of satisfaction.

However, for a college kid with no money for a Nintendo console, it’s a great substitute. And, for those who have never experienced the game, “Pocket Camp” is a great way to test the waters without investing in consoles and games.

 

Contact the author at journaleditor@wou.edu


Radium Girls stand in the spotlight

Stephanie Blair | Editor-in-Chief

On the mainstage of Rice Auditorium currently sits a simple set of three platforms and a plain black backdrop, obscured by a massive, reflective window. It’s on this little set that a big story is going to be told: “Radium Girls” by D. W. Gregory.

The premise is less simple.

“Three girls die and sue a company,” said Mindy Mawhirter, a junior acting BFA major who plays Kathryn at the start of the show.

“In that order,” added first-year theatre and mathematics education major Andi Moring, the play’s lead.

The play takes place over the course of 20 years but begins in New Jersey in 1921, following a small group of girls who work in a factory painting watchfaces with glow-in-the-dark paint for the soldiers of World War I. It’s the radium which makes this paint glow, and claims the lives of so many workers in this factory.

In one of the opening scenes of the play, the forewoman informs the girls that they have to go back to licking their paint brushes to form a point rather than wiping them in cloths due to their budget. When Grace, portrayed by Moring, objects, saying that her doctor warned her not to, she is snapped at and told that she must have misunderstood the doctor.

“We know now that (radium) is very poisonous and radioactive, but they didn’t know that back then,” explained Moring. “It was the miracle drug, it was incredible.”

This point is further driven home in the show when Marie Curie claims that radium is the cure for cancer. And so, the girls continue to radiate themselves, making them sick and ultimately driving them to their graves. This same event sparks a lawsuit, the main focus of the show.

“It’s kind of just the story of the first real lawsuit against a company for how they’ve been treating their workers, and work conditions,” said Moring. “I don’t want to give away too much but, yeah. That’s our show.”

“This is a very different show than what we did last year — we did ‘Machinal,’ which was an expressionistic piece, and this is more of realism,” said Mawhirter. “So that’s been interesting to see: the differentiation between the two styles of theater — especially with having the same director (Michael Phillips).”

While the show isn’t expressionistic, it is a touch abstract in terms of its performance. The set, as mentioned, is fairly minimal, and so is the cast. The show is performed by 16 actors who portray a total of 36 characters on a single set.

Molly Duddlesten, junior theatre and English major, commented, “I die on page 27 so like, that’s cool. And then I’m other characters in the show, which is fun.”

The show opens on Thursday, Nov. 9, and runs for two weekends. Nov. 9-11 and 15-18, the curtain opens at 7:30 p.m. and a matinee performance will take place on Nov. 12 at 2 p.m. There will be no late seating once the show starts. Friday night performances will be interpreted.

Adult admission is $14; senior, faculty and staff admission is $10; for Western students with ID, admission is $8. Visit the box office at Rice Auditorium or call 503-838-8462 to purchase tickets.

 

Contact the author at journaleditor@wou.edu

Podcast roundup

Zoe Strickland | Managing Editor

 

“Terrible, Thanks for Asking”

Photo courtesy of apmpodcasts.com

Listen to if: you want honesty, and you need a good cry.

“Terrible, Thanks for Asking” is an emotional show. Hosted by Nora McInery, “Terrible, Thanks for Asking” is a podcast that celebrates the more somber bits of life. McInery is well-versed in those moments; within the span of a few weeks she lost her second child, her husband and her father. “Terrible, Thanks for Asking” stems from those experiences.

In the podcast, McInery interviews people about those dark parts of life; the episode themes vary from what it means to be perpetually single in your thirties to what happens when your best friend dies. This podcast is one that can’t help but breed empathy for every situation, even for people who may be hesitant about whether or not they will be able to relate to what’s discussed.

“The Love Bomb”

Photo courtesy of podcasts.com

Listen to if: you’re interested in gender identity, sexuality and the interconnectedness of people.

“The Love Bomb” is hosted by actor Nico Tortorella, who identifies as a cisgender, sexually fluid bisexual. In this podcast, he interviews people in his life who he loves, has loved or doesn’t love yet.

In the purpose of full disclosure, Tortorella uses the word love openly. This is probably the only case wherein I don’t roll my eyes involuntarily at the phrase “in love with love” — Tortorella’s interest and honesty makes it work. “The Love Bomb” delves into the deeper discussions relating to how people identify and what those identities mean to them. The show just concluded its second season, so there are about 40 one-hour episodes to wade through.

“Still Processing”

 

Photo courtesy of stitcher.com

Listen to if: you want to stay informed and intersectional

“Still Processing” is a show put on by The New York Times that primarily deals with the intersections between culture and race. Co-hosted by culture writers Wesley Morris and Jenna Wortham, the podcast has interviewed RuPaul to talk about the Emmy’s, analyzed the implications of the show “Girls” and, most recently, discussed the sexual harassment allegations against Harvey Weinstein.

Though the topics discussed on “Still Processing” may not be new ones, both Morris and Wortham bring a sharp-witted perspective to the table.  “Still Processing” is a show that forces listeners to think about their actions and the media they consume. “Still Processing” just wrapped up their most recent season, but has 53 episodes that are up and available for your listening pleasure.

“It Makes a Sound”

Photo courtesy of nightvalepresents.com

Listen to if: you love fiction and analyzing the power of music.

 

“It Makes a Sound” is a new podcast from Night Vale Presents. Like most of the podcasts in the company’s arsenal, “It Makes a Sound” is a fictionalized serial show that only spans a season of episodes. In this case, “It Makes a Sound” is set to produce nine.

Set in the ‘90s, the podcast begins when its fictional host, Deidre Gardner, finds a tape of an unreleased album from the elusive musician, Wim Faros. The podcast follows Gardner as she attempts to solve the mystery of the Wim Faros tape. “It Makes a Sound” is beautiful in the way that it captures what it’s like to truly be a fan of something. Gardner takes you through her journey as she finds the tape, and brings you along as she tries to use music as a way of revitalizing the world around her.

 

Contact the author at journalmanaging@wou.edu

Scream yourself silly

Darien Campo | Designer

I am an avid fan of horror-comedy, but I can be picky about this genre. Usually because most films turn out to be little more than “comedies with gore” (e.g. Tucker and Dale Vs. Evil.) In this list, I’ve put together what I think are the five best films that perfectly straddle the line between shocking terror and gut-wrenching laughter.

  1. The Frighteners

Just five years before Fellowship of the Ring hit theatres, Peter Jackson directed “The Frighteners;” a film starring Michael J. Fox as Frank Bannister, a conman who uses his ability to communicate with ghosts to trick people into thinking he’s an exorcist. “The Frighteners” is an enthralling mystery that weaves Bannister’s con artistry, his uncertain past, a terrifying mass murder and a mysterious string of deaths caused by an unknown assailant.

  1. Cabin in the Woods

Drew Goddard, writer of “Cloverfield,” “The Martian,” and the upcoming “Deadpool 2” made his directorial debut with “Cabin in the Woods” — a film he wrote with nerd-culture icon Joss Whedon. “Cabin in the Woods” is a great deconstruction of all the horror tropes and characters we know so well. It subverts the genre in surprising ways, while still paying homage to and celebrating the gory heritage we all know and love. “Cabin in the Woods” is frighteningly original and shockingly funny.

  1. American Psycho

Bret Easton Ellis’s novel of the same name can be a difficult read. Those not used to such violent fiction can easily see it as a fetishization of murder and sexual violence, but the decision to have the film helmed by female director Mary Harron helped turn it into a violently hilarious parody of 1980’s greed and narcissism. Christian Bale delivers one of his finest performances as the utterly psychotic Patrick Bateman: a self-obsessed desperate-to-impress yuppie by day, deranged serial killer pop-music aficionado by night.

  1. Bubba Ho-Tep

B-movie king Bruce Campbell stars as Elvis Presley, years after he faked his death and now resides in a nursing home with a black man who claims to be John F. Kennedy. Together the two must face off against an ancient Egyptian mummy that is now feeding off the souls of the weak retirement home residents. Based on a novel by Joe R. Lansdale and directed by Don Coscarelli  (“Phantasm,” “John Dies at the End”). “Bubba Ho-Tep” is – well, I don’t even know what else to say, if that all doesn’t reel you in then you’re a lost cause.

  1.  Evil Dead II

While the original “Evil Dead” is a campy misstep of a horror film by a group of novice filmmakers, and “Army of Darkness” is a straight-up comedy, the middle film “Evil Dead II” is the movie that I believe perfectly strikes a balance between fear and farce. “Evil Dead II” is a film that is equally inspired by the gore and horror of “Friday the 13th,” as it is by the outrageous slapstick of The Three Stooges. Bruce Campbell is at his peak as Ash Williams, S-Mart housewares clerk and demon-slayer. This movie is fast, fun and full of atmosphere. If you’re a fan of the recent Showtime series or terrific reboot, it’s well worth checking out the franchise’s roots here. It’s one of my favorite films, and I cannot recommend it enough.

Contact the author at dcampo13@wou.edu

Review: “Little Nightmares”

Jade Rayner | Copy Editor

If you’ve ever wondered what it would look like to combine the style of Tim Burton with the adventure and covert horror of Hayao Miyazaki’s “Spirited Away” — “Little Nightmares” is here to deliver.

“Little Nightmares,” a side-scroller suspense-adventure game by Tarsier Studios, was released on April 27 and is perfect for getting in a spooky mindset for Halloween. The game centers around Six, a small child trying to find their way out of The Maw, a cruise ship full of large, grotesque characters that will eat Six if they get the chance.

Much like the “Amnesia” games, the monsters must be ran from rather than fought, with a few exceptions. “Little Nightmares” also shares similarities with Playdead’s “Limbo” in that they are both side-scrollers which focus on a child protagonist, and puzzle-solving is needed to travel through the game.

I would say a big pro and con for this game is how accessible it is for a wide range of gamers and non-gamers alike. Being one of the worst gamers I know, I obviously died at least 40 times over the course of this fairly-short game, and I’m sure that is missing a good handful of them. However, for those well seasoned at gaming, it might not pose the same challenge that “Limbo” would. Although the beginning sets the scene differently, most of the game is well-lit and the monsters aren’t very difficult to escape, especially if you died once and have been able to see their movements. The first level is by far the most difficult, but you will be rewarded if you choose to make it throught the whole game.

There’s something for everyone within The Maw. Childlike playfulness and imagination is encouraged while the player learns to navigate the mouse-sized Six around the massive rooms in The Maw. Once the monsters come out, horror fans are presented with fast-paced suspense, but it’s never too much to handle. For those sticklers like myself who demand an aesthetically pleasing design in their entertainment, there are no disappointments. I cannot stress enough how beautiful and unique a world Tarsier Studios created.

My recommendation is this: drop whatever game, Netflix series or memoir you’re working on, and do yourself a favor by immersing yourself in the world of “Little Nightmares.” It’s not a big time commitment considering it only took me — a “noob” of a gamer  — a total of four or five hours to complete. Throughout the journey of completing this game, I felt both emotionally and physically frustrated, angry, excited, sad and in love for a variety of reasons. No other game has ever sparked as visceral of a response from me as “Little Nightmares,” and if that doesn’t intrigue you, nothing will.

“Little Nightmares” is available on PlayStation 4, Xbox One and Microsoft Windows through Steam.

 

Contact the author at journalcopy@wou.edu

Nightmare Factory back in business

Stephanie Blair | Editor-in-Chief

Those seeking an experience manufactured to scare even the bravest of heart need look no further than the Nightmare Factory at Oregon School for the Deaf. For the last three decades, the Factory has been spooking its victims with ghouls, zombies, monsters and clowns.

In particular, one clown has stood out: Mr. Booger. Each year, Mr. Booger straps those brave enough into a wheelchair and takes them for a “Wild Ride” through his funhouse. The Nightmare Factory website advertises that “this insane ride of your life includes many years of terrifying flashbacks! Great birthday gift for that special someone! Not for the faint of heart or people with weak knee syndrome!”

For those eager for a thrill, but not thrilled by the prospect of being wheeled around by a clown, there is another option to enhance the experience of the Nightmare Factory: Z-Tag. For $10 in addition to admission, haunt-goers can purchase an “infection detector” which will allow them to partake in a modified version of tag.

As explained on the Nightmare Factory website, “Human players start out with a green tag and must survive by avoiding zombies and finding health kits or a healer … Zombies have red tags  and seek out humans, Infection happens when a zombie player’s badge gets within 3 feet of a human player’s badge.”

The infected human must then find a health kit within a certain amount of time or they, too, will become a zombie. Tags are for the players to keep, and they can re-enter the haunt to play again for a reduced price.

For those seeking to be scared to death or who just want to make it out alive, the Nightmare Factory offers intensity levels for everyone.

However, for those with heart conditions, seizures and asthma the Nightmare Factory has a special warning; “Fog machines, strobe lights, specialty lights and high startles in use!”

For more details or to purchase tickets, visit nightmarefactorysalem.com or call 503-378-3825.

Regular admission tickets are $15, VIP tickets — which reduce wait time on busy nights — are $25 and tickets for Mr. Booger’s Wild Ride are $40. Tickets for the Wild Ride must be purchased in advance.

 

Contact the author at journaleditor@wou.edu

Review: “Beautiful Trauma”

Zoë Strickland | Managing Editor

Alecia Moore, more commonly known as P!nk, released her new album on Oct. 13. “Beautiful Trauma” is the artist’s first record in five years.

In true P!nk fashion, “Beautiful Trauma” is a tête-à-tête between upbeat pop songs and serious ballads. Her lyrics are deep and personal; like you’re sitting down with Moore and having the world’s most exciting conversation.

The first four tracks are a 16 minute romp, including “Revenge,” which features Eminem. “Revenge” is repetitive in the best way, and has lyrics with a feel reminiscent of Carrie Underwood’s “Before He Cheats” infused with a bit up rap and pop.

The bops transform into a two-song slow jam with “But We Lost It” and “Barbies.” Both tracks represent the softer, more honest side of P!nk. They’re a representation of my favorite strain of P!nk’s music — stripped down vocals paired with a singular instrument. Moore’s voice was made for slow ballads, her soulful cantor and impactful lyrics weight every line.

The bulk of the album contains fun tracks that make you want to belt out every lyric. The songs are sell-able and make perfect singles, while still bringing the lyrical depth that’s hidden under the surface of P!nk’s songs.

The album ends opposite of how it begins, completing the story of the album. The rocky relationship found in the lyrics of the titular track comes full-circle with “You Get My Love,” a slow tune in which P!nk turns the anger displayed in the first song into acceptance and openness.  

In recent years, P!nk’s discography has been caught up with the same general sound. She’s been circulating around heavy beats with an essence of EDM and a touch of one-instrument ballads for her past three albums. “Beautiful Trauma” wasn’t anything new to P!nk’s repertoire.

 

Contact the author at journalmanaging@wou.edu

Review: “How to Murder Your Life”

Alexandra Martin | Entertainment Editor

Life is just too hard. Well, it can be. As we attempt to trudge through all that is “existence” in modern society, what with our social envy, serial relationships, crippling college debt and picturesque meals littering Instagram. All the while waiting to be buried or burned by yet more debt, steep mortgages and praying that somehow we can say, “I lived a good life” at the end of it all before we take a dirt nap or we fade into some vaporous eternity.

For some, we disguise the everlasting embers of pain and anger, feelings that we can’t choose, with hard exteriors and “resting b—- face.” Maybe taking any hard-earned cash and blowing it all on a barely-there ensemble to exemplify just how barely-there our mind is during the hours of lectures wondering, “what good is this information?” Others, we turn to intoxicants, spending endless hours at cheap apartment parties with underage peers or local karaoke nights at surrounding businesses coveting the bitter water of death and lusting for the misty moment when it floods us from head-to-toe.

“How to Murder Your Life” is 350-plus vainglorious pages of raw, dizzying dazzle written by a petulant privileged American girl, Cat Marnell. This literature, if you can even call it that, is a memoir peppered with such a blatant lack of self-pity that a person almost finds themselves sympathizing with the writer. Almost.

Marnell memorializes her existence beginning with the shining and always memorable teen years. She writes about her academic life attending a posh private school and how her father, a budding psychiatrist, gave her that first bottle of ADHD medication beginning the long descent down the deepest of drug-addled rabbit holes.

A tourist of her own life, Marnell finds herself with a bottomless dependence on any and all flavors of second hand pick me ups, detailing accounts of abusive relationships and recollections of nights spent in New York City smoking crack at a rooftop party. She describes the demented thrills of the uppers and the ghastly downs that follow a thrill seeker.

This memoir is a stimulating account of an “existence” that is all too familiar for many readers. “How to Murder Your Life” is just as riveting as it is frustrating.

 

Contact the author at journalentertainment@wou.edu

Review: “Blade Runner 2049”

Alexandra Martin | Entertainment Editor

It is the year 2049; do you know where Ryan Gosling and Harrison Ford are? Gosling, otherwise known as “K,” is spending his time working for the LAPD as a “blade runner.” Gosling’s main purpose is to hunt his own kind, other bioengineered humans, and “retire,” which is a nice way of killing, his rogue brethren. Harrison Ford plays a straight-shooting egotist and former blade runner by the name of Rick Deckard.  

Ford was also featured in the predecessor to this year’s “Blade Runner 2049,” the 1982 film “Blade Runner.”

If you’ve never seen the original, which I hadn’t until recently, this year’s adaptation is bound to leave something to be desired if you go in blind. Typically, I don’t put too much concern into understanding the plot or what I may be missing when a movie is based on a book or is a remake, or maybe a sequel that has taken 20 years to come to fruition. This time, I am earnestly grateful that I heeded the recommendation of my significant other to give it a go and educate myself prior to attending the movie.

“Blade Runner 2049,” was a quality film. Aside from the stellar acting and incredible cinematography, the story in and of itself was impeccably told. It is deeply philosophical and retains just enough of the original “Blade Runner” to weave the two movies together with ease, allowing the viewer to be able to experience the movie, not just watch it.

 

Contact the author at journalentertainment@wou.edu

Something for everyone this fall

Alexandra Martin | Entertainment Editor

Fall in the Pacific Northwest usually means one thing to the community: long, cold, rainy days spent inside. An exorbitant amount of time can pass simply daydreaming of dead fall leaves crunching underfoot, sipping on hot apple cider and reminiscing of those days that seem like yesterday that were devoted to complaining about the sweaty, smoky and unforgiving summer season.

Well, fall is here; the autumnal breeze rips through campus like a hot knife through butter, but that doesn’t mean we have to give up on outdoor activities. Airlie Hills Harvest Festival is in full swing until the end of October, and while the list of goings-on isn’t endless, at least it’s something other than binge-watching Netflix and moping.

First thing’s first: the corn maze. If you were lucky enough to grow up in an area that had a corn maze during the fall, then you know what I’m talking about. Why is wandering around a bunch of corn and getting lost so enjoyable? Is it the riddles scattered along the way, dropping hints of which direction to go? Maybe it’s the glow-sticks? I’m not sure. There is no science to answer that question. Trust me, I googled it. But one thing I do know without having to turn to the internet for answers: the Airlie Hills corn maze is awesome.

Next, the pumpkin patch. With over 30 different varieties of pumpkins, this is the place to find the perfect gourd to carve up and shove a tea light candle inside, in the name of Halloween. Maybe pumpkin carving isn’t your thing — that’s okay. There are little hay bales, miniature pumpkins, ornamental corn and mums to add a little pizzazz to your dorm room.

Still not turned on by the corn maze or décor? Well, there are indoor slides, a full menu of food and beverage items, pedal-karts and farm animals; this place actually has something for everyone.

Airlie Hills Harvest Festival is open Thursday through Sunday, 9 a.m. to 6 p.m. until the end of October. After that, it’s back indoors until summer.

 

Contact the author at journalentertainment@wou.edu

BloodyVox Floods Rice Auditorium

Alexandra Martin | Entertainment Editor
Photo by Nick Brooks | Freelance Photographer

Nearly every seat in Rice Auditorium was filled this past Friday for the second show in the Smith Fine Arts Series 41st season, — BodyVox: BloodyVox, an imaginative and talented dance ensemble portraying the portentous lore that stems from people’s darkest fears and surrounds the month of October.

BodyVox is a dance company from Portland, Oregon, known for its dramatic imagery built through dance with a bit of a slapstick, theatrical twist. After being founded in 1997, BodyVox has attained an impressive number of accolades for performances in nine award winning films, three operas and 30 original shows, among many other achievements.

For the opening of the show at Rice, a singular gentleman emerged from the drawn velvety curtains in what appeared to be the get-up of a detective from a ‘40’s movie: trench coat, fedora, brief case — you get the idea. After some bizarre tight-lipped gesticulation toward the audience, he whipped a microphone and a cell out of his pocket and, using an application similar to Mouth Mover, began to present the night’s entertainment. He coaxed out a couple laughs from the audience by switching to an iPad as opposed to his phone and after a couple minutes, disappeared behind the curtain.

Each following entertainment piece alternated between the 11 performers present at Rice Auditorium while employing an array of props for each dance to drive home the theme “BloodyVox.” In the dance, “Dormez Vous,” which means “you sleep” in French, a bed was utilized to give the illusion of people sleeping and creatures of the night spilling out from underneath the bed. Piece by piece, the performances were aided by costumes and miscellaneous objects on the stage in addition to the choreography and music, maintaining the same nebulous feel throughout the show.

While there was not exactly blood in “BloodyVox,” when paired with a fog machine, flashing lights, ominous music and put near pitch black lighting over the audience, the evening’s entertainment casted a hematic shadow in the best way possible.

BodyVox wrapped up the first portion of the Smith Fine Art Series fall season. The entertainment will resume Jan. 12 with Celtic Journey: Sounds and Soundtracks, featuring Western’s own Dirk Freymuth.

Contact the author at journalentertainment@wou.edu

 

Catch and Release: Album Reviews

Discovering newly released music before the masses are aware of it used to be a pastime for some. Knowing all the lyrics, mastering the air guitar and making sure that everyone around knows who found it first were all very important parts of being the coolest. Here a few albums that have been released recently. They aren’t for everyone, but at least it’s something other than listening to the same songs you jammed out to in high school.

“Half Light” by Rostam, a former group member of Vampire Weekend, is an album that’s almost perfect for studying or sleeping. Having listened to Vampire Weekend in high school, I find that there are all the elements of Rostam’s previous group, but there’s a finesse to “Half Light” that sets it apart. Perhaps it was taking a page out of Bon Iver’s book for the cinematography of his music video or the minimalism that, ironically, makes you want to go buy the album. It’s his solo debut and, while it reflects his previous group, it is anything but typical.

Open Mike Eagle recently released “Brick Body Day Kids Still Dream.” After listening to the first few songs, I felt like I had listened to the same song on repeat. Each tone story made me feel the same feelings, see the same images. In an attempt to interpret this album, I noticed that it mainly focuses on the past, but also dreams of the future — an all too common theme. Some of the songs are so erratic that it actually made me physically frustrated. But maybe there is a level of musicality that I have yet to unearth in myself.

After listening to music for hours on end, trying to write this article, I stumbled across the album “I Tell a Fly” by Benjamin Clementine. Just as I was hoping and praying for something different, or an eye-opening album to listen to, I got this. Though it wasn’t exactly what I was searching for, it’s just fine. If you can imagine Death Grips and Timber Timbre having a little music-baby on a rebellious streak, it would be Benjamin Clementine. Similar to past albums, each song carries a similar weight with it and, after having seen Clementine on an NPR Tiny Desk Concert, I was more than a little disappointed. “I Tell a Fly” is jazzy, avant garde, electronic and modern. Frankly, it’s all over the place.

Finally, “Wonderful, Wonderful” by the one and only, The Killers. Perhaps my review of this album is a bit biased, being that I think The Killers are pretty amazing. Imbibing a bit and singing loudly and off-key to “Mr. Brightside” still sounds like a good time to me. This album — however high my hopes were — was not so much of a letdown, as it was a surprise. After disappearing off the scene, The Killers haven’t really lost their touch. “Wonderful, Wonderful” retains the same light and delicate instrumentals that were on previous albums, but with darker emotions. Sure, it is no “Hot Fuss,” but it’s better than a kick in the pants.

 

Contact the author at journalentertainment@wou.edu

Salem Cinema introduces alternative film experience

Alexandra Martin | Entertainment Editor

Going to the movies, a popular pastime since the Nickelodeon debuted in the early 20th century, is not only about the movies themselves but the whole experience. For most, attending a movie as a child was the first glimpse we received into the adult world. However, with the rise of Netflix, Hulu, on-demand and the increasing popularity of Redbox, along with the untimely demise of Blockbuster, watching a movie seems to have lost some of the magic that it once had.

Instead of going on a first date to the local theater and drowning the butterflies in your stomach with too-buttery popcorn and Coca-Cola products, people would rather save the $20 and “Netflix and chill.” But one theater is sticking it to the man and retaining the roots that remind us of our first experience watching a movie on the big screen.

Those familiar, dimly-lit, slanted walkways, dancing soda and candy previews and the intimate seating arrangements still remain intact at Salem Cinema, a three-screen theater located on Broadway Street.

It’s more than just a place to make a person nostalgic for youth and to see an overpriced cinema remake of a movie that came out thirty years ago.

As part of the Manhattan Short Film Festival, Salem Cinema screens movies from Sydney, Moscow, Kathmandu and Vienna providing a most unique experience for any Friday night out.

Furthermore, the Salem Cinema is beyond being merely a business out to make a profit. The cinema also participates in a program called “Reel Change,” which allows non-profit organizations to borrow the reels that the theater screens to raise money for causes in the Salem area. Some such causes are: The Straub Environmental Learning Center, Salem Audubon Society and Marion-Polk food share.

The Salem Cinema, also known as High Street Cinema, opened in 1982 and is the only locally owned and operated theater in the greater Salem area. It strays from the straight and narrow, bringing cinema’s alternative side to life: showing independent, art and foreign films such as Wind River, Viceroy’s House and Deconstructing The Beatles: SGT. Pepper, to name a few of the far-fetched titles now playing. It is an ideal place to get a taste of the past while enjoying the leisure of attending a silver screen feature film.

 

Contact the author at journalentertainment@wou.edu

True stories of ordinary people

Alexandra Martin | Entertainment Editor

There didn’t appear to be an ounce of tension in the room of Dallas’s Pressed Wine and Coffee Bar on Sept. 30. Maybe it was the soft, warm bread and hummus platters or maybe, just maybe, it was the libations of wine delivered by the staff in the hall that kept the crowd preoccupied while waiting for the night’s entertainment to begin.

Portland Story Theater paid a visit to Dallas for the third annual Dallas Storyteller Festival. The festival is a week-long event full of assorted stories for all ages, workshops and, my favorite, charming recollections of youth.

One such story, told by Beth Rogers entitled “Angels” was a tale recalling her childhood and the trials she experienced being legally blind and attending a public school. After many years, Rogers was fortunate enough to have a teacher who took her under their wing. Now, as an adult, she is able to give back to society as a teacher and provide the same guidance and understanding for her students.

Another narrative, titled “Irish,” dictated by Lynn Duddy, was a chronicle beginning with Saint Patrick and the uncertainty regarding whether or not he was indeed of Irish descent. Duddy delves into the history of Saint Patrick and his everlasting influence on Ireland, despite his genealogy. She effortlessly links times of old with modernity regaling the tale of her upbringing: being put up for adoption and growing up in an Irish family. This was a story of acceptance and belonging to a family or society, like Saint Patrick, despite where life may have started.

Portland Story Theater was founded by Lynn Duddy and Lawrence Howard to be a place where creative minds gather to share their true recollections of growth, opposition, acceptance and the encounters people have throughout a lifetime.

If you missed out on this opportunity, Portland Story Theater holds shows on the first Friday of every month at 3333 NE 15th Avenue in Portland.

 

Contact the author at journalentertainment@wou.edu

The Ladybugs: A big apple jazz ensemble

Alexandra Martin | Entertainment Editor

The 41st season of The Smith Fine Arts Series kicked off the year with The Ladybugs. Hailing from the Big Apple, The Ladybugs’ one of a kind sound immersed the whole of Rice Auditorium this past Friday with their upbeat, contemporary interpretations on early 20th century favorites.

Each member of this incredibly talented foursome is an accomplished musician in their own right, whether it be as working musicians for popular television shows, performing at jazz clubs in New York City, being members of community ensembles or laboring solo artists, The Ladybugs passion was apparent throughout the entirety of the performance.

As part of their NorthWest Tour, they banded together to create a night to remember at Western for the community, university alumni, faculty and students, alike. Featuring musical stylings many performance-goers know and love from the musical “Guys and Dolls,” and other famed artists such as Louis Armstrong. The group played a vast collection of songs old and new, imbued with latin flavor and country flair that aimed to please.

With the jazzy, ethereal vocals of Martina DaSilva and Vanessa Perea, Dylan Shamat’s thumping bass, Joe McDonough’s buoyant trombone solos and the warm bluesy guitar stylings fashioned by Alex Goodman, this group demonstrated that it is just as tasty piecemeal as it is a cohesive, delightful treat for audiences aged six to sixty and anywhere outside or in between.

Western Oregon University was the last stop on The Ladybugs Northwest Tour, which spanned from Canada to Oregon. Their self-titled album, “The Ladybugs” can be purchased through iTunes or from their Facebook page.

The Smith Fine Arts Series shows will reconvene Oct. 6 with BodyVox: BloodyVox at Rice Auditorium, a dance spectacular complete with talented dancers, eerily beautiful choreography and an artful depiction of the creatures and mystery that surround the month of October.

 

Contact the author at journalentertainment@wou.edu

Review: “If It Was A Smile”

Stephanie Blair | Editor-in-Chief

For fans of folk and indie rock, a must-hear album is coming your way — Joseph Demaree and the Great Smoking Mirror: a guitar- and cello-playing duo from Portland, Oregon, will release the band’s 10-track, debut album, “If It Were A Smile,” on Jan. 16, 2018.

The group is composed of frontman Joseph Demaree, who contributes vocals and guitar to the tracks, and Miranda Shapiro, who is featured on vocals and cello. The band describes their sound as “mellow and dreamy with an indie rock edge,” with influences spanning from Duke Ellington to Hank Williams, to The Velvet Underground, to Leonard Cohen named.

The album begins with dialogue that’s been faded and distorted with an effect that’s reminiscent of early 20th century radio broadcasts — this is a part of the story-driven element of the album, which reappears at the beginnings or ends of various tracks. After the initial bit of conversation comes the first song, which opens with the album title as its first line.

The album would pair with a melancholic montage in a Wes Anderson-esque indie film, or a rainy day of doing the dishes for non-cinematic persons. The tone of the album left this listener with an ache in her heart and the story, a longing for a resolution that would come in the final track: 10 minutes that left me only half-satisfied.

Those with a love for dynamic changes within an album will be disappointed. While the sound is pleasant, each track is extremely similar. Without the interwoven bits of theatrical dialogue between tracks, it could very easily be mistaken for one 46-minute long song. Every track on the album is a waltz, with most featuring the same drumline and extremely similar picking patterns on guitar.

The sound and story isn’t for everyone, but, if you would enjoy hearing a Johnny Cash/David Bowie/Ayreon collaboration album — this is it.

 

Contact the author at journaleditor@wou.edu

Music is in the air

Alexandra Martin | Entertainment Editor

Music is a great way to fill any amount of silence with melodic noise. “Spotify has a wide selection…it’s the only way I stream music,” said Ethan Gilbert a junior computer science major. Whether a person is walking to class, driving down the road or finds themselves anywhere in between, streaming music has replaced the classic mp3s and there are about a million ways to get your music fix.

Mary Goodale, a senior communications major, still relies on purchased music but also uses popular streaming services, “I use Pandora or the Google Music app on my phone. I use Pandora when I want a wide range of music I don’t have on my phone and I use Google music when I want to listen to music I’ve purchased throughout the years.”

Surprisingly, many students around campus use more than one streaming service, depending on their mood such as Maria Krueger, a sophomore psychology major, “I like Spotify because the playlists you pick are more specific than when you listen on Pandora. But, I listen to Pandora when I don’t know exactly what I want to listen to and am feeling random.”

Spotify caters to a person’s musical interests with unique playlists and Pandora’s random selection method is great for scratching that musical itch that a person isn’t quite sure how to reach otherwise.

While there is an innumerable amount of other free options including AccuRadio, SlackerRadio and TuneIn, most music streaming services have one thing that most people can agree is possibly the worst kind of interruption when in the middle of a deserted highway or during a high-intensity workout: commercials. However, for a monthly fee these heinous interruptions can be avoided on most streaming sites. Go figure.

One such service, Spotify Premium, is partnering with Hulu to provide unlimited listening and commercial free access to hundreds of shows and movies for students at the discounted price of $4.99 for 12 months.

 

Contact the author at journalentertainment@wou.edu

Murderers, Vampires, Demons, Oh My

Alexandra Martin | Entertainment Editor

October is nearly upon us and what better way to get in the spirit of Halloween than brushing up on those spooky tales that have helped shape this holiday into what it is. Most of us grew up with some experience hearing campfire legends, folk tales and ghost stories, or things of the like.

Whether these venues for inspiring fear are the design of an active imagination or a tool to encourage youngsters to avoid the darkest part of the woods on the edge of the park, they have deeper origins than most begin to consider.

Hollywood has banked millions on the fear of things unknown, many of these being cinema blockbusters, late-night television shows or book series’ such as, “Goosebumps,” “The Changeling” starring Angelina Jolie or the classic Nickelodeon series “Are You Afraid of The Dark?” While these examples may incite some nostalgia for a simpler time, when Hollywood Video was still the place to go for newly released movies and the public library was a frequent haunt, a new form of media is on the rise providing a grander scare than ever before.

“Lore,” a podcast dictated by Aaron Mahnke explores the deepest, darkest depths of history, exposing the origins of cinema’s and television’s beautifully haunting entertainment.

Beginning in 2015, Aaron Mahnke, the producer, host and creative mind behind the award-winning podcast, delved into the campfire stories that, for some, have haunted us into our adulthood; the stories that raise the hairs on the nape of your neck when venturing for a late-night glass of water and instigating a personal conversation like, “Hey there demons, it’s me, your boy. Please don’t chase me up the stairs like last time.”

Mahnke covers those age-old tales that had you convinced in childhood that the boogie man lived in your closet, vampires were a certainty and the old lady next door was most definitely possessed by something other than the Christmas spirit.

There is a unique element of Mahnke’s storytelling that sets it apart from those blockbuster hits and spooky campfire legends. Mahnke works with a team of people to research each and every subject of the podcasts, unearthing folklore from around the world; providing not only a bone-chilling, blood-curdling tale, but a petite history lesson as well. Mahnke covers such infamous celebrities such as: H.H. Holmes, Lycaon the son of Zeus and The Elephant Man. Who says learning can’t be fun? Did I mention that it’s free?

Through the success of “Lore,” having won Best of iTunes 2015 & 2016, Mahnke has also written a book which is due to come out this October entitled “The World of Lore: Monstrous Creatures.” To further augment his ever-growing brand, Mahnke is also collaborating with Amazon Prime to produce an exclusive mini-series that will premiere on—yep, you guessed it— Friday, Oct. 13.

“Lore” is broadcasted every two weeks on Mondays through Apple podcasts. Personally, I am waiting with bated breath for the mini series to come out. October and Halloween are positively my favorite times of the year and there is nothing I enjoy more than a good scare, but you can be the judge. “Lore” is worth giving a listen, watch or read; if not for the stories, then for the soothing, evocative voice of Aaron Mahnke to lull you into a slumberous, nightmarish sleep.

Contact the author at journalentertainment@wou.edu

A summary of summer

Alexandra Martin | Entertainment Editor

Being on the “Path of Totality” undoubtedly put Oregon on the map this summer, casting a bit of a shadow on the events—no pun intended—that came before and after the once in a lifetime occurrence around the state and the nation. Across the United States, this past season was not only filled with long hot days, but, at the risk of sounding cliché, hotter and longer nights.

Burning Man, the Superbowl of self-proclaimed “radical” festivals held in Black Rock City, Nevada is one of the grandest festivals of modern day. This festival is one that will surely cost a pretty penny; around 425-1200 of them to be exact according to burningman.org. Aside from the cost, Burning Man is one of the few festivals that promote community, self-reflection and the free exchange of goods and services. This freedom is something that draws people from all walks of life to attend each year.

Another lighthearted event that took place this past summer was based out of Veneta, Oregon. The Oregon Country Fair shares a similar outlook as Burning Man, being one of the state’s most artisanal and free-spirited events. Riddled with music, puppeteers, dancing and an assortment of other liberated happenings throughout the three-day festival; it is something every Oregonian ought to experience in their lifetime.

From quirky alternative to funky blues comes the Waterfront Blues Festival in Portland, Oregon. An annual 3 to 5 day engagement, this festival is unlike others in that it is held in the heart of the city. But once inside the gates, a person tends to forget the hustle and bustle of the city life surrounding them and is immersed in those rhythmic, soulful, funky beats that almost no one can withstand enjoying.

Of course, these are just a couple examples of where this past summer has taken us. Naturally, one thing is always certain: next summer will undoubtedly be just as, if not more, spectacular.

Contact the author at journalentertainment@wou.edu

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