Mount Hood

The Smashing Pumpkins’ “Mellon Collie and the Infinite Sadness” Turns 20

By: Declan Hertel 
Entertainment Editor

Being a teenager is hard. You have a newfound independence and no idea what to do with it, your body changes in strange and unsettling ways, your emotions are beginning to acutely develop before you know how to handle them, and all the authority figures in your life tell you that none of your devastating, all-consuming problems really matter.

No one wants to hear you when you need most to be heard.

When The Smashing Pumpkins released “Mellon Collie and the Infinite Sadness” in 1995, a generation of teenagers finally found something that understood and acknowledged their plight in Billy Corgan’s sprawling double album.

It’s an album that, throughout the course of 28 tracks and just over two hours of run time, explores every difficulty of adolescence. It moves through expressions of blind rage, undying love, being hopelessly lost, and the occasional moments of clarity.

I was introduced to this album relatively recently by a good friend, during one of our many conversations about music.

He was surprised I hadn’t heard of it: an angsty, experimental, prog-influenced, concept double album? Right up my alley. I purchased it and set to listening to it immediately. It was exactly as ‘me’ as he had said, even more so as it had appeared at a particularly emotionally tumultuous time for me.

This is definitely a work for the emotionally vulnerable, but also those who once were. A song like the stellar lead single “1979” expresses to me unsureness about times just past and what they mean for my future, but for someone older it could just as easily be a reminder of that teenage “lostness” they once saw.

A nihilistic burn-it-down song like “Zero” plays to teenagers as relating directly to their experience, while an adult will hear it and shake their head at “those poor kids.” “Mellon Collie” as an album has a sort of timelessness for anyone who was ever lost and confused and angry.

I feel that “Infinite Sadness” will be a record that stays with me over time, as it has been for those who were there when it appeared.

It is a work of art that perfectly encapsulates the experience of adolescence. While I listen to it now with all the attitudes of my overlong angsty-teenager period, maybe when I finally grow up I’ll hear it with my old ears and understand something about the turmoil of youth that you can’t see while young.

Superglued to the screen: “Goodnight Mommy” terrifies

By: Declan Hertel
 Entertainment Editor

I’m going to start right off the bat by saying I am going to try really hard to not spoil anything about “Goodnight Mommy,” a fantastic piece of psychological horror out of Austria.

Please, do not look up anything about this movie before seeing it. Here is all you need to know: the mother of twin boys comes home with a bandaged face and distant demeanor after an operation, and the boys develop doubts over if she really is their mother.

It is really, really good and you should seek it out as soon as possible.

There’s no obvious place to start talking about the movie, so I guess I’ll start with the fact that it is supremely unsettling. I’d be hard pressed to think of a movie I felt more physically uncomfortable watching.

As the film rolled on down the tracks with near-perfect pacing, I was squirming more and more. There is nothing rushed during “Goodnight Mommy” (“Ich Seh Ich Seh,” or “I See I See” in the original German); every moment is long and slow and savage in its stark delivery, and I was unable to look away.

Directors Severin Fiala and Veronika Franz use lighting masterfully throughout “Goodnight Mommy,” as evidenced by the film’s tone growing darker as the images on the screen grow lighter, a reversal of the normal strategy in horror.

Just as good is the usage of sound: the movie contains little dialogue and is mostly scored by ambient noise, but the heavy silence is occasionally punctuated by low rumblings and spikes in volume that are as unnerving as anything I’ve seen in a movie.

Child actors in horror movies are near-universally reviled, so I was very glad to see that Lukas and Elias Schwarz, as the twins, deliver excellent, wonderfully restrained performances. Susanne Wuest also turns in a spectacular performance as their mother (or is she?). The interplay between Wuest and the Schwarz boys is impeccable.

I wish I could say more than that, but anything beyond “they’re just so great” would ruin a great deal of the film.

One final note: yes, it is a foreign film and all the actors speak German. That said, there is very little dialogue in the movie, so subtitles are minimal, and it’s a really great movie. If you can handle a small amount of reading over the course of a tight, tense 100 minutes (which you can), you really ought to expose yourself to the magic of foreign cinema. But if subtitles truly are enough to keep you from enjoying a really great movie, there’s no hope for you anyway.

A great piece of psychological horror seems rare in this time of “Paranormal Activity” and its knockoffs saturating the horror market, but in “Goodnight Mommy,” we find a slice of salvation.

It’s disturbing in a big way, and will stick with you for a long time after the credits roll. Seek it out and spend an evening in glorious terror.

4 out of 4 Paws

An interactive medium for the horror genre

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By: Darien Campo
Freelancer

It’s a bittersweet time in my house.

Here we are in the final week of the month; October is almost over. On the other hand, it’s almost Halloween!

The final movie countdown has been getting pretty spooky this week with “ParaNorman” (2012), “The Thing” (1982), “Scream” (1996), “Alien” (1979), “Young Frankenstein” (1974), “Silent Hill” (2006), and “Plan Nine from Outer Space” (1959).

Watching “Silent Hill” is always a unique experience for me.

As a huge fan of the Konami video game series that it’s based on, it’s always fun to see all the monsters and locations from those classics brought to the big screen. But at the same time … it’s just not a very good movie.

I enjoyed it more when I was younger, but every time I watch it now I just can’t help but notice how badly put together it is. The plot is a lazy mess with a whole scene at the end that literally has to stop the movie to explain to the viewer what is happening.

That is really bad writing.

The main problem is that “Silent Hill” only works in its original format – as a video game.

Along with my parade of horror movies, I’ve also been playing my fair share of horror games this month. The film borrows heavily from the first two games, so I’ve been replaying those along side this new viewing, and in an interactive medium, Silent Hill thrives.

Horror films are already a form of interactive art. We aren’t asked to sit idly by and watch a story unfold in front of us during a scary movie.

Instead, scary movies will specifically prey on our fears and try to “attack” us directly. A good horror film will do all it can to make the audience feel as if they’re personally in danger. We jump, we scream, we shiver, and we laugh; horror asks for a certain level of audience participation.

This is why I think that video games are actually the perfect medium for a genre like horror, even better than a theatre screen.

Playing a game like “Amnesia: The Dark Descent” (2010), in which the player’s only defense from the grotesque monster is to run as fast as possible and find a place to hide, is an exhilarating experience that is hard to capture in film. Putting the audience in the shoes of “Alan Wake” (2012) gives us a feeling of personal danger that a movie can rarely replicate.

A movie can show us things we’re afraid of, but a video game can make us fear for our own lives.

If it hasn’t been made obvious already, I love horror. I’m a confirmed ghost story and horror film addict. But I’ve also realized that if the horror genre is going to grow, it might be time to start shifting over into a more interactive medium. There will always be a place for horror in cinema, but a scary game is a whole new experience.

It’s no myth

By: Ashton Newton
Staff Writer

Discovery Channel announced last week that “Mythbusters” will officially go off the air in 2016 after its 14th season.

Some of the favorite memories my dad and I share are watching “Mythbusters” all through my childhood.

Like many kids, I was inspired by the science that was made awesome by hosts Adam Savage and Jamie Hyneman.

The beauty of “Mythbusters” is that there is always something to take away from it, whether it’s not to use your toaster in the bathtub or how fast you need to shoot at a tree to go directly through it. “Mythbusters” managed to perfectly merge science and entertainment.

The busters also appealed to TV fans and moviegoers alike with specials for “Breaking Bad” and “Star Wars.”

Last Wednesday, Oct. 21, 2015, Discovery Channel announced the news in a statement, saying “After 248 episodes, 2950 experiments, 1050 myths, and 900 explosions, hosts Adam Savage and Jamie Hyneman will say goodbye to the series this winter.”

Last season saw Kary Byron, Tory Belleci, and Grant Imahara leave the show following drops in the show’s ratings. With them gone, the final season will feature Savage and Hyneman by themselves.

Hosts Savage and Hyneman have known about the shows’ ending for over a year now, and have been planning on how to make the final season the most intriguing season yet.
‘Mythbusters” will still play in syndication on Discovery Channel’s sister network, the Science Channel, after the show’s end.

Fans can also mark their calendars for the “Mythbusters” marathon that is going to play every episode chronologically on the Science Channel starting Dec. 23rd, 2015.

Savage and Hyneman have one more Mythbusters Live Tour coming up in November, with a stop in Eugene on Dec. 12, 2015. Tickets are on sale at www.mythbusterstour.com.

The 14th and final season of “Mythbusters’ starts in Jan. 2016, with an explosive series finale that Adam Savage promises will be amazing.

Hype builds following new Star Wars trailer

By: Ashton Newton
Staff Writer

The theatrical trailer for “Star Wars: The Force Awakens” was released on Monday, Oct. 26, 2015 with advance tickets going on sale immediately after the release.

I watched the trailer about fifteen times that night, picking through every little detail I could find. I was not alone in doing so; the trailer got 128 million views the first day.

People took their reactions to Twitter; @elmayimbe tweeted, “My pops took me to see the original trilogy in theaters. This time I’m going to take him to see #TheForceAwakens.”

Several large cinema chains who hadn’t fully prepared for such a great influx of fans buying advanced tickets, saw their websites crash soon after the trailer release.

Alamo Drafthouse theater group CEO Tim League apologized, saying the release is “the single biggest simultaneous surge for movie tickets our industry has ever seen.” IMAX alone grossed at $8.6 million with presale tickets. Someone in Philadelphia even took his ticket to eBay, selling it for $1000.

There were those less excited about the new trailer, though.

The hashtag #BoycottStarWarsVII began trending on social media not long after the trailer hit the web. The hashtag was used by people saying that the new Star Wars is “anti-white propaganda” for having an African American as the lead character.

The boycott was later revealed to have begun as a joke, but the sheer volume of tweets could indicate that some have begun to take it seriously.

The majority of the use the hashtag got was people reacting to the appallingly racist reason that others were citing as motivation to boycott the movie, including comedian Patton Oswalt who took this opportunity to mock the boycotters.

JJ Abrams himself responded, saying “We cannot wait to share the trailer with you tonight. We don’t care if you’re white, black, brown, Jawa, Wookie, Jedi, or Sith. I just hope you like it!”

In China, Disney had an event tied to the trailer release. 500 Stormtroopers gathered on the Great Wall of China and handed out lightsabers and other souvenirs to fans that came.

The event was aimed at increasing the fan base for Star Wars in China, which hasn’t been as widely celebrated and watched as it has been in America, so the country is largely unfamiliar with the franchise.

Disney is pushing for greater Star Wars popularity in China because it is currently the world’s second largest film market.

Star Wars: The Force Awakens is shaping up to be one of the most popular new movie releases of all time.

Fandango already released first day ticket sales, stating that they were 700% higher than the previous record holder, and that’s even with their website crashing during the sales.

The next installment of the Star Wars series is looking like it’s going to break some big box office records.

Your New Favorite Podcast: “It’s Wet Outside with Ollie Bergh”

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By:Declan Hertel
Entertainment Editor

I sat down with Ollie Bergh, a BFA Acting/Music major at WOU and creator and host of the podcast “It’s Wet Outside,” to talk about his show.

Declan: So, Ollie Bergh. The man behind the mask. The curtain. The magic. What is “It’s Wet Outside?

Ollie: What is “It’s Wet Outside?” Well, it’s a talk podcast, in the simplest terms. Although, if we’re going to get philosophical, and we are, because we’re college students, it’s become more than that. It’s become an extracurricular activity. In the same way that in high school, your extracurriculars were where your group of friends was founded. “It’s Wet Outside” has become that, at least for me. And I would venture to say [the same] for many of the folks in it. But it’s a talk podcast, I structured it sort of halfway between the way that American talk shows, late night comedy—think Conan—I structured it halfway between that with… in the second year we did it I added sort of what the British late night talk shows do, which is have everybody on at once and kind of have a round table discussion about whatever it is. But it served another purpose: I did a lot of stand-up [comedy] in high school, and I didn’t want to lose that part of me. But with the demanding schedule of being a theatre student, I couldn’t go to Salem on Tuesday nights to do the open mic. So I created the podcast, where I could try to be funny; try to keep that going. [Laughs.]

iwologo(1)D: I’ve got to ask about the name. How did it come about?

O: So my buddy Jackson had a show at [Portland State’s radio station] KPSU; I think they have the radio frequency, they’re big. Huge institution, really great programming there. And he was showing me all the different shows on KPSU, and all of them had these hilarious names. My favorite was “Eat Your Children.” Jackson’s was something simple like… “Big Jack Attack” or something, you know, radio name. But he was like “you know, just think of something funny, and that’ll be your radio show. So I was like, “Radio Puppy.” To me, that had a nice ring to it, it was funny enough, weird enough. But also friendly enough that people would listen to it. And I was in my dorm, and [I said to my girlfriend], “I’m gonna start a KWOU show called Radio Puppy.” And she was like, “that’s such a stupid show title.” And it was pouring outside, and I was like, “well, what else am I gonna call it? Like… like… ‘Bats Eat Mayonnaise?’ Like, ‘It’s Wet Outside?’” And then… wait. There it is. That’s the magic.

D: What was the first iteration of “It’s Wet Outside?” I know it’s been through a couple.

O: I think the first episode is a great way to tell you how it came about. I was on my way to walk into the KWOU building to do the first episode, I had no idea what I was going to do. And I look at a guy in my dorm, Nick Reeve, and I go, “hey Nick! You wanna be on ‘It’s Wet Outside?’” And he’s like, “yeah I’ll be on ‘It’s Wet Outside.’” And I think I scheduled some of [my girlfriend] Sheridan’s friends to come on, we were going to do girl talk, and talk about why girls hate me, or whatever. So it started with me and Nick co-hosting and just doing this show, finding anybody to come on. Not a lot has changed. [Laughs.] But it was more news-based in the early days, I remember one time Nick… Nick loves basketball. And I said, “Nick, do a bit on basketball.” And I thought, ‘this is gonna be so funny,’ right? And he just reported, gave basically a sports column on the air. No jokes. [Laughs.]

D: In that vein, what sort of stuff do you talk about on “It’s Wet Outside?”

O: Basically anything. The way that I try to capture it now is… think of what all your bros

would be goofing off about. It’s like that plus more. It’s real topics, with that aspect, you know?

So [with the upcoming episode], there’s going to be some talk about vegetarianism, so picture

you and your buds just shooting the crap about vegetarians, you know?

D: Have you had a favorite episode?

O: Gosh, there’s been a lot of good episodes. I remember the first episode that really clicked with the whole group was the “Love is Sacrifice” episode. Just because I’d been throwing themes out, and themes had been going off the wire, and finally we had, like, good bits and a cohesive show, and it was like, yeah it was funny but also everything worked, and it was the “Love is Sacrifice” episode. Although, season three, episode one, might also be up there, that was a good show. I had a lot of fun doing that show. Sometimes “It’s Wet Outside” can be more work than fun, given the day. And I had a lot of fun.

D: Has leaving KWOU to go independent afforded you more freedom in what you do?

O: Yeah. The biggest thing I should say is that “It’s Wet Outside” quickly outgrew what KWOU could offer [in terms of tech]. Which was… I had in my apartment more microphones than KWOU. And when I decided, like, I want more people on the show all the time, instead of just these one on one interviews we were doing the first year. I just had to figure out how to do it in my apartment, because I’ve got all these mics. And that’s been very important to me; that there are more people on the show because if it’s just me, the show would have never made it past episode three. But the fact that there were people, other people that wanted to do it, that were there as like, “hey, we doin’ the show,” was able to keep me going. Like, I thrive, “when it’s not fun, it’s work,” right? Because that means I’m still doing it. That means I have to find the juices from deep inside rather than just, “ah, I feel good let’s do this,” then it’s usually better when I’ve had to kind of get myself out of the corner. You know, work through it. And the fact that I’ve had Jade Rayner, who is effectively the manager, stage manager, we call her the microphone manager. The fact that we have… Jade has made everything better for me because she took responsibilities, and I could delegate work, and once that happened to me it was like, here’s a real… we can get a real system. And then I’ve got another guy, who does ads and also helps come up with bits, I call him the producer because he… ‘cause it felt right. [Laughs.] Because he’s producing s–t for the show, producing bits at least.

D: Where do you see “It’s Wet Outside” progressing to? What’s next?

O: What’s next…

D: Like when it progresses from “Wet” to “Flooding.”

O: “It’s Hurricane Patricia Outside.” [Laughs.] Gosh, what I would really love to do is get video recording, and make it, I imagine building a stage in a garage, right, and having a studio audience and s–t. And really go full “Late Night with Jimmy Fallon.”

D: You wanna go full-on late night talk show?

O: I would love to do that. But, let’s be real, I don’t think that would be how it would happen. But really truthfully, and my step-dad has mentioned this, that I could maybe sell it, get it on NPR. Right? OPB. Have it be a radio broadcast on the air. That would be really cool. Or, it could be a successful podcast, it could be a “WTF with Marc Maron,” it could be a “Comedy Bang Bang.” That would be cool. It might not happen that way, there’s so many options. Maybe it’ll be a stage show. You know what, that’s the next step. That’s truthfully the next step. I want to have a live show this year. On stage. “It’s Wet Outside in Concert.” That’s the next step. Honestly, it wouldn’t have to be anything other than, like, let’s rent out a stage, let’s rent out the Rickreall Event Center and just put on the show the way we normally would, you know? Let’s get a stage and do the show. Get some people there. The industrious person in me says “sell tickets,” at the end of the day it’s like “just get people there,” to come watch the show. Have a reason to get a banner made. I almost made a banner last year, but I had no reason to. [Laughs.] [Pause.] The biggest thing for me is that people like the show. The only thing I’ve ever wanted to do is to make people’s days better, you know. The story I always like to tell is when my dad was going through a real abusive relationship and I would stay up late and just listen to my dad and my step-mom fight. And I would stay up late, and this is when Conan was still on Late Night, so he’s on at, like, midnight slot. And I’d watch Conan, and I’d feel better. You know? He made me laugh. And I thought, “that’s what I want to do.” Make people laugh, make people feel better.

That was all I wanted to do.

 

You can catch “It’s Wet Outside with Ollie Bergh” on Wednesdays on iTunes.

Thrills and chills

By: Darien Campo
Staff Writer

October is slowly coming to a close, but the horror movies keep playing in my house.
This week I watched “Nightmare Before Christmas” (1993), “Sweeny Todd” (2007), “Tusk” (2014), “The Frighteners” (1996), “Goosebumps” (2015), “Cabin in the Woods” (2012), and “Friday the 13th” (1980).

2015 saw the revival of R.L. Stine’s Goosebumps series with a new film starring Jack Black.

While the movie was a bit lacking in places, it was a fun nostalgia trip back into the classic series that used to occupy me for hours. I used to collect all the Goosebumps books as a kid — I loved the creepy, gross, scary, and shocking tales R.L. Stine had provided for me. I was a horror fanatic in a child’s body, and authors like Stine fed my fascination.

I used to read all the ghost story collections I could find back then.

Authors like Bruce Coville gave me plenty of chills, but there was one trilogy of books that really stuck with me all of these years. Alvin Schwartz’s “Scary Stories to Read in the Dark” trilogy gave me legendarily bad nightmares. The grotesque illustrations of Stephen Gammell were twisted beyond all belief and made those books transcendently terrifying.

I’m not alone either, adults still celebrate Schwartz and Gammell’s work, and in fact, a new documentary about their trilogy is currently in the works. Those books may have frightened us, but even as children we knew that it was fun to be frightened.
I don’t feel that enough attention is put into horror entertainment geared toward children.

We tend to assume that it’s an adult-only genre, but there’s a world of opportunity for juvenile horror. We’ve seen some great examples before with movies like “ParaNorman” (2012), and “Coraline” (2009).

These movies know how to scare children and keep them laughing. But the undisputed master of children’s horror would, of course, be Tim Burton. No one else quite has that perfect blend of wondrous, childlike fun mixed with a sick fascination with the morbid and macabre.

Movies like “ParaNorman” are usually met with opposition from parents wanting to protect their children, and the “Scary Stories” trilogy is a regularly challenged book year after year.

It can be hard to imagine horror as an acceptable genre for children. But it’s important to remember that it is a ton of fun to be scared, no matter how old you are.