Mount Hood

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

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