Mount Hood

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

Upcoming performances in a town near you

Alexandra Martin | Entertainment Editor

Take off those Ugg boots and put down that pumpkin spiced whatchamacallit that you’ve waited for this whole year; grab your dancing shoes and prepare yourself for a musically filled fall to remember. Sure, the autumnal weather may have taken a bit of pep out of your summer swagger, but that doesn’t mean we can’t keep the music turned all the way up to 11 until the winds change. Here are some concerts, events and performances coming to a city near you that are sure to satiate even the most particular aesthetic appetite:

 

Monmouth, OR:

Sept. 29, 2017: The Ladybugs at Rice Auditorium

Oct. 6, 2017: BodyVox: BloodyVox at Rice Auditorium

Oct. 6, 2017: Laser Tag in Ackerman Grove

Oct. 13, 2017: Tom Bergeron Brasil Band featuring Choro Das 3 at Smith Music Hall

For more information on these events please visit: calendar.wou.edu

Portland, OR:

Oct. 3, 2017: Bleachers-Gone Now Era-Part 1 at the Roseland Theatre (roselandpdx.com)

Oct. 3, 2017: Nekromantix at the Hawthorne Theatre (mikethrasherpresents.com)

Oct. 3, 2017: Lil Peep-Come Over When You’re Sober Tour at the Wonder Ballroom (roselandpdx.com)

Oct. 4, 2017: DOPE at the Hawthorne Theatre (mikethrasherpresents.com)

Oct. 4, 2017: Damian “Jr. Gong” Marley at the Roseland Theatre (roselandpdx.com)

Oct. 5, 2017: HelloGoodbye at the Hawthorne Theatre (mikethrasherpresents.com)

Oct. 7, 2017: MAX at the Hawthorne Theatre (mikethrasherpresents.com)

Oct. 8, 2017: The Menzingers at the Hawthorne Theatre (mikethrasherpresents.com)

Oct. 8, 2017: The Shins at the Roseland Theatre (roselandpdx.com)

Eugene, OR:

Oct. 29, 2017: Jimmy Eat World at the McDonald Theatre (mikethrasherpresents.com)

Contact the author at journalentertainment@wou.edu

Western theatre delves into magical realism

By: Ashton Newton
Entertainment Editor

Western’s theatre department has put on a number of engaging and fun productions throughout the year and their latest is right around the corner.

“This Girl Laughs, This Girl Cries, This Girl Does Nothing,” originally written by Finegan Kruckemeyer, is the latest play that Western’s theatre department has been hard at work preparing for. The play includes 18 Western students acting and guest director, Jen Rowe.

Rowe is a director/actor based out of Portland, Oregon who founded The Quick and Dirty Art Project in 2010, where she produced and directed seven shows. Rowe also directed Idris Goodwin’s “How We Got On” at the Portland Playhouse.

“This Girl Laughs, This Girl Cries, This Girl Does Nothing” is a fable that follows triplet sisters and their struggles growing up and finding their way in life after being abandoned in the woods.

The play stars Lindsay Spear, junior Bachelor of Fine Arts acting major, as Albienne, Chynna Shurts, first-year Bachelor of Fine Arts theatre major, as Beatrix, and Natalie Doerfler, sophomore Bachelor of Fine Arts theatre major, as Carmen.

“I would describe this story as a coming of age story. It’s a story about human resiliency, a story that embraces the message that ‘new days are always the best time for starting life journeys.’ Each of these girls, everyday, they choose to adventure in a new way and it leads them after 20 years to growing up and understanding more about themselves and who they are as people,” said Rowe.

The three sisters have disparate character traits that affect how they act in the play and sends them in different directions.

“Albienne is the oldest of the triplets, if that can mean anything. She likes to act like it. She’s very much a leader and she likes to lead people, people are drawn to her strong personality,” said Spear.

“Beatrix is a child of the sun, she’s an adventure, always climbing trees and exploring the world. She’s not afraid to explore the world, she really wants to get out there and see what there is,” added Shurts.

“Carmen is very much an introvert, while her two other sisters are extroverts. She likes to care for other people. She’s happy where she is. She has, what we reference in this show as a backpack called the Weight of the World, which she carries on her shoulders. It’s not something that she feels obligated to do, it’s something she enjoys to do because she just likes seeing the world as how it is,” said Doerfler.

The play is unlike other plays in that it doesn’t have a set, it’s an open, narrative fable, so Rowe had to get creative with directing.

“My experience directing this play has been one of trying to bring as many exciting elements together and find marriages between them. I’m given the opportunity to create a completely original, novel way of telling a story through theatre,” said Rowe.

“I have decided to have 18 people in this cast, the largest cast I’ve ever had has been nine, so I doubled it. I’ve decided to have a shadow play, I’ve decided to bring in music and instruments that are not in the script. I have decided to allow the spectacle of storytelling to tell from the bodies on stage and the physicality of our actors rather than trying to represent that with set pieces.”

Working on “This Girl Laughs, This Girl Cries, This Girl Does Nothing” hasn’t been without fun for everyone involved. All through rehearsals, the cast and crew have been having a great time working on the play.

“One of the things that I’ve been trying to hammer in is the idea of ‘play’ in our play. Although we’re trying to tell a story that is a fable, and the reason we call it a fable is because it deals with a very heavy, realistic and grounded situation, these girls are abandoned in the wood and set off to conquer the woods on their own terms,” said Rowe. “Finding the balance between the reality of their story and the ‘play’ of getting to tell this kind of story through magical realism was one of my big goals, so for most of rehearsals we’d play a game.”

“This Girl Laughs, This Girl Cries, This Girl Does Nothing” runs from May 31 to June 3 in Rice Auditorium at 7:30 p.m. and June 1-2 at 2 p.m. Tickets are $14 or $8 with a Western student I.D.

“Allow yourself to enjoy this show as much as we enjoyed creating this show,” said Doerfler.

Contact the author at journalentertainment@wou.edu

Review: “Pirates of the Caribbean: Dead Men Tell No Tales”

By: Ashton Newton
Entertainment Editor

Part of what made the original “Pirates of the Caribbean” so good, is the fact that it came as a surprise and people generally had no expectations. Jack Sparrow was the loveable, drunk side character in Will Turner and Elizabeth Swan’s story, something that, more or less, continued for the second and third films.

“Dead Men Tell No Tales” fell into the same mistake that 2011’s “On Stranger Tides” did by making Jack Sparrow the central character and completely overdoing it. What made Jack Sparrow great was his use in moderation, and “Dead Men Tell No Tales” has no moderation at all.

Jack Sparrow, teaming up with Will Turner and Elizabeth Swan’s son Henry and an orphan girl, sets off on a quest to find Poseidon’s trident in order to save himself from an undead Spanish captain out for his blood.

Setting the plot of the film forward was painful. It required a series of unrealistic and almost impossible events that seemed to be a cop-out of any actually decent storytelling. This, plus a series of coincidental meetings with strangers with the exact same goal, puts the story into motion.

“Dead Men Tell No Tales” feels like a very small film. While “Pirates of the Caribbean” had beautiful, sprawling settings, lively ports and massive ships, the new addition jumped from CGI location to small-feeling ship to British township. There was no epic feeling of adventure in this film.

The film relied heavily on formulas used in past films. Jack Sparrow being drunk and funny, a Will Turner-esque character, an Elizabeth Swan-esque character, a dumb and funny pirate duo, an angry British captain and an evil, scary, supernatural enemy. These are all things that have been done in each of the previous films, and “Dead Men Tell No Tales” relied on that in the laziest way possible. There was nothing that made it unique.

There are a share of hilarious moments; the entire opening sequence is fantastic and Paul McCartney’s cameo is memorable. While other “Pirates of the Caribbean” movies had a serious tone, the new addition traded that for a slapstick comedy feeling. It paid off occasionally, but for the most part resulted in a boring and awkward movie.

“Pirates of the Caribbean: Dead Men Tell No Tales” is far from the spectacle that made the franchise loved. It’s overdone, poorly written and ends the series as an example of why not to drag a good thing on for five unneeded movies.

Contact the author at journalentertainment@wou.edu

2/4
+ A few decently funny moments
– Overused movie formula

Review: “Waiting on a Song”

By: Ashton Newton
Entertainment Editor

In the past, it was difficult not to associate Dan Auerbach with The Black Keys, where he serves as lead guitarist and vocalist. Even in his first solo album, 2009’s “Keep It Hid,” Auerbach’s sound was comparable to the sound of The Black Keys.

In Auerbach’s upcoming album, “Waiting on a Song,” he sets himself apart from The Black Keys by giving a more pop-heavy, dream-like album that is perfectly upbeat and just in time for Summer.

The title track, “Waiting on a Song,” starts the album off with a sound that feels similar to 70’s country music. It’s catchy and relies heavily on simple lyrics and twangy guitar. It feels different from the summery-pop-vibe that Auerbach tries to evoke with the rest of the album, but is a good song nonetheless.

If this album is playing around with surf-rock sounds, “Malibu Man” dives right into the ocean: mildly distorted, dreamy vocals and a soft guitar that sounds like it’s taken right out of “Surfin’ U.S.A.” “Malibu Man” finds Auerbach settling into the sound that makes “Waiting on a Song” great.

One song on the 10-track album that stands out the most is “Shine on Me.” Not only is the song instantly danceable, it features guitar and vocals reminiscent of surf rock. The song is both memorable and catchy. With simple lyrics and upbeat music, “Shine on Me” is the perfect tune to listen to with the windows down.

In this generally upbeat album, Auerbach isn’t afraid to slow things down. “Never in My Wildest Dreams” starts off with a single acoustic guitar and Auerbach’s soft vocals. The chorus adds percussion and some soft horn instruments, making this song slow, but still toe-tapping. The lyrics are emotional and find Auerbach at his most heartfelt.

Through the 10 songs on “Waiting on a Song,” Dan Auerbach finds a dreamy, surf-rock sound that sets the album miles apart from anything done with The Black Keys. Upbeat, heartfelt and a ton of fun, “Waiting on a Song” is a fantastic album and perfect for summer.

Contact the author at journalentertainment@wou.edu

Review: “Alien: Covenant”

By: Ashton Newton
Entertainment Editor

“Alien: Covenant” is a horror movie. That’s completely clear from every promotion and based on the movies that came before it, but “Alien: Covenant” doesn’t wear the mask of a horror movie. The film appears to be an epic adventure film with an ensemble cast and a rich backstory, but there’s a lot more going on.

The diversity of settings helps to give “Alien: Covenant” an adventure-movie feeling. Jumping from location to location, the film explores some intriguing locations and forces viewers to be on their feet, nowhere is ever safe.

It takes a long time for any horror movie tropes to pop up in the film. Setting the stage as an action and adventure movie, the main focus is put on the characters and the experiences and trials that they’re going through.

The events of 2012’s “Prometheus” played directly into the movie. Michael Fassbender reprised his role as the antagonist. “Alien: Covenant” helped to make some of the confusing parts of “Prometheus” more clear, without serving as a direct sequel.

Where “Alien: Covenant” shines the most is in its characters. The crew of The Covenant are an entertaining group of people who are easy to get attached to right away. On their way to a planet for a colonization mission, the crew is composed of couples, which makes the characters more emotion-driven. Even the smallest side character has something dear to them, which makes all the tragedy and triumph in the film much more personal.

Having 15 crew members highlighted in the film, not everyone gets a lot of screen time. When a very small character with hardly any lines makes an extremely dumb choice or an avoidable error, it really stands out and is distracting. This happens multiple times in the film, characters who don’t really add to the plot will make an unrealistic choice that jeopardizes things for everyone. It’s noticeably lazy writing, and “Alien: Covenant” relies on it at times.

These characters are brought to life by stunning performances all around. Michael Fassbender plays two, very different androids and is able to set their character traits apart very well. Katherine Waterston gave an incredible performance as the film’s protagonist, Daniels, as she struggled through loss, survival and lots of aliens.

The aliens were the most disappointing part of the film. Not only were the special effects low quality, but the aliens weren’t even the central threat in the film. “Alien: Covenant” felt more like a movie talking about the dangers of artificial intelligence than a horror movie about aliens. Michael Fassbender gave a fantastic performance as the film’s antagonist, but so much so that the actual aliens feel like less of a threat.

Rather than relying on jump-scares, “Alien: Covenant” follows the footsteps of its predecessors with intense, horrifying scenes of violence and gore. These scenes are necessary for the plot and for the “Alien” franchise, but they’re definitely not for weak stomachs.

“Alien: Covenant” is an intense film with great performances, but the focus on Michael Fassbender’s antagonist takes away from the horror aspect of the film and that lowers the quality considerably.

Contact the author at journalentertainment@wou.edu

2/4
+ Interesting characters
– Disappointing aliens

Review: “Goths”

By: Ashton Newton
Entertainment Editor

The Mountain Goats’ 16th album, “Goths” opens with the pre-released song “Rain in Soho,” a serious, dark tune that sets the album up with engaging lyrics and a catchy melody.

Lyrical storytelling is the highlight of “Goths,” almost every song is very lyric-heavy and strays away from the normal conventions of songs, through means such as blurring the lines between verses and choruses. “The Grey King and the Silver Flame Attunement” stood out in this respect. The story-heavy verses are matched by the simple chorus that says “I’m hardcore, but I’m not that hardcore.”

“Goths” also uses lots of experimental instruments that aren’t typically heard in the indie folk genre. The album doesn’t use guitar like The Mountain Goats have in the past, instead, the album is mainly held up by drums, piano and bass. This choice sets “Goths” apart from previous albums and makes for a fresh sound. Horn instruments are also present in songs like “Paid in Cocaine” and “For the Portuguese Goth Metal Bands.” This gives these songs a classical feel and works well.

“For the Portuguese Goth Metal Bands” is one of the best tracks on the album. Not only does it have a unique sound with horn instruments and a mellow tone, it puts most of its focus on the verses. The song has a two-line hook in between the longer verses, rather than a chorus. This puts a lot of emphasis on the storytelling aspect of the song and makes for one of the most memorable songs on the album.

“Goths” is a unique and well done album, but there are a few songs that fail to be memorable. “Unicorn Tolerance” caught my eye because of the title, but the song, itself, fell flat. The song sounds like a generic attempt at an indie tune and zooms by without anything specific really standing out.

The album begins and ends strongly, but the middle holds some of the weaker songs. “Stench of the Unburied” also doesn’t match up well to the quality of the album.

“Goths” isn’t the best Mountain Goats album, but after 16 albums, that’s a lot to ask for. “Goths” gets a lot right in it’s lyrical storytelling and use of experimental instruments, but a few weaker, generic sounding songs keep it from being truly amazing.

Contact the author at journalentertainment@wou.edu

A night of laughs

By: Nick Ketcham
Freelancer

Although there were more flags than people in the Werner University Center Pacific Room on the evening of May 15, the air was casually laced with anticipation as Pete Lee, nationally acclaimed comedian, approached the stage.

Pete stood before the students of Western Oregon University as part of a coordinated effort between the Western Student Activity Board and his nationwide college tour, during which he has visited over 500 colleges.

Just a little over a week prior, Pete Lee was standing before the nation in his first appearance on “The Tonight Show” with Jimmy Fallon, one of his many appearances on national television. Pete has performed on Comedy Central, NBC and CBS, and has been a cast member and writer for major programs such as Fuse T.V.’s “Video on Trial,” VH1’s “Best Week Ever” and the NFL “Top 10’s.”

Pete Lee described himself as a soft, pleasant midwesterner from small town Wisconsin. Throughout the entire performance, Lee showcased his sensitive side with various jokes about love, life and crying so hard in public that actual babies stop crying just to wonder “how much poop does that guy have in his diaper.”

In addition to having funny, unique jokes, Pete interacted with the audience and was able to quickly react to joke opportunities. For example, the squeak of a chair resulted in an accusation that “somebody in the back had stepped on Mariah Carey.”

Despite his busy schedule, Lee took time at the end of the show to interact and take pictures with fans. He also took a brief moment to plug social media accounts as well as a recent segment he did on “The Tonight Show,” which you can watch on his YouTube channel.

Contact the author at nketcham16@wou.edu

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