Mount Hood

Review: “The Defiant Ones”

Kevin Reed | Entertainment Editor

“The Defiant Ones” is a documentary based series on HBO, directed by Allen Hughes, centered on the story of Andre Young (Dr. Dre) and Jimmy Iovine starting “Beats by Dre.” The audience gets to see how they both started out in the music business and watch as they go through a rollercoaster of ups and downs on their way up.

Viewers see real videotapes from their early music days and interviews with a huge number of stars and executives to get an in depth look at their lives.

Dr. Dre is one of the godfathers of hip hop. His story starts in Compton, California. He was one of the people who started N.W.A. and went on to produce for some of the best hip hop artists ever. He helped Eazy-E, Snoop Dogg and Eminem start their careers, but his legacy has inspired rappers like Kendrick Lamar.

Iovine started the hugely successful record label, Interscope Records. Throughout his career, Iovine has managed artists like Eminem, U2, Nine Inch Nails, Gwen Stefani and Rico Suave. His influence on the music industry still is relevant to this day. Throughout the series it’s shown that Iovine has a fascination for the stranger artists and believes that what makes an artist strange is their creativity. This was unlike most other record labels at the time who felt their artists should adhere to what society considers normal. In “The Defiant Ones” Steve Berman, the vice chairman of Interscope Records describes a conversation he had with Iovine about the direction of the label: “I walked into Jimmy’s office one day and he said, ‘Steve you know what you problem is?’ And he drew a straight line. ‘That’s you, and you know what we need to bring into your life?’ And he squiggles. ‘We gotta get some of that.’” Iovine had never felt his label never needed to follow the status quo, he even preferred it didn’t.

Many artists make appearances throughout both Dr. Dre’s and Iovine’s stories. My personal favorite introduction of a specific artist was the establishing scene of Eminem. This scene tugged at my emotions because I always saw Dr. Dre and Eminem as the Batman and Robin of early 2000 hip-hop.

Dr. Dre’s career was suffering and the board at Interscope wanted him gone. Then, he discovers a young freestyle rapper — Marshall Mathers — in Detroit and decides to sign him. Against Intescope’s executives opinions, Iovine trusts Dr. Dre and they sign Eminem. Within a year of signing he released “Slim Shady LP” which destroyed the charts. Watching this scene, and seeing the actual moment on tape where Dr. Dre and Eminem first clicked made me feel like I was there and I could feel the magic happening right in front of me.

This miniseries is nothing short of motivating to me. It follows the story of two visionaries who climb from the bottom all the way to the top. They climb and claw their way up through hard work and obsession with their work. Seeing that I felt driven to work that hard in anything I do.

“The Defiant Ones” is an in-depth and immersive documentary that gives the viewer an up-close look at the lives of Doctor Dre and Jimmy Iovine. Throughout each episode, viewers get to know the events of their lives through authentic videotapes and pictures, as well as interviews of the artists and people they interacted with throughout their lives.

After watching this you feel as if you were there in the moment. Both of these men worked relentlessly and ended up changing the world of music entirely. You can feel the emotion in every up and down that goes on in the course of the story. Allen Hughes put this together magnificently and made it personal for the viewers. I highly recommend this series to anyone and it is one of my favorite documentaries.

Contact the author at kreed17@mail.wou.edu

Photo by: www.hbo.com

‘Clever, lewd, crude and undesirable’ art

Kevin Reed | Entertainment Editor

Auston Ricks’s artwork is centered around the viewer thinking in a different way than they are used to and interpreting his art in their own way. Ricks is a criminal justice student in his junior year here at Western. In his spare time, he puts together message-based art pieces using a mixture of photography and drawing. Recently, some of his pieces have been showcased in a display on the second floor of the Werner University Center, across from the Wolf Grill. I got to sit down with Ricks this past week and ask him about his art process.

“I want to go for something different but that still expresses something,” said Ricks. He explained that the most important part of his art is the expression and messages in his art. “I try to do something I wouldn’t say more complex because some of these drawings are super simple but something that’s different.” His artwork truly does reflect this because looking at each piece you can tell they all have a specific emotion or message around them.

The process Ricks goes through to put his artwork together is quite unique.

“A lot of these are actually pictures I take, some are not. What I’ll do is draw a picture and use free software to put the two together.” Usually he will take his photographs and his drawings and use several online programs such as Burner Bonanza, and LunaPic to crop and fill the images and an app called Pic Collage to place the drawn image into the photo. Art sometimes runs the risk of becoming too crowded or over complicated because of the medium it’s portrayed in. The process he goes through is intentionally straightforward in style so the viewers can focus on what the art piece means to them. He mentioned how the art pieces start as an idea, in his head or a random drawing and that each is done in one sitting.

“Almost all of these, once I start it, it’s all the way through. Whether it’s sitting down and working for three to four hours or not.” Though art pieces that have been worked on for months are beautiful and spectacular, some lose their message and the creator’s original feeling. This style of art is without any distractions for the viewer and just gives them a peek straight into the artist’s mind. There really is no room for distraction and leaves nothing but raw and pure creativity on the page.

Many times ideas will come to Ricks just from him drawing and or taking pictures of something he finds interesting and putting the two together. In his piece “Sex” the background of the print is actually a picture of dried coconut milk. He also takes inspiration from plenty of other artists.

“Top three definitely are Ralph Steadman, Salvador Dali and Doctor Seuss.” When talking about one of his more colorful pieces he mentioned Andy Warhol inspired him. “The color scheme is based around Andy Warhol’s Marilyn Monroe which actually goes into a lot of these.”

Sometimes, the message or feelings Ricks has behind a piece can be heavier for him and viewers. Whether it’s the overall message of the art or the emotions he was going through, some of his works hold a heavier message than others. Describing his print “Finger Jam.” “That’s a car I crashed … So I took a picture of it. That’s on the road I had just crashed. I had it on my phone for a long time. Then one day I drew that, and they both came together so well.”

A comment on his art display read “Your art is very clever also very lewd, crude, and undesirable,” to which Ricks responded: “What a good description in art in general.” Ricks thinks about art in very new and different way than some other artists do. Ricks is a fantastic artist who is able to create such thought-provoking art in such a simple medium. He doesn’t distract the viewer from his message through the art and puts it right there on the page. A large part of his art comes straight from his heart and on a whim — what he puts out is untouched creativity. Ricks posts new pieces of art on his Instagram @ricks_pressionism.

Contact the author at kreed17@wou.edu

Photo by: Paul F. Davis

Gaming’s newest trend: battle royale games

Kevin Reed | Entertainment Editor

Thanks to the huge success of Fortnight and “PlayerUnkown’s Battlegrounds” — or “PUBG” — similar video games have been coming out and trying to recreate their success. All of these games have brought new life to the battle royale genre. So why are these games so popular across all gaming platforms?

The basic concept of a battle royale-style title is this: a large number of players are dropped into a large map and the last player standing is victorious. The concept is a lot like “The Hunger Games” in a video game. Players have to loot and pillage the map for randomized weapons and items. To ensure that the game doesn’t last indefinitely, the map will shrink as the game progresses. Over the course of a single match usually a safe zone will appear and all players have to move into that safe zone — this will happen periodically until the remaining players have nowhere to hide from each other. Vehicles are important in battle royale titles and can make the difference between players getting in the top five or not. However, some recent games don’t currently have vehicles like “Fortnight.” However in titles like “H1Z1” and “PUBG” vehicles are a major part of the games play-style. Other game mechanics like crafting, building and hunger depend on the title.

A Japanese book, “Battle Royale” by Koushun Takami, actually helped inspired all modern battle royale games. In the novel, 42 high school students are taken to a deserted island and forced to fight to the death. “The Hunger Games” by Suzanne Collins also contributed to the original idea that started the whole genre.

Back in 2013, a mod was made of “ARMA: 2” called “DayZ,” where players tried to survive in a zombie apocalypse situation. This mod was important and eventually became its own standalone game. After Suzanne Collins’s novel became popular, developers decided to remove the zombies and make a game mode for “DayZ” where players fought themselves instead of the undead.

The next big game to come out for the genre was a game made by Daybreak Game Company called “H1Z1.” The game didn’t fully release until February 2017, but was in Steam Early Access long before that. With a massive 150-person lobby, games were hard fought and very long. “H1Z1” caught the eye of Twitch streamers and YouTube stars alike and the community around this game grew massively. In the past “DayZ” had been streamed but never caught this level of popularity. Many game developer companies saw this success and tried to replicate it in their own games by creating battle royale game modes. Titles like “Minecraft,” “Ark: Survival Evolved,” “Grand Theft Auto Online” and “Paladins” created battle royale style game modes. Then new standalone games started getting released.

Currently, all around the gaming community, battle royale games are booming. “Fortnight” and “PUBG” are massively popular and new games are sprouting up more and more. The whole structure of video games is based around risk and reward. In battle royale games you need a combination of luck, strategy and skill to be able to win a round.

Winning in other video game genres comes and goes frequently, except for professional players; winning in this genre is rare. Every decision is a risk and a chance you have to take whether it’s picking a place to drop in, which weapon to use, or what vehicle to use. It’s this high-risk scenario that immerses gamers and makes them love these games even more. Battle royale games have been in the backseat of gaming for years but now they are taking the community by storm in a big way.

Contact the author at kreed17@wou.edu

Photo by: Playbattlegrounds.com, Bohemia.net, H1z1.com

Review: “Bobby Tarantino II”

Kevin Reed | Entertainment Editor

Logic started off his rap career in Rockville, Maryland, growing up a biracial child with a dream. He was able to rise out of his hometown and become one of the most inspirational rappers in the game today. He’s grown his career not only by rapping about his life growing up, but also how he wants to spread a message of equality through his music. He recently put out a new mixtape album as a follow up to his “Bobby Tarantino,” released in 2016, called “Bobby Tarantino II.”

In contrast to his past music, his newest album “Bobby Tarantino II” was produced to be a more lighthearted theme in a trap mixtape style. It may be more fun, but the album is still full of meaningful messages. Logic reinvents how to settle disagreements with competition in “Yuck,” with lines such as, “Anyone that hate me, I wish you success.”

Logic has always been big on celebrities making cameos in his music, including world renowned astrophysicist Neil deGrasse Tyson, amazing voice actor Steve Blum, Killer Mike, Lucy Rose and many more. In the intro track to “Bobby Tarantino II,” you hear the voices of popular Comedy Central characters Rick and Morty. I couldn’t help but smile when I listened to their voices in “Grandpa’s Spaceship.” It was, in my opinion, the best way to open up a feel good album. He also collaborates with artists like Wiz Khalifa, 2 Chainz, Big Sean and other hip-hop artists.

Logic has a motto he follows throughout all of his recent music: “Peace, Love and Positivity.” He aims to send this message in many of his songs. In “Bobby Tarantino II” he works out the positivity side by making tracks that are feel good jams and not as heavy as some of his past music. Even when addressing his own conflict with other rappers, he takes the higher road. This approach is unheard of to many other rappers in the game currently. Hip-hop has a reputation of people like Drake and Meek Mill fighting it out in a series of roast tracks, or other rappers getting into fistfights at concerts. However, Logic wishes his competitors success in the future.

“Bobby Tarantino II” is a great feel-good hip-hop album. Logic’s overall flow and lyrics combine in a great way with the trap beats. I personally jam to this on my way to classes all the time. I was impressed with how Logic showed he could create both serious tracks like “1-800-273-8255” and more fun tracks like “Indica Badu.”

“44 more” is an absolute masterpiece and I recommend listening to that track first. I always look forward to Logic’s new music and I’m very impressed with this new album. I am excited for when he releases his upcoming projects.

Contact the author at kreed17@mail.wou.edu

Photo by: Genius.com

The West of Us debuts at Western

Zoë Strickland | Editor-in-Chief

On March 8, members of the community piled into Smith Hall for a 30-minute recital put on by the campus’s renamed and rebranded a cappella group, The West of Us.

The West of Us is comprised of members from the groups that were known as Suspended and 15 Miles West. Though the two groups joined together at the start of this academic year, March 8 was their first recital on Western soil. Last term they were busy preparing for the International Championship of Collegiate A Cappella — “if you’ve seen ‘Pitch Perfect’, that was the competition,” noted Chloe Miller, a first-year in the group, during the event.

For their performance, The West of Us sang a total of six songs.

“What we sang at the concert is 100 percent of our repertoire; we’re working on building it back up,” commented Brianna Williford, a history major who finished her degree during fall term.

The group began the night with their renditions of “Forget You” by Cee Lo Green and “And So It Goes” by Billy Joel, followed by two songs that were part of Suspended and 15 Miles West’s individual setlists.

After introducing themselves to the audience, the women went on to perform their “Destiny’s Child Melody,” an arrangement which was part of their set last year as well. Following the women, the men took the stage to perform their “Disney Melody,” which is a mashup of songs from “Mulan,” “Hercules,” “Moana” and “Frozen.”

The members regrouped to perform a mashup that included songs by Kanye West, Estelle and Daft Punk. They ended the night by performing “Bet on It” from “High School Musical.”

The group is led by Eli Schenk and Brianna Williford, who have been involved in Western a cappella for six and four years, respectively. Schenk is in charge of most of the musical arrangements, while Williford handles group organization and personnel.

The groups had considered joining forces for the past couple years, and finally did so because the timing felt right.

“Through ASWOU, we’re one club. We’re ‘A Cappella club’ so we’ve been working together, we’ve done all of our retreats together, we usually sing mixed group songs,” explained Williford. “Mixed group songs are more dynamic, you have more range, more ideas that are all going to be different. We were already doing so much together, and this year we reached a point where it made sense.”

As next term begins, The West of Us will be gearing up to learn more songs for their spring concert, which is tentatively scheduled to take place in the amphitheater at Main Street Park.

As part of their preparation for the event, the group is adding more songs to their repertoire.

“I’m arranging a medley of [“The Greatest Showman”] for us to sing next term,” commented Cole Aldred, a junior communications major and three-year member of the group.

Contact the author at journaleditor@wou.edu

 

Recital showcases student talent

Byron Kimball | Staff Writer

As the rain hammered outside, Smith Music Hall played host to 15 music students on Thursday, March 8. Though the 11 a.m. recital received little advertisement, students who attended had the chance to enjoy musical feats across a variety of genres and grade levels.

Vetted by Dr. Diane Baxter, students participating in the recital were not required to perform as part of a class. Instead, participation was voluntary and, for many students involved, it became a chance to practice for upcoming recitals of their own. In tubist and music senior Josiah Glaser’s case, the performance was one of his first at Western.

“Going into today’s performance, I was looking for a solid first performance, not necessarily an extremely refined or polished performance, but a performance reflective of my progress thus far and a checkpoint towards my senior recital,” Glaser said.

The tubist performed “The Effervescent Ballroom,” a piano and tuba duet, but other students attempted varied genres — voice student Shaohao Wang took on opera; performing in the musical theater genre was Chuming Jiang, performing “I’ve Got a Lot of Living to Do” from “Bye Bye Birdie”; and classical music pianists Faerynn Glasscock, XuDong Yang, Lingyu Zhu, Levi Polasek, Li Jing and Yuzhou Huang played pieces from their collective wheelhouse. Pianist and professor Jackie Morelli provided piano accompaniment for the singers who performed: Marissa Sanders, Mengyuan Chan, Chuming Jiang, Jenny Yang, Virtue Cornelison, Shaohao Wang, Olivia Preciado and Scotti Matney.

Percussionist Sam Wheeler closed out the show by performing a duet with a Macbook: a performance art piece titled “Stop Speaking,” which featured rhythmatic snare drumming alongside a speech-to-text program.

Huang, described preparing for the March 8 performance, saying, “I was not nervous until I was staying at the small room that is a path through to the stage. Then I got a little bit (nervous). But when I was walking into stage and seated at the bench, I was calm. Then I started to play with my heart.” Huang will be performing a solo graduate recital in spring 2019.

Glaser, who will be graduating in spring 2018, said of performing “The Effervescent Ballroom”: “This piece feels like the perfect ‘goodbye’ piece, sending off the previous chapter in my life (my undergraduate experience) and ushering in the next chapter in my life”.

Contact the author at bkimball16@wou.edu

Photo by: Paul F. Davis

Music from the unknown

Darien Campo | Designer

As an insufferable music snob, my hunt for even more obscure artists to listen to never ends. Over the years I’ve padded my iPod collection with a large collection of albums from unsigned and little-known bands. From indie artists to solo bedroom producers: here, I’ve collected some of my favorite albums that deserve much more attention than they get.

“You and I, Animals” – Black and White Envelope

Black and White Envelope is a solo artist from Connecticut, recording music in his own bedroom studio. “You and I, Animals” is a fun-filled record of bright pop-rock and catchy-as-hell tunes. His music sounds so much like a collection of lost Vampire Weekend tracks, a comparison he gladly boasts on social media. The upbeat rhythms, angular melodies and bright instrumentation make every track fun composition. So, if you’re looking for more Vampire Weekend-style Baroque pop, Black and White Envelope is there for you.

Recommended track: “Conversation Aviation”

Photo by: Blackandwhiteenvelope.bandcamp.com

“Anywhere That’s Wild” – Adventure Galley

The Portland-based group Adventure Galley bring an energetic mix of synth-pop and dance-rock to the table. “Anywhere That’s Wild” perfectly mixes the best parts of upbeat rock music and cool synthesizers. With a cutting punk edge to the lyrics and vocal delivery, Adventure Galley is what the Arctic Monkeys would sound like if Alex Turner had grown up listening to nothing but synth-pop. The powerful dance beats and enormous harmonies are sure to get anybody moving.

Recommended track: “Diane”

Photo by: Adventuregalley.bandcamp.com

“The Coast is Never Clear” – Beulah

Though Beulah is no longer together, they are one of my all-time favorite bands and there’s no way I could leave them off a list like this. The Elephant Six rock group brings punk eclecticism along with dense orchestration, poetic lyricism and infectiously catchy choruses. Where most bands use orchestral instruments as flavoring for their track, Beulah has an almost cinema-like quality in their use of brass and strings that makes their music feel totally massive. “The Coast is Never Clear” is an album of winners, with not a single filler track to be found.

Recommended track: “A Good Man is Easy to Kill”

Photo by: www.beulahmania.com

“Nostalgia” – Wren

Photographer and poet Cody Weber’s side project, Wren, has released some great experimental music over the years, but, for me, “Nostalgia” is his most powerful record. “Nostalgia” makes use of a bizarre twist on alternative hip-hop and trance that feels utterly unique. The samples are strange and otherworldly, the synthesizers are gritty and warped and the beats pound you in the chest with every hit. I completely credit this record with opening my mind up in high school to more experimental and electronic music. “Nostalgia” is uncompromising and powerfully personal.

Recommended track: “The Shakes”

Photo by: Iamwren.bandcamp.com

“Sincerely, Future Pollution” – Timbre Timbre

Canadian freak folk group Timbre Timbre released their newest album “Sincerely, Future Pollution” in the spring of 2017, and it’s a great starting point to their haunting, groovy sound. Timbre Timbre sound like a scary twist on Bowie-like pop with a great focus on atmosphere. Filthy instrumentation, drenched in reverb, with hauntingly beautiful atmosphere to wash over it all – Timbre Timbre is worth a listen if you’re looking for a stranger, slower burn of a record to explore.

Recommended track: “Grifting”

Photo by: Timbertimbre.bandcamp.com

“Tsunawatari” – Hako Yamasaki

Hako Yamasaki’s 1976 record “Tsunawatari” is a strange journey through a world of psychedelic folk-pop. Yamasaki channels the singer-songwriter power of artists like Bob Dylan on this album, with gorgeous acoustic ballads that give way to oddly textured folk tracks. Even as a native English speaker, I can still feel the strength in Yamasaki’s soaring vocal hooks and skillful lyrical rhythms. “Tsunawatari” is a subtle record that invites you to intimately explore it’s musical complexities.

Recommended track: “Himawari”

Photo by: www.albumoftheyear.org

 

“Dialects” – SNOWMINE

Brooklyn five-piece SNOWMINE have their own take on what pop music should sound like; they strike a perfect balance between electronic soundscapes and soaring orchestral strings. Singer Grayson Sanders’s smoky tenor deftly handles the complex poetry of SNOWMINE’s lyrical content, leading to music that is sometimes hard to sing along to, but always easy to get stuck in your head. “Dialects” is SNOWMINE’s sophomore effort, and an incredible triumph for such a young band.

Recommended track: “Plans”

 

Contact the author at dcampo13@wou.edu

Powers wows with performance

Zoë Strickland | Editor-in-Chief

Smith Hall opened to a nearly full house on March 2 as senior Kathryn Powers took center-stage. Powers was there for her junior music recital, and spent the next hour filling the music hall with a selection of soulful songs.

For Powers, who’s working toward achieving a Bachelor of Music in Vocal Performance, a junior recital is integral to her degree; she’ll be performing her senior recital, a capstone performance that will primarily consist of original songs, in fall 2018.

During her performance, Powers was joined on stage by numerous peers, including drummer Cole Johnston, bassist Jacob Marsh, guitarist Connor Johnson and pianist Ethan Keleher, as well as backup vocalists Brandon Franko, Julia Miller, Amanda Mahaney and Hannah Williams.

The night kicked off with a performance of Amy Winehouse’s “Valerie,” which set the tone for a catchy night of primarily well-known songs and plenty of soul.

Before the start the fourth song, “Lost” by Anouk, Powers took a moment to bring out Johnson, who served as the piece’s sole instrumentalist, joining her on stage and momentarily dismissing the other stage members. Prior to the start of the song, Powers took time to reminisce about her first experience with “Lost,” noting that, “(she) thought it was the most beautiful song in the world.”

When deciding what songs to include, she was conscious of the the way each piece of the setlist interacted with one another.

“I wanted them to be able to fit well together and be almost like a collection of songs,” Powers said. “I wanted them to be some of my favorite songs — songs that I already knew pretty well so that they would be easier to memorize, and I wanted the audience to be able to connect with them.”

Powers began attending Western in fall 2015 as an elementary education major, however, regular walks through the music building ultimately changed her mind. “I figured out that my heart wanted to be in the music department so I changed my major back to music,” Powers said — before attending Western, she studied music at Umpqua Community College.

“I’ve definitely learned a lot since changing my major when it comes to songwriting, performing, and transcribing music,” said Powers. “I can also say that meeting my friends in the music department has probably been just as impactful to me as a musician as taking classes with my professors. All of them are such amazing musicians and they help me to become a better one as well.”

Powers’s performance was one of the first in the end of term rush of student recitals. The shows continue on March 7 at 7:30 p.m. for the chamber ensemble performance, as well as another student recital on March 8 at 11:00 a.m.

Contact the author at journaleditor@wou.edu

Photo by: Paul F. Davis

Music while you dine

Zoë Strickland | Editor-in-Chief

Valsetz was bursting with the sound of acoustic guitar on March 2, when Cooper Anstett came to campus as part Valsetz Live, hosted by the Student Activities Board and Weekend Programs.

Anstett, a Michigan-based folk singer, found himself performing on the stage of the dining hall by way of the National Association for Campus Activities.

“We usually hire all of our performers from NACA,” said Matthew Ciraulo, Director of the Student Activities Board. “So, that’s just a whole weekend where people are performing and getting people riled up.”

Anstett’s performance was part of a push by the board to bring more musical events to campus.

“My executive board really wants this campus to be a musical campus — for people to really want to listen to music,” said Ciraulo. “We came up with the idea of Valetz Live.”

For Valetz Live specifically, they wanted to bring an artist who was both talented and dynamic — since the bustle of Valsetz can yield a hesitant audience.

The show boasted a moderate, but lively audience, who joined along with Anstett’s singing. The performance was centered around narrative nearly as much as it was music. Throughout the set, he interacted with the audience as well as provided commentary on each piece he was performing.

Anstett’s most famous song, “Move,” first appeared in a 2016 Chevy commercial. The song, though used to promote vehicles, was originally inspired by him having to take care of an intoxicated friend.

“The funny thing about this song is that it was in a Chevy commercial, which was really cool for me. But they had no idea it was about taking care of your turnt buddy,” noted Anstett before the performance.

Anstett’s latest album, “Cooper,” came out in 2016 and can be found on most digital music platforms.

Contact the author at journaleditor@wou.edu

Photo by: Paul F. Davis

Additions to your next game night

Sam Dunaway | News Editor 

Caity Healy | Lifestyle Editor

Game nights are often a cheap and exciting way to spend an evening with good friends. But, if you’re anything like me, you might be looking for new activities to add to your repertoire besides “Cards Against Humanity.” Read on for my personal favorite games and enjoy them at your next game night.

Codenames

This four to eight player game is one of my absolute favorites. A grid of codenames, or random words, are placed in front of the players. The group splits into two teams and elects a spymaster for each team. The spymasters are the only ones who know the secret identities of the cards and must try and get their team to guess the correct codenames to win. This game is a ton of fun and the random placement of the cards means that combinations are endless. And even better, “Codenames: Deep Undercover” is the mature version of the game and usually costs less than $20 at most department stores.

Photo by: Codenamesgame.com

Jackbox Games

Jackbox Games are probably my favorite way to spend a Friday night. With four party packs to choose from, Jackbox Games are easily downloaded from a Playstation, Xbox or Steam and each player connects to their game through their phone. Trivia games like “You Don’t Know Jack” provide you and your friends with the opportunity to battle it out to see who knows the most useless information. “Quiplash” generates ridiculous prompts and allows you to come up with your own responses. “Drawful,” similar to Pictionary, challenges your drawing skills and awards points to the players that guess correctly. For less than $25 a pack, these party games are versatile, convenient and not your average board game.

Photo by: Jackboxgames.com

Heads Up

Board games can be expensive, but this classic app provides hours of entertainment for only 99 cents at the App Store. With different decks such as Act it Out, Animals Gone Wild and Accents and Impressions, this charades-like game involves one player guessing what’s written on the hidden card by using hints from the rest of their team. This inexpensive and simple game can be played anywhere with family, friends, or coworkers.

Photo by: warnerbros.com

Ticket to Ride

This game requires at least an hour or two of invested time, energy and strategy. Players take turns attempting to claim railway routes that connect cities on a map of the United States, and the longer the route, the more points you can earn. But unfriendly players may choose to sabotage your routes in process. I’m the type of person that gets discouraged with intense rules and confusing plotlines but, fortunately, Ticket to Ride is fairly easy to learn and jump right into. This game is a little more expensive, usually $25 to $35 depending on which edition you buy, but it also provides hours of entertainment that makes it worth the price.

Photo by: daysofwonder.com

Dutch Blitz

Prepare to be stuck playing round after round of this addicting card game. Incredibly fast-paced and at times fairly challenging, the objective is to essentially get rid of all of your cards by creating “Dutch Piles.” Prepare to feel the stress of looking for that one card you need in time before someone yells out “Blitz!” which signals that they have beat you to the point. While the game is designed for four, expansion packs can also be purchased if you want to include more people.

Photo by: Dutchblitz.com

The Oregon Trail Card Game

For this game, we’re traveling back to 1848. It’s time to see if you and your party can hitch up your wagons and make it all the way to Oregon. This card game is based on the original computer disk game and will leave you feeling nostalgic with every “Broken Axle” or “You Have Died of Dysentery” card you draw. Pulling cards from the deck that will oftentimes frustrate you, this game can be a lot more difficult than one would assume.

Photo by: pressmantoy.com

Contact the authors at journalnews@wou.edu and chealy16@wou.edu

Review: “Ugly Delicious”

Caitlyn Nakatsukasa | Freelancer

The word ‘food’ is sure to capture my attention whether I see pictures of it on social media or physically up close and personal. That is why Netflix’s new food-focused travel series “Ugly Delicious” undoubtedly seized my interest and increased my excitement for their anticipated release date on Feb. 23.

This show is about award-winning chef David Chang teaming up with director and producer Morgan Neville and food writer Peter Meehan to travel across the world and explore the different types of food and the cultural insights behind the food’s value. Each episode has a different food theme that Chang and his crew apply to different countries —  they try and see how each of the countries interpret the dish and cook it in a way that represents their culture.

Rather than giving cooking lessons and showing how food should be made, they listen to stories and the history behind how restaurants make their dishes and what makes each piece stand out from a traditional dish. The show depicts how people categorize different dishes to a specific country and establish a certain meaning behind them because of where they originated from. Chang and his crew work together to tackle the culinary stereotypes and see how they use their local ingredients and methods of cooking to create the themed food in their perspective.

I found this show to be quite interesting, as it wasn’t what I was expecting. I was expecting to see more on how different restaurants around the globe cook their authentic dishes. The show mostly focuses on the importance of the dish and how it can relate to everyone whether the food derived from that area or not. “Ugly Delicious” also gave me insight regarding how these other restaurateurs and cooks think when they create the food and how it led to the business’s success. Each episode also lets you get to know Chef Chang a little better. His candid jokes and remarks made scenes more compelling and his snobby attitude made me want to watch more so I could see what he had to say about the dishes he tried.

Throughout the episodes, he meets with celebrities such as actor Aziz Ansari and television host Jimmy Kimmel to try food with them. Their conversations are amusing because of their humorous comments and their insights regarding what they think of the food. It’s interesting to find these celebrities in a different genre of entertainment because I’m so used to seeing them in their own shows.

Overall, I greatly enjoyed “Ugly Delicious” because it highlights cultural contrasts and new facts about food. I found it entertaining how an Australian restaurant can make similar version of Italy’s acquired dish using Australian ingredients and culinary knowledge and vice versa. I’m amazed at the abundance of different alterations people can make for one dish and with it still being a huge hit.

I would definitely recommend “Ugly Delicious” if you’re a person that wants to learn more about different food around the world and listen to the personal stories behind them, or if you just love food like me and enjoy watching anything related to food. I also recommend grabbing some food to eat after watching this — you’re more than likely to get hungry and crave the foods you’ll see in these episodes.

Contact the author at cnakatsukasa15@wou.edu

Photo by: netflix.com

Bringing eastern Texas to Western Oregon

Stephanie Blair | Staff Writer

On March 1, the “nicest little whorehouse you ever did see” will be open to the public at Rice Auditorium. Under the direction of dance professor Sharon Oberst, actors and techs have been preparing Western’s production of “Best Little Whorehouse in Texas,” a Tony Award-winning musical best known for the 1982 film adaptation.

The show, both wild and western, tells the story of conservative ideals battling it out against a century of tradition in Texas. After popular television personality Melvin P. Thrope, portrayed by junior BFA acting major Nicholas Hulscher, condemns a whorehouse, the town goes into a frenzy. Some trying to close it, others fighting to keep it open.

At the center of the conflict is brothel-owner Miss Mona — the iconic role portrayed by Dolly Parton in 1982, here played by Lindsay Spear — and the abiding Sheriff Dodd, who regular attendees of Western theater will recognize as senior BFA acting major Gabriel Elmore. It seems like a simple plot, but the two-hour long production tackles a number of themes.

“This show is much more than it presents itself to be. There are societal overtones to it which I believe are still prevalent today,” said Elmore. “The deep-seated tragedy of watching something unfold before your very eyes, knowing damn well that there’s nothing you can do to stop it, is something which isn’t addressed in everyday life.”

The musical is still primarily a comedy, however, and a mature one, at that. Parents who are unfamiliar with the show may wish to see it before bringing their children. On the doors of Rice Auditorium, signs can be found warning of adult themes, including alcohol use, strong language and mild sexual content, in stereotypical Texan language: “Howdy y’all! This here show has some cussin’ and some rootin’ tootin’ shootin’ in it. There’s a piddlin’ of hop juice an a tad bit of spoonin’ and carryin on.”

From the 26-person cast to the box office workers, the set builders to the costume crew, the amount of work put into the production gives the show a feeling of authenticity and passion in every detail.

“I love musicals, and it’s been wonderful to have a chance to get to know some people and create some really gorgeous music with them,” said Hulscher. “A lot of work went into this show from a lot of different people, and I really hope anyone who comes to the show can see how much effort was put into it.”

Elmore echoed that sentiment, saying: “The amount of work that the ensemble has to put into a show like this is obscenely difficult, and every second counts. To watch them push themselves past what they thought possible is a wonderfully beautiful experience.”

The show opens on March 1, and continues through the week until Saturday with performances beginning at 7:30 p.m. Sunday, March 4 will have a matinee at 2 p.m. and then the schedule returns to normal, with March 7 through 10 at 7:30 p.m.

Tickets can be purchased at the box office in person, or by calling the office at 503-838-8462 or emailing boxoffice@wou.edu. General admission is $14; senior citizens receive a discount, making their tickets $10; and students can purchase tickets for $8 with ID.

With eight performances slated and a 600-seat house, there is plenty of opportunity to see the musical, however purchasing tickets in advance is always advised. It’s also worth noting that, though the next two main-stage productions are dance-centric, this is the only musical of the year.

 

Contact the author at sblair13@wou.edu

Photos by: Paul F. Davis

“Wish You Were Here” comes to Western

Zoë Strickland | Editor-in-Chief

Religion, pop culture and politics all intertwine within the gallery halls of Campbell Hall. On Feb. 21, the Cannon Gallery of Art unveiled its newest winter term exhibition: “Wish You Were Here,” a posthumous display of the mixed media works of local artist David George Andersen.

Andersen’s work tends to incorporate multiple mediums — displayed in the gallery are pieces that feature found objects, photographs and, in one case, flashing lights.

“I think this work takes some time to fully comprehend, just as it took time for the artist to conceptualize,” said Paula Booth, director of the Cannon Gallery. “While it is exquisitely crafted work and looks beautiful in the space, some might be turned off by some of the imagery.”

The work shown in the Cannon Gallery doesn’t shy away from bringing up controversial issues. Through his art, Andersen used everyday items that are often found in popular culture as a means to explore religious symbolism, the way religion is played out through the separation of church and state, as well as religion-based slurs. In his work, exhibit goers can find references to advertising campaigns, paint by number layouts and spirit boards.

When asked what she thinks Western students can get out of this exhibit, Booth responded, “While I can’t say exactly what students will take from the exhibit, I do know that if they spend time with the work, they may be surprised by the depth of meaning and humor in the work, as well as its relevance to the current moment in history.”

Andersen, who passed away in January 2017, had signed up to show his work at Western but was unable to see the exhibit through to its inception. Andersen’s wife, Melanie Weston, chose the title and title piece for “Wish You Were Here.”

“Vacation,” the piece of art highlighted on all of the publicity materials, is comprised of a Ouija board that spells out the chosen title for the exhibit.

“Quija boards that spell out ‘wish you were here’ are, in and of themselves, kind of humorous and intriguing,” said Booth. “That combined with the fact that David is no longer with us just adds another bittersweet layer to the piece.”  

In addition to working on his own art, Andersen held multiple positions relating to exhibit design; he worked as an exhibit designer at both the Frye Art Museum in Seattle, Washington and the Cheney Cowles Museum in Spokane, Washington. In a more local context, Andersen joined the team at Hallie Ford Art Museum in Salem, Oregon in 2007 and worked as both exhibition designer and chief preparator.

“Wish You Were Here” will be on display in the Cannon Gallery until March 23. Next term, the gallery will be showcasing a display of art from students at Linn Benton Community College, as well as the 50th Annual Juried Student Art Exhibition.

Contact the author at journaleditor@wou.edu

Review: “LONER”

Zoë Strickland | Editor-in-Chief

Social commentary should be hidden by danceable beats. At least that’s what Caroline Rose’s newest album “LONER” leads me to believe. The artist’s sophomore album is a far cry from the tracks she released four years ago, they’re brutally honest while being masked by a pleasant exterior.

“LONER” is harder than the moseying vibes put forth by Rose’s first album, “I Will Not Be Afraid.” If her first album was reminiscent of an upbeat version of The Wild Reeds, her second is a hazy Sleater-Kinney or Bikini Kill.

The first track on the album, “More of the Same Thing,” sets the tone of “LONER” to be dreamy and danceable. As the album progresses, the lighthearted nature of the first track shifts in a myriad of different directions. Somehow, Rose has created an album that, despite multitudes of different sounds, is blissfully cohesive.

“Money” is one of my personal favorite songs on the album. Rose’s lyrics are energetic and full of frenzy; the song is backed by loud synths that threaten to take over the track, but are no match for Rose’s commanding voice.

The energetic interlude comes to a pause with “Jeannie Becomes a Mom,” which brings the album back to its dreamy base. The song cyclically repeats the phrase, “now you’re in real life,” creating a whirlwind of surreal dissolution.

Throughout the album, the lyrics present an encompassing picture of Rose’s commentary on the society. Towards the end of the album, a 49-second song introduction titled “Smile! AKA Schizodrift Jam 1 AKA Bikini Intro” is a near-minute of repeated male voices urging the listener to smile. What follows in the track “Bikini” is a song of veiled misogynistic comments centering around the idea that success is related to dressing and acting the way people tell you to.

“LONER” is a catchy, intense album that’s more than what it appears to be upon first listen. The album hits the airwaves on Feb. 23.

Contact the author at journaleditor@wou.edu

Photo by: Carolinerosemusic.com

Review: “Black Panther”

Stephanie Blair | Staff Writer

I am sick and tired of Marvel movies. There are too many, the jokes aren’t that good and the plots are formulaic at best and cliché at worst. I don’t want any more — or so I thought before seeing the masterpiece that is “Black Panther.”

Starring Chadwick Boseman as the title character, “Black Panther” follows the tale of T’Challa, a Wakandan prince and secret superhero, ascending the throne following his father’s death. The Marvel audience was introduced to the Black Panther in “Captain America: Civil War,” where he served as a righteous and forgiving voice of reason among squabbling superpersons.

This film had the potential to show a meaningful story filled with beautiful culture that would empower black children around the world, in much the same way that the recent Wonder Woman film did for little girls. And y’all, they did the dang thing.

The only imperfections were the touches of classic Marvel low comedy, which might have been saved by delivery if the actors didn’t look like they were being forced to drop these scenically-disjointed one-liners.

Which is not to say that there was no place for humor in the film. On the contrary, for example, Boseman and Letitia Wright shared delightful, natural moments of comedy in their portrayal of a sibling relationship that was so true to life the audience in my theater couldn’t help but smile.

The music, including compositions by Ludwig Goransson and original songs by Kendrick Lamar, was incredible. The costumes, influenced by the fashions and traditions of real African tribes, were gorgeous. The cinematography showed everything the audience wanted to see without being gratuitous. The villain was righteous and still flawed. The entire film was vibrant and beautifully complex in a way that sets it apart from the drab, gray and uncompelling cinema that Marvel has been churning out for the last three years or so.

Overall, I can only hope that this film is the last piece of the trifecta of successful black-led movies which will finally get Hollywood to open its eyes. Between “Moonlight,” “Get Out” and, now, “Black Panther” the message is clear from the world: we want racially diverse films to thrive. If you don’t believe that last statement, let me just mention that “Black Panther” now sits in fifth place for the biggest grossing domestic opening weekend of all time.

This movie sparkles start to finish with black magic, and I can only hope there will be more like it in the coming years.

Contact the author at sblair13@wou.edu

Photo by: Movies.disney.com

“Three Billboards” wins big at the BAFTAs

Zoë Strickland | Editor-in-Chief

The British Academy of Film and Television Arts held their annual award ceremony on Feb. 18.

According to the BAFTA’s website, the organization hopes to, “bring the very best work in film, games and television to public attention, and support the growth of creative talent in the UK and internationally.”

The most recognized film of the night was by far “Three Billboards Outside of Ebbing, Missouri.” The film, which originally hit theaters in the United States on Nov. 10, took home five of the nine awards it was nominated for — most notably, Best Film and Most Outstanding British Film. “Three Billboards” also took home Best Actress, which was awarded to Frances McDormand for her role as Mildred Hayes and Supporting Actor, which was given to Sam Rockwell for his role as Jason Dixon.

“Blade Runner 2049” and “Darkest Hour” were tied for the second most awards received, both being awarded two of the eight they were nominated for. “Blade Runner 2049” won awards for cinematography and best visual effects. “Darkest Hour” also took home two BAFTA awards. Gary Oldman won Leading Actor for his role as Winston Churchill, and the film was awarded best Makeup and Hair — undoubtedly because of the impressive job done with transforming Oldman into Churchill.

“Get Out” actor Daniel Kaluuya was awarded the EE Rising Star Award, which is the only award that the public votes on. According to the BAFTA website, the award “honours a young actor or actress who has demonstrated exceptional talent and ambition and has begun to capture the imagination of the British public.” More recently, Kaluuya also starred as W’Kabi in “Black Panther.”

Other take-homes for the night included “Coco” for Animated Film and “Baby Driver” for Editing.

The next big award show to hit the screens will be on March 4, when the 90th Academy Awards, hosted by Jimmy Kimmel, heads to Hollywood. The Oscars will cap off award season until it reopens with the People’s Choice Awards in September.

Contact the author at journaleditor@wou.edu

Photo by: Latimes.com

Review: “Beautiful People Will Ruin Your Life”

Ashton Newton | Freelancer

The Wombats first made a name for themselves with their 2007 single “Let’s Dance to the Joy Division,” unafraid to blend high energy music and vocals with dark, real themes. Through their first three albums, they set themselves up as a band that’s relatable and great fun to listen to.

Their newly released fourth album, “Beautiful People Will Ruin Your Life” is a bit of a disappointment compared to their previous work. The high energy that The Wombats are known for is still there, but their lyrics and themes fall flat.

The first two singles that The Wombats released off of the album, “Turn” and “Lemon to a Knife Fight” were met with positive critical and fan response, so they generated a lot of buzz for the album, but those two songs are the two most memorable on the entire album. “Lemon to a Knife Fight” is catchy, fast-paced and was an exciting release over the summer. “Turn” takes things a little slower, a song about enjoying the little things. Both songs represented everything great about The Wombats.

The rest of the album still sounds like The Wombats, but I was left feeling like something was missing. They innovated a bit with their sound, this album being much more bass-heavy than their previous work, but I still felt like I’d heard all the themes already in previous songs.

The song “Lethal Combination” simply adds to the growing list of Wombats lyrics about getting blackout drunk. “I Only Wear Black” had me spending the entire three minutes anticipating the end. The imagery of melting ice cream in “Ice Cream” was distracting and took away from the meaning.

There are some positives to the album too. Their bass-heavy songs sound fresh and new with the same energy they’ve had in previous work. “White Eyes” is a fun song that, although the lyrics are a bit cheesy, is catchy and replayable. “Out of My Head” can only be described as groovy, it’s hard not to start moving with the beat.

“I Don’t Know Why I Like You but I Do” is the best mix of meaningful lyrics and catchy music. Being the final song on the album, they definitely end it on a high note, but it’s not enough to make up for the mediocrity that fills most of the album.

There’s something in this album for everybody. If you like The Wombats already, chances are you’ll enjoy the album. If this is the first time you’ve heard of The Wombats, please don’t start here.

Contact the author at anewton15@wou.edu

Photo by: http://thewombats.co.uk/

Review: “Text Me When You Get Home”

Zoë Strickland | Editor-in-Chief

“Text Me When You Get Home: The Evolution and Triumph of Modern Female Friendship” is a title that seemingly holds a lot of weight — it takes up a lot of physical space and uses words that denote heavy meaning. However, the title seems to be the only part of this novel that consistently does so. I had higher hopes for Kayleen Schaefer’s print debut.

One of my favorite parts about Schaefer’s book is that it relies on quotes in the same way it talks about friendship — every piece used from a book, article or person works together to support Schaefer’s encompassing claim that the cultivation of friendship should be as important, if not more important, as the cultivation of romantic relationships.

The stories about other women, namely Schaefer’s mother, provided some depth to how friendships have changed over time, and how they may look different to people of different ages. However, I had problems with the overall amount of representation in the book. Seemingly, most of the quotes and stories being offered were from middle-class white women. Though the insights added to what Schaefer was trying to say, including people from a variety of different races and classes would’ve presented a well-rounded look at how the dynamics of female friendship may change when presented with different struggles.

While “Text Me When You Get Home” had points that were relatable, I found that it often boxed-in readers by primarily showing only Schaefer’s viewpoint or promoting intangible ideas of friendship like the ones shown on TV. The book uses large amounts of external quotations, but the stories themselves are primarily centered around the author’s own experiences. As someone who couldn’t relate to a lot of Schaefer’s experiences — most notably of which is an entire chapter devoted to her joining a sorority and leaving it once she found a significant other — I immediately felt closed off from the narrative of the book.

Admittedly, I knew I wasn’t going to truly enjoy “Text Me When You Get Home” after I read part of the introduction. It proclaimed both that female friendships are superior to friendships between people of different gender identities, and that women who prefer to be friends with men do so because they feel threatened by other women. While I agree that this sometimes be the case, it fundamentally doesn’t align with the majority of my belief system.

Claims like these made it so I never fully felt comfortable with the narrative that was being presented. If the writer’s goal is to highlight the bond that exists in female friendships, one of the primary ways of conveying that bond shouldn’t be through the bashing of other types of relationships. Similarly, the binary way in which she refers to relationships immediately leaves out an entire facet of the way in which other people experience them.

“Text Me When You Get Home” starts out with a strong point that one of the larger ways to differentiate “female friendships” it that they oftentimes use more external ways of showing affection, like telling friends to “text me when you get home.” I was expecting this to be the basis of what would inevitably be a comprehensive look at how friendships have changed and progressed over time. While there was a little bit of discussion around that topic, Schaefer instead focused on personal anecdotes and recounting how female friendships have been shown in popular culture.

At face value, this book is good. The writing is strong, the narrative is fairly insightful and it’s obvious that the writer is passionate about what she’s writing about. However, the writer’s meager attempts at inclusivity fails to represent a full-fledged view of what modern female friendship means to people of all identities.  

Contact the author at journaleditor@wou.edu

Photo by: Penguinrandomhouse.com

 

The people behind the people that changed the world

Sam Dunaway | News Editor

Clever, complex and filled to the brim with emotion: prepare for a journey through time in Western’s newest production, “The (curious case of the) Watson Intelligence.”

The play, written by playwright Madeleine George, centers around four different characters named Watson: the supercomputer that became a “Jeopardy!” champion, Sherlock Holmes’s faithful sidekick, Alexander Graham Bell’s assistant who helped build the first telephone and a modern-day computer repairman on the search for companionship.

Senior and Bachelor of Fine Arts student Stephen Nielson portrays all four Watsons throughout the show. When asked what his favorite thing about this show is, Nielson commented, “This show is really cool to me because it’s this story about wanting to be helpful … It’s very fun to be able to use me as a starting point for a character like Watson, who is so weird and varied.”

Modern-day Josh Watson is hired by a local politician Frank Merrick, played by sophomore Bill Evans, to spy on Merrick’s ex-wife Eliza, portrayed by sophomore Selena Moreno. The stalking quickly turns into an emotional love affair between Eliza and Watson.

The play consistently jumps from 2011 modern America to 1889 Victorian England where another Eliza meets Sherlock Holmes’s trusty sidekick, John Watson. A third timeline in 1931 involves a radio interview between a third Eliza and Alexander Graham Bell’s assistant, Thomas Watson, on the invention of the telephone. The complex storyline ties three centuries together and makes the audience consider the underlying characteristics that make us all human.

“This show is about the people behind the people who change the world,” Director and senior Western student Matthew Miller explained.

Working toward a Bachelor of Fine Arts in technical theatre, Miller is passionate about directing. “Directing is a weird art. It’s different from painting where you just do the thing by itself and people see it. With this, you are taking other peoples art and making sure it all fits together in the best possible way. It’s kind of like a giant puzzle.”

Miller described his favorite thing about this show: the hidden heros. “We look at Thomas Watson, who assisted Alexander Graham Bell in the invention of the telephone. And John Watson who is Sherlock Holmes’s fictional assistant. Everyone knows who Graham Bell is, not everyone knows how important Watson was to that. As someone who usually works behind the scenes and doesn’t get seen the same way actors do, this show speaks to me on that level.”

“The (curious case of the) Watson Intelligence” will be performed at Rice Auditorium on Feb. 8, 9, and 10 at 7:30 p.m. and at 2 p.m. on Feb. 10. An interpreted performance is on Feb. 9 at 7:30 p.m. The show runs about two and a half hours long and is $8 for students, $14 for general admission and $10 for seniors, faculty and staff.

Contact the author at journalnews@wou.edu

Photo by: Paul F. Davis

Review: “I Like Fun”

Darien Campo | Designer

Why is the world in love again? Why are we marching hand in hand? The ambassadors of love have brought us a brand new record for 2018: They Might Be Giants brand new album “I Like Fun.”

John and John’s 20th studio album further cements their place as one of rock’s most delightfully eclectic bands. While usually “experimental” music is confrontationally so, the Giants have spent over 30 years perfecting their own unique flavor of songwriting that invites listeners as much as it intrigues them.

The opening track title, “Let’s Get This Over With,” almost feels like the mission statement for the record. From the first note the Giants hook us with those catchy piano chords and bring us through a 15-track journey of non-stop pop energy with no filler tracks left. Each song sounds equally and lovingly crafted as if it were the lead single. And honestly, most any of these tracks could work as the single, the songwriting quality never seems to dip at any point as most pop records tend to do — usually around the 66 percent mark of the record.

“All Time What” proves once again that John Flansburgh secretly wants to be in a pop-punk band. “Lake Monsters” ends in one of the catchiest refrains about mass hypnosis ever written. “By the Time You Get This,” a letter to the future, is my favorite track on the album. I’ve never heard a song before that can inspire equal parts feelings of positivity and utter defeat. The record starts with high energy and carries that through for 13 songs until “The Greatest,” which is the first breather we get. The song feels like a Damon Albarn pastiche, and Flansburgh’s vocals perfectly capture that quiet power. The bizarre music video starring Nick Offerman is well worth the watch.

It wasn’t until the chorus of “Last Wave,” the final track, that I realized what a morbid record I had just listened to. I immediately spun the album a second time to discover the grim themes and lyrics that had been hidden by bright and poppy instrumentation.

“I Like Fun” follows in the path of previous Giants records like “Mink Car” and “The Else” with its relentlessly catchy songwriting masking darker lyrical tones. This is my favorite Giants record since 2013’s “Nanobots.” The only issue I had with the three albums that came out compiling their 2015 Dial-a-Song tracks is the lack of cohesion within the album. “I Like Fun” tells a cohesive, though esoteric, story that brings the record together into one full piece.

If you’ve never listened to the Giants before, they have once again cut a record that is just as good a place to start as any other. They are a persistently memorable and haunting songwriting duo, unmatched in their unique sound and always outdoing themselves. “I Like Fun” is a record full of love, fear and pop that feels “complete, completely, completelier.”

Contact the author at dcampo13@wou.edu

Photo by: theymightbegiants.com

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