Mount Hood

Vibrant Black identities in art

An exhibition of Black identities through a variety of materials

Camille Lenning | Entertainment Editor

Contact the author at howlentertainment@wou.edu 

The colors of spring have slowly washed over campus, and in response, the Cannon Gallery of Art has debuted a vibrant exhibition, “thank you, black materials.” The pieces on display — curated by award winning Portland artist Intisar Abioto — feature six Oregon artists expressing the Black experience through their mediums. 

The inspiration behind this exhibition came to Abioto through her ongoing research on Black artist culture in Oregon. This research allowed her to interact with elder Black artists and develop an appreciation for their resilience, ingenuity and the materials they used in their work. 

Though the majority of her work has focused on these elder artists and their impact, “thank you, black materials” features poignant modern creators with connections to Abioto herself. 

“With this (show) I just decided to focus on artists who I admired, and who I felt that — even though they’re not doing the same thing — I felt that there was some kind of kinship in …  their approach,” Abioto said of her decision to include contemporary artists. “I just think they’re doing insightful things. It was also the show that I wanted to see very much.” 

Abioto’s selections for this exhibition include acrylic portraits, ceramics, prints and performance art by artists Jeremy Okai Davis, Nikesha Breeze, Ni Abioto, Rob Lewis, Ebin Lee and sidony o’neal. 

“I just think these are vibrant thinkers,” Abioto said. “I hope (viewers) are able to approach with curiosity and are able to sense something of truthful relevance for them.” 

The “thank you, black materials” exhibition will be open in the Cannon Gallery until May 6. Stop by between building hours 8 a.m. – 5 p.m. to experience these works firsthand.

Review: “Turning Red”

“Turning Red”: The starting point of representation for this generation’s teenagers

Mirella Barrera-Betancourt | Staff Writer

Contact the author at howlstaffwriter@wou.edu

This review contains spoilers. 

“We’ve all got an inner beast. We’ve all got a messy, loud, weird part of ourselves hidden away. And a lot of us never let it out.”

It seems that Disney and Pixar have a knack for calling out the faults present in modern parenting methods. While I liked the film, I honestly would not have watched it if it hadn’t been for the trending topics caused by the film’s release.

For those unfamiliar with the premise of the movie, it follows the story of Meilin Lee — who is referred to as Mei throughout most of the film — a thirteen year old girl at the onset of her teenage years. Unbeknownst to Mei for the first few minutes of the film, she is the descendant of a gifted — or cursed — lineage, which instantly transforms her into a fluffy red panda.

Ever since its release, the film has sparked controversy among viewers for issues related to “taboo” topics. What I have to say is: f–k them. 

The film hits audiences in the feels, like most Pixar films do. It is a heartwarming and relatable story that discusses the importance of menstrual cycles in a hilarious, yet educational way. It also makes a suggestive joke on “gyrating,” or what I would call, “twerking.” While others might see all this as inappropriate, I just see it as the real representation of teenagers and their quirks.

My favorite aspect of the film was the conflict Mei found herself in while choosing between her friend group, who seemed to understand her for who she really was, and her mother, who all but dumped her own dreams and expectations onto her. I loved the idea that this soft red panda represented the wild and carefree side of Mei and how her splitting away from the red panda meant she was separating from an integral part of who she was.

Also, don’t get me started on Mei’s mother. On occasions, I thought her mother was incredibly selfish. However, as the film delved further into the storyline, I slowly grew to like her. Perhaps mothers and grandparents can have the best intent in mind but go about it in selfish ways. 

Like all films, “Turning Red” has its fair share of dislikable elements. I was slightly put off with the stereotypes present within the film, such as that all girls only think about boys or that menstruation is deemed critical to reaching womanhood. There’s also the small fact that Mei’s friends criticize her for seemingly being a “goody two-shoes,” which only adds to the plight of the already negative connotation attached to the term.

But who cares? In the end, “Turning Red” is a film soon-to-be and existing teenagers should watch. I know that if I were a teenager, I would have appreciated such a film to help me laugh on the ups and downs of adolescence. Rating: 8.5/10.

Wallowing in Wallows

Indie music scene gains “Tell Me That It’s Over” Spring release

Mikayla Coleman | Managing Editor

 

Contact the author at howlentertainment@wou.edu 

On March 25, the indie pop band Wallows released their sophomore album Tell Me That It’s Over. Wallows is made up of three members, Dylan Minnette (who you might recognize as Clay from the Netflix series “13 Reasons Why”), Braeden Lemasters and Cole Preston. The album consists of ten songs, crossing and combining several different aspects of the indie pop, folk and rock genres in a unique and artistic way. 

 

“Hard to Believe” — I enjoy how the melody kind of climbs up and down. It is a really pleasing scale. The guitar is pretty grunge, but the bridge has a really light hearted whistle break with some interesting synth-type orchestral moments. It’s a good contrast. The lyrics and vocals are very simplistic in nature, but I think that adds to the song overall. 

“I Don’t Want to Talk” — The whistle hook at the beginning of the song reminds me a lot of the band Dayglow. I wasn’t sure how I felt about the harmonica at first but it has grown on me. The lyrics describe the ending of a relationship and wanting to have a clean, quick cut off rather than stretching out the break up process. It does a good job of explaining a specific experience that is often hard to articulate. 

“Especially You” — I think that the modulation of the synth takes the cake in this one. It compliments the rest of the song really well. The lyrics are again, very simple, but very relatable. I mean, who isn’t confused by people all of the time? The guitar is much cleaner on this, making it a great beachy road trip song. 

“At the End of the Day” — I love Braeden’s vocals. No offense to Dylan, but I have always been more into Braeden as a vocalist. These lyrics have a good amount of complexity that makes the song more personal. It does an interesting job of interpreting the “If you love her, let her go” trope.

“Marvelous” — This is much more upbeat and fast than the previous tracks. Not sure if I am down with the repeated use of “hole.” Stadium synth came in clutch. This song sounds like how my brain feels when I have an ADHD episode. 

“Permanent Price” — Definitely feeling more of a folk-indie vibe from the use of strings. Not my favorite. I feel like it’s a bit cookie-cutter in comparison to the other songs that have something special sprinkled in. The harmonies make it feel like something from the early 2000s. 

“Missing Out” — Another slow one. The beginning is a little bit misleading. It starts with a nice classic piano scale, but takes a sharp turn to a more rock-type and autotune-diluted chorus. This variation is interesting, but I don’t think that it is my cup of tea. 

“Hurts Me” — 80’stastic!  I’m getting funky with the synth in the beginning. I could see someone humorously singing this in the context of struggling with a vape addiction. Makes me feel like going to a roller rink after struggling through a week of finals. 

“That’s What I Get” — The percussion makes the difference in this one. Also the staccato strings in the bridge. The lyrics are pretty basic and it’s hard to figure out if it is in an iconic way or if it’s just another stereotypical love song. I am leaning towards the latter. 

“Guitar Romantic Search Adventure” — We got some Dylan vocals! Very fitting for the mood of this song. I am very down with it. I think that it tops all the rest of the slower songs in the album. The piano and synth together give a very ethereal, Beach House kind of feel. 

 

I am a longtime fan of Wallows and I have significantly enjoyed their early work. “Tell Me That It’s Over” was able to simultaneously maintain inclusion of things that made me enjoy them initially and also spread their wings, adventure and experiment with different styles and instruments. 7.5/10. 

Chamber music for a new audience

Contemporary string quartet, Thalea, performs at Western

Camille Lenning | Entertainment Editor

Contact the author at howlentertainment@wou.edu 

The internationally acclaimed music group, Thalea String Quartet, made an appearance on campus on April 2. In a performance made possible by the Smith Fine Arts Series, Thalea wowed the audience with their contemporary take on chamber music. 

The group began by gracing Rice Auditorium with a piece by contemporary composer Akshaya Avril Tucker, called “Radha in the Forest.” Violinist Kumiko Sakamoto introduced the song by reading from the program note written by Tucker, which described the emotions portrayed by the composition as “delirious joy, floating above painful loneliness.”

The piece featured soprano vocals from Sakamoto, a first for the chamber group. Her operatic voice filled the room with a bittersweet song as she painted the scene of the classical Sanskrit heroine Radha pine for her lover, Krishna, in a cold winter forest in 2020. 

Thalea’s concert program included a rendition of the iconic B-side medley, “The Long One,” on the Beatles’ album, Abbey Road. Guitar and drum solos were transposed for violin and cello, and musicians Christopher Whitley and Titilayo Ayangade did not disappoint in their renditions of the iconic Beatles tunes. 

Ayangade then introduced their next piece, Florence B. Price’s “Five Folk Songs in Counterpoint.” An inspirational Black artist, Price’s composition includes five popular American melodies, “Cavalry,” “Clementine,” “Drink to Me Only with Thine Eyes,” “Shortnin’ Bread” and “Swing Low, Sweet Chariot.” Each song spurred quiet declarations of recognition, and the latter song featured an impressive cello-forward performance from Ayangade.  

Violist Lauren Spaulding introduced the next work, a folk-inspired piece by Czech composer Antonín Dvořák. The piece consisted of four movements that aimed to capture the spirit of America, which Dvořák came to appreciate after his time in the country. The joyful piece was clearly a favorite of Spaulding’s, who more than once rose from her chair, swept up in the music. 

When they had finished their main set, Thalea granted the audience an encore that required their participation. 

“There are only two rules,” Whitley said of the piece, “when we clap, you clap. When we don’t clap, you don’t clap.” 

What followed was a song that featured the talents of all four musicians in bouts of solos, while the audience clapped to the beat as directed by those onstage. 

Springtime romance

Season two of “Bridgerton” brings love and angst to our screens

Camille Lenning | Entertainment Editor

Contact the author at howlentertainment@wou.edu

This review contains spoilers. 

“Bridgerton” season two premiered on March 25 and has already reached the number one spot on Netflix’s “Top 10 in the U.S. Today” list. 

Overall, “Bridgerton” is a great show to get anyone into a springtime mood. The colorful clothes, garden sets and lavish parties are enough to get even the most critical of people excited about the change of seasons. The marketing team was spot on with their release date. 

The plot this season, while a little over complicated and slow-paced at times, was entertaining enough to keep me enthralled. The angsty romance between Anthony Bridgerton and Kate Sharma alone was a fantastic representation of an enemies-to-lovers storyline — which helped keep things moving at slow points. 

Side plots were in abundance this season, including Eloise Bridgerton’s discovery of the feminist movement, added money troubles for the Featherington’s and even more Lady Whistledown drama. These plots were fairly compelling, but they could’ve cut much of the filler and still come out with a good season. 

My only real issue with season two was the consistent lack of communication between characters. While it certainly stoked the fires of drama, I can’t help but think the plot could’ve been simplified by just having characters talk to one another. The bond between sisters Kate and Edwina Sharma, for example, is often tested throughout the season. Kate refuses to tell Edwina she had feelings for Anthony, who is courting Edwina, which unnecessarily drives them apart during the climax.

Altogether, this season sated my hunger for a springtime period piece, but it was by no means a masterpiece of television. 6/10. 

 

The Gravity of Connection

Western presents “The Theory of Relativity” this winter term

Camille Lenning | Entertainment Editor

The 2021 – 22 academic year marks the return of in person shows on campus. Western’s theatre department is keeping to its winter term biennial tradition with their production of “The Theory of Relativity,” a musical written by playwright Brian Hill, with music composed by Neil Bartram. 

The musical offers a unique situation for those involved with its production — a large cast with relatively little set dressing. “The Theory of Relativity” is a largely student-produced play, featuring 18 actors and several student crew members, with only a few staff and faculty supervisors. 

The show itself is essentially a collection of songs with a recurring theme, according to the play’s director and Western theatre professor Dr. Michael Phillips. 

“This was (written by) a composer and a lyricist who got together with a bunch of college people and said ‘tell us your stories about what it means to connect to people,’” Phillips explained. “Out of those stories came the music for the show.”

Each song has its own unique topic, but all orbit around the theme of human connection. They eventually tie together in the grand finale, circling the center of gravity Einstein theorized in his theory of relativity.

Senior theater-actor training major Tessa Rosenau plays the character Beth in the musical, and will perform in the duet “Lipstick.” The song details an interaction between two individuals making eye contact on a busy sidewalk, and the mental anguish that follows. 

The dramedy promises to be a delightful addition to Western’s winter musical repertoire. 

“The Theory of Relativity” will have its opening night on Feb. 24 at 7:30 p.m., and will play at the same time through Feb. 26, as well as March 2 – March 5. There will be a matinee show at 2 p.m. on Feb. 27. Friday showings will be ASL interpreted. 

General admission will cost $14, senior citizens and Western faculty and staff tickets will cost $10, and Western students with a valid school ID can pick up their tickets for free.

“It’s really about how everybody is just getting through life and is in some way affected by and affecting others around them, and how that plays out in multiple different ways.”

18 students in the cast, 3 stage managers, 1 assistant director 

“I think it’s really close to being ready, I’m really excited. I think we’ve just peaked at the right time in the rehearsals. It feels like it’s ready to be presented to an audience, so I’m really excited for that.”

“This was (written by) a composer and a lyricist who got together with a bunch of college people and said ‘tell us your stories about what it means to connect to people, and what it means to be in relationships with people around you,’ and out of those stories came the music for the show. It’s really a show that originated with college aged people and is perfect for college aged people to perform. It’s good! You should come see it!”

Contact the author at howlentertainment@wou.edu

 

The Oscar Nominees

A list of nominees in the five most popular Oscar categories, with descriptions

Camille Lenning | Entertainment Editor

Despite the movie making business taking a hit during the COVID-19 pandemic, Hollywood made the most with what they had in 2021. Now that it’s Oscars season, the relatively few films made last year will get their time to shine. Here’s an in depth list of nominees from the five most popular Oscar categories: best picture, best actress, best actor, best director and best original screenplay.

Best Picture:

  • “Belfast”— Shot in mostly black and white, “Belfast” follows a young boy living during the conflicts in Northern Ireland in the late 1960s. 
  • “CODA” (2021) — Ruby, the only hearing person in her Deaf family, revives her passion for singing when she joins her high school’s choir. 
  • “Don’t Look Up” — Two astronomers discover a comet headed straight for Earth and must warn the world of its impending doom via press tour.  
  • “Drive My Car” — A special relationship forms between an aging, widowed actor and a 20-year-old girl he hires as his chauffeur. 
  • “Dune” (2021) — A young man with a great destiny must travel to a dangerous planet to ensure the survival of his family and his people. 
  • “Licorice Pizza” — Two young people learn about love and adventure in 1970s San Fernando Valley, California. 
  • “Nightmare Alley” (2021) — A con man teams up with a clairvoyant and her husband to swindle the wealthy elite. 
  • “The Power of the Dog” — A charismatic but cruel rancher torments his brother’s new wife and son until he is confronted with the possibility of falling in love. 
  • “West Side Story” (2021) — Based on the Broadway play, “Romeo and Juliet” meets 1957 New York City when two teenagers fall in love, while warring gangs, the Jets and the Sharks, fight for control of the streets.

Best Writing (Original Screenplay): 

  • Kenneth Branagh, “Belfast” — A semi-autobiographical take on Branagh’s life in Northern Ireland as the country becomes wrought with violence. 
  • Adam McKay, “Don’t Look Up” — A political satire and an allegory for climate change. 
  • Zach Baylin, “King Richard” — Based on the true story of their lives, Richard Williams overcomes great adversity and coaches his daughters Serena and Venus to victory. 
  • Paul Thomas Anderson, “Licorice Pizza” — With each character based on a real person from the 1970s, the fictional coming-of-age story follows 20-something Alana and 15-year-old Gary as they navigate the Hollywood scene. 
  • Eskil Vogt and Joachim Trier, “The Worst Person in the World” — A dramedy about Oslo native, Julie, who questions her love life and career path in an attempt to discover who she really is.

    Best Directing:

    • Kenneth Branagh, “Belfast” — Filmography highlights include “Hamlet” (1996), “Thor” and “Murder on the Oreint Express” (2017).
    • Ryusuke Hamaguchi, “Drive My Car” — Filmography highlights include “Asako I & II,” “Wife of a Spy” and “The Depths” (2010). 
    • Paul Thomas Anderson, “Licorice Pizza” — Filmography highlights include “There Will Be Blood,” “Magnolia” (1999) and “Inherent Vice.”
    • Jane Campion, “The Power of the Dog” — Filmography highlights include “The Piano,” “Bright Star” and “The Portrait of a Lady” (1996). 
    • Steven Spielberg, “West Side Story” (2021) — Filmography highlights include “E.T. the Extra Terrestrial,” “Jaws” and “Jurassic Park.”

      Best Actor in a Leading Role:

      • Javier Bardem, “Being the Ricardos” — As Desi Arnaz, a Cuban musician, producer and partner to Lucille Ball (Nicole Kidman). 
      • Benedict Cumberbatch, “The Power of the Dog” — As Phil Burbank, a hyper-masculine rancher in 1920s Montana. 
      • Andrew Garfield, “tick, tick…BOOM!” — As Johnathan Larson, the playwright responsible for the Broadway hit, “Rent.”
      • Will Smith, “King Richard” — As Richard Williams, father and coach to tennis legends Venus and Serena Williams. 
      • Denzel Washington, “The Tragedy of MacBeth” (2021) — As Lord MacBeth, a Scottish lord coerced into vying for the throne.

        Best Actress in a Leading Role:

        • Jessica Chastain, “The Eyes of Tammy Faye” — As Tammy Faye, a controversial televangelist. 
        • Olivia Colman, “The Lost Daughter” — As Leda Caruso, a woman confronted with her experiences as a mother on a solo beach trip.
        • Penélope Cruz, “Parallel Mothers” — As Janis, a photographer and single mother trying to expose the truth about mass killings in the Franscico Franco regime. 
        • Nicole Kidman, “Being the Ricardos” — As Lucille Ball, the star of the iconic show, “I Love Lucy.”
        • Kristen Stewart, “Spencer” — As Diana, the beloved Princess of Wales.

        Contact the author at howlentertainment@wou.edu

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