Mount Hood

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

A family tree of podcasts

Stephanie Blair | Staff Writer

In 2010, three brothers sat down to make a podcast in order to stay in regular contact after two of them moved a couple states away. The podcast: “My Brother, My Brother and Me.” The hosts: Justin, Travis and Griffin McElroy.

Fast-forward to 2018, the McElroys have established an enormous audience and created dozens of podcasts. Mainly playing on their comedic skills, the brothers have toured around the country multiple times, gotten a shoutout in the lyrics of Hamilton and garnered an audience of thousands upon thousands.

And while their main show is a comedy/advice show, the McElroy family of products has something for everyone. For a sampling of their shows, read on.

“Sawbones”

If you’ve ever wondered how we figured out that we should use mold to treat an STI, this show is for you. In this podcast, Dr. Sydnee McElroy takes her husband Justin and their listeners through “all the odd, weird, wrong, dumb and just gross ways we’ve tried to fix people over the years.” She’s smart and he’s funny, you get to laugh, learn and cringe — that’s the show. As just a taste, a scientist once drank cholera-filled poop water in the name of science and that’s not the grossest thing they’ll tell you about.

“Bunker Buddies”

Lots of people worry about what they’ll do after an apocalypse, but few make a weekly podcast discussing it. “Bunker Buddies,” is hosted by Travis McElroy and Andie Bolt and, as their show summary says, “they’re not preppers, they’re comedians” which lends the podcast some levity in the face of a grave subject. For people who like practical information and like to worry about everything, this show may prove cathartic. Some potential apocalypse scenarios that Travis and Andie have covered are: an alien invasion, a robot uprising, the Rapture and the sun suddenly disappearing and leaving the world in an eternal night.

“Wonderful!”

Each week, for a little under an hour, Griffin and Rachel McElroy take turns sharing things they find to be wonderful. There is no other criteria for what can be featured, which has resulted in albums, poems and french fries being shared. It’s a show about enthusiasm and positivity and because the two record this podcast while their infant son sleeps, their voices tend to be lowered which is quite soothing. Whether you’re into ASMR, looking for something to fall asleep to or just enjoy positive conversation, this is the show for you. It’s really wonderful!

“The Adventure Zone”

The premise of this show is a little harder to convey; it’s a podcast where the McEl-brothers play Dungeons and Dragons with their dad, but it’s not even a little bit about playing Dungeons and Dragons. Through the development of the show and the relationships that the hosts play on while making decisions in-game, the Boys made a story that captured their biggest audience yet. If you don’t know anything about D and D — perfect. At the beginning, neither do they. Get ready to cry about high fantasy characters and their tragic backstories.

Contact the author at sblair13@wou.edu

Photos by: Maximumfun.org

See more movies with MoviePass

Darien Campo | Designer

I love movies. A lot.

The problem is I’m not able to see a lot of newer movies until they hit one of my preferred streaming services. And by that point, it’s usually been spoiled or I’ve lost interest. Going to the movies is prohibitively expensive, natoonline.org puts 2017’s average ticket price at $8.97 ­— a record high. With some theaters charging up to $17 for a ticket, it’s no surprise that the Hollywood Reporter recently revealed that theater attendance in 2017 reached a 27-year low.

I should know, for as much as I love movies, until recently I barely ever went to the theaters. But I just discovered a subscription service that offers a fantastic deal for those who want to see more flicks on the big screen.

MoviePass is a service that allows moviegoers to watch one movie a day — for only $10 a month. The service is powerful and easy to use. When users sign up, MoviePass mails a member debit card to their address. Users then sign in to the MoviePass app on their phones and travel within 100 yards of a theater. Once the app detects they are in range of a theater, users can reserve a ticket for whichever film and showtime they wish. MoviePass places money on the card, which can then be used to purchase the ticket as usual.

I went from going to the cinema only a few times a year to seeing 10 movies in the past month —12 if you count seeing “Star Wars: The Last Jedi” and “Three Billboards Outside of Ebbing, Missouri” twice each. I’m excited to be back in the theater seat watching the most recent films as they come. I’m engaging with films more frequently than I have in years, and I’ve even been taking chances and trying out films I normally wouldn’t due to ticket prices.

Most theaters in the area accept MoviePass, including Independence Cinema, Cinnebarre, Salem Cinema and Regal Lancaster.

Hollywood gets a lot of guff for its constant sequels and reboots, but after getting MoviePass I’m happy to say that there are plenty of fantastic films being lovingly crafted today. Below I’ll list some recent films I highly recommend you go check out, 2017 was a wonderful year for film. If you’ve been wanting to get back into the cinema circuit, MoviePass is a subscription service that’s well worth a Hamilton a month.

Contact the author at dcampo13@wou.edu

Photo by: Moviepass.com

Review: “The Open House”

Caitlyn Nakatsukasa | Freelancer

Matt Angel’s movie “The Open House was released on Netflix on Jan. 19.

In “The Open House”, a mother, Naomi, played by Piercy Dalton, and her son Logan, played by Dylan Minnette, temporarily move into a family member’s home temporarily after the sudden passing of Logan’s s father. However, the house is in the process of being sold, meaning there are many open house events taking place, resulting in different people showing up to the house. After moving in they notice strange events happening in their home. These occurrences include door banging, objects moving and shadows passing by. As the characters encounter uncanny people around town and witness peculiar episodes at the home, they start to believe there’s someone always around them everywhere they go.

I’ll be honest; if I had to make a list of all the horror movies I’ve watched ranked from best to worst, this movie would probably be on the bottom half of that list. I felt as though the plot line was inadequate. Many of the scenes didn’t make sense and didn’t tie into the main storyline. The viewers were never given  a backstory for the antagonist, so they’re left hanging throughout the movie. There are jump-scare scenes every so often but they’re often predictable and sometimes illogical. The ending of the movie was the most frustrating. It lacked depth and didn’t answer any questions I had throughout the movie it didn’t connect with the any of the previous scenes I had been confused about.

Despite my brutal opinion of the movie, I thought the best part about “The Open House” was the actors immense talents to pull their work off. I loved their acting — I felt the emotions resonate through the screen and could relate to the characters a lot. If you’re an avid watcher of Netflix, you may be familiar with the appearance of Minnette, who starred in Netflix’s show “13 Reasons Why.” Minnette and Dalton did a splendid performance portraying their characters in the movie. They work well in the horror genre and it was exciting to see familiar actors again.

“The Open House” has great actors but lacks enough premise for  a basic storyline. It would’ve been better if they added background stories to the characters, so they’d be more relatable to the storyline or build tension of scary scenes that could tie into upcoming events. If you are a fan of cliché horror movies this may be a suitable movie of your choice.

Contact the author at cnakatsukasa15@wou.edu

Photo by: netflix.com

Grammys return to the garden

Zoë Strickland | Editor-in-Chief

On Jan. 28, the “60th Annual Grammy Awards” hit the small screen. The show was hosted by James Corden.

The awards show, which broadcasted from Madison Square Garden in New York City for the first time after a 14-year stint at the Staples Center, aims to award music and recording professionals from a myriad of different positions for their excellent musical contributions. All of the awards are decided by The Recording Academy, which is comprised of people in the field.

The Grammys opened up with a performance by Kendrick Lamar, featuring a brief interlude by Bono, who sang the hook to “XXX.” from Lamar’s album “DAMN.”

Other performances during the show included: Childish Gambino performing “Terrified,” off of his album “Awaken, My Love!”; Kesha performing “Praying,” off of her album “Rainbow”; Bruno Mars featuring Cardi B performing “Finesse”; a joint performance by Sting and Shaggy featuring a performance of Sting’s “Englishman in New York” and their new single “Don’t Make Me Wait”; amongst a handful of others.

There were 84 gramophone awards on the table — including the 75 that were given out before the show began.

For the first time, the award for Best Comedy Album was presented on TV, rather than being given off-camera. The award was given to Dave Chappelle for his Netflix special “The Age of Spin.” The special was Chappelle’s first in 13 years, since his 2004 release “For What It’s Worth.”

The award for Best New Artist went to Alessia Clara, whose 2015 album “Know-It-All” debuted at number nine on the Billboard top 200 list.

By far the biggest winner of the night was Bruno Mars he went home with six awards, including Album of the Year for “24K Magic,” Song of the Year for “That’s What I Like,” as well as Best R&B Album and Best R&B Performance. Kendrick Lamar also took home a stack of Grammys, winning four of the seven he was nominated for. Lamar took home Best Rap Album for “Damn,” Best Rap Song and Best Rap Performance for “HUMBLE.” and Best Rap Collaboration for “Loyalty” with Rihanna.

Ed Sheeran, who wasn’t in attendance to accept the awards, won both Best Pop Vocal Album for “Divide” and Best Pop Solo Performance for “Shape of You.”

The next major award show to sweep the screen will be the BAFTA Awards, which is airing on Feb. 18 on BBC America.

Contact the author at journaleditor@wou.edu

Photo by: latimes.com

Review: “Big Bear, Little Bear”

Stephanie Blair | Staff Writer

On Jan. 15, Rusty Clanton released his EP “Big Bear, Little Bear.” The Tennessee-native singer-songwriter has grown a substantial following in the last five years through YouTube and touring with the likes of Tessa Violet, dodie and Emma Blackery.

For those unfamiliar with his work, when Clanton asked his fans on Twitter to name other acts that his work sounds similar to, followers listed acts from Vance Joy to Bonnie Tyler, from Bon Iver to Sleeping at Last and Passenger.

This addition to Clanton’s discography brings a new aspect to his work: more complex arrangements. Typically, Clanton’s recordings have a fairly low production value on the instrumental side of things — his vocal arrangements are more processed or layered, with many a self-made harmony to be found. However, this new album incorporates piano, keyboard and drums, among other things. All of this new for fans of the folk-turned-indie rock singer.

Though all of the tracks bring something to the EP, “Comfort” is, by far, the best of the seven. Tackling themes of loneliness, faith and the road to self-growth, the vocals and melody carry the otherwise minimal lyrics.

However, “Dirty Words” comes in at a close second place. An upbeat sounding, jarringly juxtaposed piece about breaking up, the song is a true gem for those who have lived through the same experience: “If one more person tells me / ‘hey listen, man, at least I bet you’ll get some good songs out of it’ / I’ll sell my things / and drive my car as far out west as it will go / and keep on going if I can”.

If I were to have a complaint, it would be that the songs don’t flow in a connected way, which I only want because I’ve come to expect it, since his last EP did that so well.

Clanton’s last EP “Calm and Normal,” was released in 2016. Though the two EPs are not distinct from each other thematically, this album holds the production value that “Novels” brought to the table in every song.

For those looking for an easy listen, “Big Bear, Little Bear” is an excellent choice. For longtime fans, it’s a signal of big things to come from Rusty Clanton in the coming years. As a longtime fan of the person and faithful listener of his music, I could not be more heartened by Clanton’s latest effort.

Contact the author at sblair13@wou.edu

Photo by: rustyclanton.bandcamp.com

Harmonica player steals spotlight in jazz performance

Stephanie Blair | Staff Writer

Under a wash of colored lights — which would shift throughout the night, from reds and purples to blues and greens — four men took the Rice Auditorium stage on Jan. 19 for one purpose: to play jazz.

The quartet was composed of: DJ Ginyard on bass; Shedrick Mitchell on keyboard, organ and piano; Nathaniel Townsley on drums; and headliner Gregoiré Maret on harmonica. The group were old friends, Maret explained after their introduction.

But the four were not the only musicians on stage that night. For a few songs before the intermission, the quartet was joined by vocalist Christie Dashiell.

“An incredibly talented young woman — I honestly think she is one the most talented singers of her generation,” Maret said of Dashiell, just before she took the stage. “I feel really honored … that she accept the invitation and she’s going to be here performing with us tonight.”

The group played songs off of Maret’s newest album, “Wanted,” which was released in April 2016. In the performance program, Maret is quoted as saying, “There’s a lot about this record that is about my past to where I am now. I wanted to acknowledge not just who I am but how I came to be what I am now.”

Part of that story is growing up in Geneva, Switzerland to an African-American mother and Swiss father. Part of it is going from studying at the Conservatoire Supérieur de Musique de Genéve to New School University in New York. Part of it is transitioning from a student and a backup musician to taking the spotlight.

Maret has received praise from critics at The New York Times, The Daily Beast, Zeal NYC and many others for his melodies and ingenuitive harmonica compositions. And critics aren’t the only ones who love him. Though Maret was the focus of the Smith Fine Arts stage on the night of the performance, he’s built a strong career out of working alongside legends both in the jazz world and out: Herbie Hancock, Marcus Miller, Elton John and Sting, to name a few.

Maret’s music is available on iTunes, Amazon, sunnysidezone.com and Soundcloud.

 

Contact the author at sblair13@mail.wou.edu

Photo by: Paul F. Davis

New exhibits come to Hamersly

Zoë Strickland | Editor-in-Chief

For Hamersly Library, the beginning of term means the opening of new second and third floor art exhibits. The exhibits officially opened on Jan. 8 and Jan. 5, respectively. “Painting for the fun of it,” a watercolor display by local business owner Larry Sykes, is located on the second floor and “Beyond Watching,” a mixed media exhibit by visiting professor Xianzhu Tu, is located on the third floor.

The work shown in “Painting for the fun of it” is the result of Sykes being hesitant to learn how to paint. Before he and his wife moved to Monmouth, she bought him watercolor lessons. His artist’s statement describes the initial hesitation he felt towards the craft, “he knew nothing about painting watercolors but eventually gave in and found he had a knack for it. After a couple lessons his teacher said, ‘no more lessons, you get it, just paint.’”

As the work on display showcases, Sykes has an affinity for near-photorealistic pieces. His sense of detail is what initially drew Jerrie Lee Parpart, Archives and Exhibits Coordinator, to his work, “I see the exhibits program as a way to teach outside of the classroom … to spark interest in things that you normally wouldn’t have in your classroom, or to augment that which is already being taught in a class,” she said. “Specifically with Larry’s work, it’s a different way of looking at the world. He has an eye to look at mundane things … to just see the details.”

In Tu’s “Beyond Watching,” the artist has chosen to display multiple digital and ink images, as well as sculpture and installation pieces. One installation involves a bunch of small heads arranged in a pile, while another utilizes a large, square display case to show sand-made mountains atop a mirror.

“The exhibition shows a series of art practices based on my personal cultural experiences of self-reconstruction from observation, perception, questioning, reflection, and awakening. Beyond watching, returning to one’s real self is the ultimate appeal of my artistic expression,” explained Tu in her artist’s statement.

While the foyer of the third floor gallery is used to display the aforementioned pieces, the two gallery rooms are arranged with Tu’s digital and ink images.

“With her work, I was very excited about the idea of combining both communication and art,” said Parpart.

In addition to these two exhibits, Hamersly Library is also hosting a smaller exhibit on the second floor for the Polk County Historical Society. In February, the library will also house a 22-panel collage that traces 3,000 years of disability history.

Contact the author at journaleditor@wou.edu

Photo by: Paul F. Davis