Mount Hood

THE EDITOR DOTH PICK

“Stuff and Nonsense” is a fantastic little card/board game from Cheapass Games. You and your opponents are would-be adventurers who scour the outskirts of London for somewhat exotic trinkets and tidbits that you can use as evidence of your non-adventures, so that you can go to the prestigious Adventurer’s Club and spin fantastic tales about places you’ve never been (it’s pronounced “chee-NAH,” yes?). It’s fast, easy to learn, and if you’ve got even a single performative bone in your body, it has proven great fun in my sessions to pour some drinks, give each other silly posh-sounding names (Sir Beefwellington of the Oxfordshire Beefwellingtons, for example), and relate our tales in great detail with gusto and British accents. Your first game will probably take about an hour while you learn, and from then on it can take as little as 40 minutes, or a couple hours, depending on whether you play it as a straight up card game or take more time to relish in the stories you tell. I highly recommend it.

Scooting. I’m that dude that scoots everywhere around campus. Scooting is way more fun than that walking garbage y’all are doing. Plus it looks hella doofy and I think we all need to be more comfortable with being doofy. They got ‘em at Target for $30-ish, #scootlife breh join the revolution.

THE EDITOR PICKETH NOT

… superhero movies. Not superheroes, just this recent explosion of films based on them. I have a lot to say about this, so check the full article at wou.edu/westernjournal.

Phone Power: They Might Be Giants

By: Darien Campo 
Staff Writer

This week, March 8th, alternative rock duo They Might Be Giants released their 19th studio album “Phone
Power”. “Phone Power” is the third collection of songs from the 2015 revival of TMBG’s Dial-a-Song
project, in which they recorded and released a brand new song (with an accompanying video) every
week this year. The previous two collections of 2015 Dial-a-Songs, released earlier this year, were
“Why?” and “Glean”.

Anybody who follows TMBG is already familiar with most of the songs on this album, since they’ve
previously made an appearance on dialasong.com, but it’s still great to hear them all collected together
for the first time.

For a band that’s been releasing music almost constantly for the past 30 years, it’s truly amazing that
they’ve kept the same standard of quality on each album. Every song on “Phone Power” shows the same
attention to detail that Johns Flansburgh and Linnell have consistently delivered to their eager fans.
There are some really fun tracks on this album. My personal favorite is “I Am Alone”, which details a
very dramatic (and hilarious) standoff between 4 characters with too many plot twists to count. The
songs are creative and fun as always, but nothing on the album really breaks away from the TMBG
standard — which is hardly even a complaint.

The most notable detail about “Phone Power” is that it is TMBG’s first foray into the world of “pay-what-
you-want” releases. If you visit tmbg.com/phonepower you’re greeted with the option to choose your
own price for the 18 track album. They even say that you can pay nothing for the album, “because, like,
you don’t have any money right now. We understand. We totally support that idea. We don’t mind
giving things away.” They do offer special deals for folks who pay more for the album, like a physical CD
instead of a download link, and even an exclusive live stream to a show of theirs in April.

Though the songs on “Phone Power” are fun, I’m still waiting for TMBG to blow me away again like they
did with their 2013 release “Nanobots”. Regardless, “Phone Power” is a powerful addition to the
unstoppable The Might Be Giants discography, and is sure to please any fan.

‘Ghostbusters’ Returns to Big Screens This Summer

By: Ashton Newton
Staff Writer

We’ve all known for a long time what to do if there happens to be something strange
in the neighborhood. That’s common knowledge: Who ya gonna call? Ghostbusters.
But this summer, a new team is putting on the jumpsuits and taking on the iconic
role in the ‘Ghostbusters’ reboot film.

The first trailer for the upcoming film debuted last week, featuring plenty of laughs,
ghosts, and slime. The reboot has all new, all female team. The film stars Melissa
McCarthy, Kristen Wiig, Kate McKinnon, and Leslie Jones.
The film follows the scientists and a subway worker as they work together to defeat
a powerful demon who can take over the bodies of humans. The trailer also revels
that there is someone in the city who created a device that amplifies ghostly activity.
People are much more opposed to the idea of ghosts in the reboot’s New York than
in 1984 New York, which adds a new goofy dynamic to being a Ghostbuster.
The trailer put a lot of focus on the comedy of the movie, making it look like an over
the top modern day comedy film, instead of the classic ‘Ghostbusters’ style like long
time fans were hoping for.

Although the trailer stars out with a nod to the original, director Paul Feig has stated
that there are no narrative ties between the reboot and the original. Luckily, fans
can count on the original song being in the reboot, as well as a lot of nods to the
original ghosts.

The ‘Ghostbusters’ reboot sparked up some controversy when it was first
announced because of its all female cast, but Feig has since than talked about how
the all female cast is going to provide a new energetic dynamic to the classic
‘Ghostbusters’ concept and criticism has died down.

There has also been speculation that Bill Murray will reprise his role as Dr. Peter
Vankman, for he’s listed as a cast member on IMDB. Some people believe he’ll play
an important role in the movie, while others are saying he’ll simply be a cameo.

‘Ghostbusters’ will premiere worldwide this summer.

Primal fear over petty scares

By: Megan Clark
Campus Life Editor

When I saw the first trailer for “The Witch” over summer, I was hyped. A Puritan themed horror movie full of black magic and dancing goats was right up my alley. I saw it opening night, knowing it probably wasn’t going to be amazing, but a fun watch nonetheless.

Much to my surprise, I was wholly disappointed, but not because of the movie. No, the movie was good and full of the gloomy, mystical vibes I had so desired.

I was disappointed because of the audience, who complained and joked throughout the entire film.
Now, “The Witch” isn’t necessarily bad. It has an 89 percent rating on Rotten Tomatoes, and that’s a better grade than what I’m getting in some of my classes this term.

While I understand it’s not everybody’s cup of tea, I have a hunch that the audience wasn’t adequately prepared for what they were going to see. I mean, sure, there were like three different trailers for it that they could’ve watched, but maybe there’s more to it than that.

When horror is mentioned, people expect scary.

They expect horror films to follow a certain formula that they have grown accustomed to, usually involving horror movie tropes and tricks like jump scares or twist endings that don’t seem much like scares or twists anymore because people come to expect them more often than not.

Horror, however, encapsulates a large array of films, the genre being defined only by its ability to make the viewers uncomfortable through feeding on their primal fears.

The first horror movies of the silent film era, like “Nosferatu” (1922) or “The Cabinet of Dr. Caligari” (1925), aren’t exactly terrifying, especially by today’s standards. They are, however, still super creepy due to their chilling visual effects and their ability to prey on fears innate in humanity, like the fear of supernatural creatures or of inevitable death.

In my opinion, the golden age of horror started in the late ‘60s and ‘70s, with classics like “Night of the Living Dead” (1968), “Rosemary’s Baby” (1968), and “The Exorcist” (1973), that focused on supernatural, ghostly, or satanic happenings.

Again, not super scary, perhaps even a bit comical. The group of elderly folk chanting “Hail Satan!” in “Rosemary’s Baby” isn’t particularly terrifying, but the film is still widely considered one of the best horror movies to date.

These paranormal themed movies have stayed strong, alongside the thrills and chills provided by the slasher crowd pleasers of the ‘70s, ‘80s and ‘90s, like “A Nightmare on Elm Street” (1984) and “Scream” (1996).
The focus in popular horror has shifted from the inventive plotlines and visually arresting atmospheres of the early and mid 20th century to simply imitating other movies that have found a foothold in popular culture.

The early 2000s welcomed in a slew of found footage films, starting with “The Blair Witch Project” (1999) that has continued with the ever popular “Paranormal Activity” series.

Found footage films are pretty uncomplicated movies to make, considering the film’s grain and shaky footage excuses poor special effects or lack in production value. They follow a similar recipe for plot, using healthy doses of invisible, overpowered evils and helpless protagonists to evoke excitement from viewers.

A lot of movies have come out as being genuinely unique and exciting, such as “Insidious” (2010) or “The Conjuring” (2013), but the quality of these movies is diminished because the market is flooded with sequels, prequels, and offshoots that mirror the style and plot of previous films.

There are still really great horror movies that don’t rely on imitating other plots, like “It Follows” (2014) or “The Babadook” (2014), which also have social commentary alongside their wonderfully eerie storylines and visuals.

While plenty of good horror movies are still being made, the majority of horror movies currently out are heavily referential and uncreative. This may make horror movie audiences ill-prepared for movies that break the mold, like “The Witch” (which isn’t really scary, but pretty good if you like that sort of thing).

Contact the author at meclark13@wou.edu or on Twitter @WOU_campuslife

Mack strikes back

By: Conner Williams
Editor-in-Chief

Alright, thrift shoppers, if you’re like me, then you stayed up late and waited until “This Unruly Mess I’ve Made” dropped and then proceeded to listen to it on repeat for the next week.

Hip-hop duo Macklemore & Ryan Lewis released their debut album “The Heist” back in 2012 when I was a pipsqueak freshman, and their follow-up came out just in time to take its place as the anthem of my senior year.

Without further adieu, I have decided to list out each track into specified categories that I think make most sense. It should be noted, however, that I have only heard the standard version of the album and not the full deluxe version, so the list below is missing the two extra tracks on the deluxe version.

Certified Bangers

With tracks like “Can’t Hold Us,” “White Walls,” and “Jimmy Iovine,” producer Ryan Lewis has proven that he is one of the best in the business at mixing up beats that bang. TUMIM is a bit more mellow, but it still has a few certified bangers.

“Downtown”: This track was released as a single back in August, and became an instant hit. The best part? It’s a song about mopeds. “Chromed out mirror, I don’t need a windshield; banana seat, a canopy on two wheels; eight hundred cash that’s a hell of a deal!”

“Light Tunnels”: As the opening track, this song sets the tone for the album, and it does just that. Macklemore calls out celebrities as he recounts his experience at the Grammy’s when he won album of the year and details what it’s been like facing the pressure of living up to the success of “The Heist.” “Watch celebrities take selfies with celebrities; it feels so make believe; they want the gossip, they want the drama; they want Britney Spears to make out with Madonna.”

“Brad Pitt’s Cousin”: There’s no doubt that Macklemore has an interesting sense of humor. With the chorus chanting “When you see me in the club; Brad Pitt, that’s my cousin; Angelina show me love,” the song still leaves me a bit confused as to where to draw the parallel between the two men (despite them both being incredibly attractive). But who cares, the song still bangs. “Every white dude in America went to the barbershop like ‘Give me that Macklemore haircut!’”

“Dance Off”: Featuring a celebrity appearance by Idris Elba (“Thor,” “Beasts of No Nation”) on the hook, this song is another Macklemore great that details just how much he loves to dance. And the bass is killer too. “I grab my ankle and pull it up; and do that thing where I move my butt; I got the juice motherfucker don’t use it up.”

Social Justice Issues:

Macklemore is fairly well-known for being a present voice of many social justice issues; “Same Love” advocated for marriage equality and became a huge hit that inspired millions around the country, and “Wings” detailed the culture around Jordan shoes and how people literally kill for them.

“White Privilege II”: This track is a nine-minute-long slap to the face for white Americans. Macklemore discusses his conflicted thoughts of taking part in a Black Lives Matter protest as he feels like he should be doing something while simultaneously feeling out of place, as well as how he used the hip-hop genre that arose from black culture to further his own agenda. “Want people to like you, want to be accepted; that’s probably why you are out here protesting; don’t think for a second you don’t have incentive.”

“Let’s Eat”: This track is all about positive body image. The message: quit worrying about eating that slice of cake. Go for it. “Supposed to be on a diet; I wanna be like Ryan; he lost 30 pounds on that paleo; but fuck it man I love fried shit!”

“Kevin”: Macklemore premiered this song at the AMAs, and it sure had an impact. A huge shot at the prescription drug industry, it discusses how Rx’s have harmed people by getting them addicted and, in some cases, killing them, all while robbing them blind. “Got anxiety, better go and give him a Xanax; focus, give him Adderall; sleep, give him Ambien; ‘til he’s walking ‘round the city looking like a mannequin!”

(Potential) Cult Hits:

Tracks like “Thrift Shop” and “Can’t Hold Us” became iconic pop anthems that have a special place in everyone’s musical repertoire. Let’s be honest, who doesn’t know where the line “I’m gonna pop some tags” comes from?

“Buckshot”: I honestly don’t know what it is about this track, but it’s got me bobbing my head and dancing around my apartment like I’m possessed. There’s just something behind a song about graffiti that I find intriguing. “They hella mad, say my art is really bad for business; but I’mma paint a better world until the cans are empty.”

“Need to Know”: Featuring a fantastic hook and verse by the increasingly popular Chance The Rapper, this track gives off a vibe of a lazy Sunday afternoon coffee shop. Gentle piano and horns serve as the background beat and almost supersede the fact that this track is about bending the truth and only revealing what one truly needs to know. Macklemore believes he is living a life that is a lie and really just looks better on the surface. “I’m really good at telling the half truth but usually only when I have to; the money doesn’t work, the chain doesn’t work; something broken in my brain got me praying in the dirt.”

Lowkey Jams:

In the midst of his speedy verses and eccentric dance themes, Macklemore likes to take it easy with a few slow jams as well.

“Growing Up”: Featuring an appearance by Ed Sheeran on the hook, this track is simply a heartfelt love letter from Macklemore to his unborn daughter. This really is a fantastic song and shows the rapper’s emotional side. “I’m gonna be there for your first breath; I don’t know if I’ll be there for your first step; I can promise you I’ll try to work less.”

“St. Ides”: While the title is a referenece to the malt liquor, it’s really about Macklemore appreciating the “non-commercial greatness of life,” as Genius.com put it. “Rollin’ round, we know where to go; argue with the homies over who’s gonna roll; bumpin’ Goodie Mob, have some food for the soul.”

“Bolo Tie”: This track shows Macklemore’s frustration with originally trying to get his music out there, and then people harassing him for new content after the hype of “The Heist” had ended. He didn’t want to put out music just for the sake of it; he wants it to be real. “Motherfucker you ain’t my accountant; you don’t know what I’m doing; focusing on what I’m giving back; man, make better music.”

“The Train”: As the final track on the album, it explores the rapper’s feelings of detachment and that he feels like he’s departing somewhere, like he’s on a train to nowhere. “Watchin’ the trees pass by at a tempo; got a round trip ticket out to limbo; and I’m getting close to my kinfolk.”

Contact the author at journaleditor@wou.edu or on Twitter @journalEIC

perfectly marvelous

By: Brianna Bonham

As a theatre geek, I went into Cabaret with very high expectations, and I was not disappointed.

The audience was met with two different seating options, as they entered the auditorium. There were wooden risers built that had a slight curve around the stage, and held seats to give the place an almost “theatre in the round” feel.

The second option was round tables around the sides and front of the stage; each table held a lamp and table number. Before the show began, the Cabaret Boys offered the tables menus with refreshments such as cookies, biscuits, sparkling water, pink lemonade, coffee, and tea. If the audience members had a couple dollars, the Cabaret Boys would take audience members’ orders and interact with them.

If you want to grab a cabaret table, get there early! I was fortunate to sit at the cabaret table four, which is right next to one reserved for an actor for a scene in the show. It was a really good way to break the fourth wall and make the audience feel involved.

The set and lighting combined made the show feel dingy, but in a good way. The air looked slightly smoky in the light and the mirrored set was stippled with rust and dirt colors to give it an older feel. Darker lighting was used during the scenes that took place in the cabaret to give the space a darker appearance.

Costumes were done very well, and all looked very time period appropriate which set the scene for much of the show. Those who had never seen the show before may have been a little shocked to see that the Kit Kat boys and girls wore minimal clothing as they danced around the stage and cabaret tables to gave the show that raunchy, nightclub feel.

The main characters all had very appropriate costumes, Emcee and Sally both sporting more colorful, extravagant clothing. Sally wears a beautiful red coat in a couple scenes that I loved, because even though we had just seen her dance onstage in lingerie, it gave her an elegant poise and class. Other characters such as Cliff and Fraulein Schneider wore more practical, simpler costumes, with less color which reflected their characters quite well.

The actors and actresses all did a marvelous job staying in character, carrying their accents, and projecting to the audience throughout the entire show. I was very impressed with the ability to hear everything they were saying consistently. There were a couple times where it was hard to catch what they were saying, but I think it was a mixture of the accents and the speed at which they were talking that caused me to miss a few seconds here and there, so keep your ears open.

I’ll admit that I was a bit nervous about Emcee going into the show, because he is so bizarre and exorbitant, and when people think of Cabaret, a lot of people can’t picture anyone else but Alan Cumming playing him. All of my fears were disbanded after the first number because Gabriel Elmore did an amazing job playing Emcee. He was so relaxed and gave the character a sense of ease as he danced eroticly with the other cast members. The Kit Kat boys and girls were an essential part to the show and provided great audience interaction, and a seedy quality to the space whenever they were on stage.

Rebecca LaPorte (Sally) and Janelle Rae Davis (Fraulein Schneider) both sang beautifully and gave their characters so much life, though the characters were very opposite. LaPorte belted Sally’s rebellious anthem “Don’t Tell Mama” and hit every note perfectly. Davis utilized character voice and facial movements to make her aging character believable. Her despise for Lindsay Spear’s character, the fiery red-head Fraulein Kost, is hilarious as Kost keeps sneaking sailor boys into her home.

Zachary Warner plays the likeable Cliff and was refreshing to watch on stage. His interactions with Sally, Ernest, and the other characters were very believable and added quality to the show. Taylor Mead was flawless in his portrayal of Herr Schultz, giving the mousy man a lovable light in all of his numbers and providing great comic relief overall.

I would not recommend the show to kids under 12, because it is filled with lewd humor. I thoroughly enjoyed the performance and I look forward to seeing it again the second weekend.

Contact the author at bbonham15@wou.edu or on Twitter @WOUjournalphoto

“Deadpool” is Dope

By: Ashton Newton
Staff Writer

Superheroes have been huge in movies lately. A little too huge, some might say, but they’ve been wildly successful nonetheless.

Marvel’s “Deadpool” brings a new kind of superhero to the big screen; One which comic lovers know as an “anti-hero.” For him, the lines between good and bad are very blurry. So, obviously, when I found out everyone’s favorite “Merc with a Mouth” was getting his own movie, I was skeptical and afraid we’d get a watered down version.

By far the best part of “Deadpool” was the R rating. If comic Deadpool is known for three things, it’s blood, language, and chimichangas. The R rating allowed all three of those to be expressed in full. There was no holding back in the language or the gore, so the comic Deadpool was really well portrayed on film.

Ryan Reynolds did an incredible job as Deadpool, he didn’t hold back at all in his portrayal of the character. Even under a thick red suit, Reynolds was able to bring so much emotion out of the character through his masterful use of dialogue.

“Deadpool” was also a chance that Fox took to poke fun at itself and the entire superhero genre. Deadpool makes fun of Ryan Reynolds’ “almost Deadpool” from “X-men Origins: Wolverine” and his Green Lantern. The movie also jokes about the low budget being the cause of the lack of X-Men characters and the very confusing X-Men Universe timeline.

The movie is a very easy to understand story of revenge. Set in the larger universe of the X-Men movies, the film seemed a little underwhelming in its small scale. I mean, there’s a guy named Apocalypse who’s about to try destroying the world in a few months. But at its core, “Deadpool” is a fun and entertaining debut of the beloved character on the big screen.

Comedy outweighed action in “Deadpool”. Whether it was breaking the fourth wall or one of his many one-liners, Deadpool had the audience laughing from start to finish. Comedy worked most of the time. As expected, a few one-liners fell flat, and some jokes were placed at awkward times, but “Deadpool” was still an extremely funny and entertaining movie.

A major weak point in the film was the side characters. Colossus and Negasonic Teenage Warhead played the role of the voices of reason for Deadpool and Colossus trying to recruit him to the X-Men. The characters were undeveloped and provided nothing but some extra muscle for Deadpool and a few X-Men jokes.

The action was very fast paced and fun. I found myself wanting more of it in slower moments. The R rating allowed the action to be filled with blood and gore. The film didn’t hold back at all when it came to blood or dismemberment, and it was fantastic.

Overall, Deadpool was a fun but small film that managed to bring a fan favorite character to the big screen while parodying the entire superhero genre. The film didn’t disappoint and left me wanting more.

WOU logo

Facebook   Instagram   Twitter  YouTube  LinkedIn  wouTV

WESTERN OREGON UNIVERSITY
345 Monmouth Ave. N.
Monmouth OR 97361

503-838-8000 | 1-877-877-1593

Tools

Campus Maps
Canvas
Find People
Portal
Virtual Tour
WOU Email
Technical Support

Resources

A-Z Index
Accessibility
Academic Calendar
Class Schedule
Jobs at WOU
Partnerships
Student Services

Western Oregon University’s Land Acknowledgement
Western Oregon University in Monmouth, OR is located within the traditional homelands of the Luckiamute Band of Kalapuya. Following the Willamette Valley Treaty of 1855 (Kalapuya etc. Treaty), Kalapuya people were forcibly removed to reservations in Western Oregon. Today, living descendants of these people are a part of the Confederated Tribes of Grand Ronde Community of Oregon and the Confederated Tribes of the Siletz Indians.

Accessibility    Public Records    Privacy    Student Consumer Information

WOU prohibits discrimination on the basis of race, color, sex, national or ethnic origin, age, religion, marital status, disability, veteran status, sexual orientation, gender identity, and gender expression in all programs, activities and employment practices as required by Title IX, other applicable laws, and policies. Retaliation is prohibited by WOU.