Mount Hood

Review: “LONER”

Zoë Strickland | Editor-in-Chief

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

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

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

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

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

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

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

Contact the author at journaleditor@wou.edu

Photo by: Carolinerosemusic.com

Review: “Black Panther”

Stephanie Blair | Staff Writer

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

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

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

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

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

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

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

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

Contact the author at sblair13@wou.edu

Photo by: Movies.disney.com

“Three Billboards” wins big at the BAFTAs

Zoë Strickland | Editor-in-Chief

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

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

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

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

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

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

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

Contact the author at journaleditor@wou.edu

Photo by: Latimes.com

Review: “Beautiful People Will Ruin Your Life”

Ashton Newton | Freelancer

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

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

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

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

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

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

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

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

Contact the author at anewton15@wou.edu

Photo by: http://thewombats.co.uk/

Review: “Text Me When You Get Home”

Zoë Strickland | Editor-in-Chief

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

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

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

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

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

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

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

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

Contact the author at journaleditor@wou.edu

Photo by: Penguinrandomhouse.com

 

The people behind the people that changed the world

Sam Dunaway | News Editor

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

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

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

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

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

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

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

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

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

Contact the author at journalnews@wou.edu

Photo by: Paul F. Davis

Review: “I Like Fun”

Darien Campo | Designer

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

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

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

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

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

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

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

Contact the author at dcampo13@wou.edu

Photo by: theymightbegiants.com