Mount Hood

Elogios para Prince

By: Brianna Bonham
Photo Editor

Screen Shot 2016-04-25 at 7.22.46 PMFans across the world mourn over the death of singer-songwriter Prince. At age 57 he was found dead in his home on April 22, 2016.

Focusing on his death and how he died would be a shame, as he lived a life worth remembering and celebrating. He was a very private person with his personal life, but his stunning stage presence and musical mastery was enough to inspire masses.

Coming into the spotlight in the ‘80s, along with artists and groups like Boy George and Twisted Sister, Prince’s fashion was always flamboyant, and he exuded confidence like no other. What makes him stand out is his individuality, and the fact that his style wasn’t an act but a part of who he was.

He was always wearing some sort of heels, whether they were stilletos or heeled boots. Heels on women have always been seen as attractive, or even sexual, and Prince’s impenitent donning of heels showed that they can be seen the same way on men. He did the same with sequins, ruffles, lace, etc. Anything that was seen as “feminine” he wore and suddenly it was seen as androgynous and handsome.

He challenged the idea of gender conformity in some of his lyrics as well. “I’m not a woman. I’m not a man. I am something that you’ll never understand,” Prince sings in hit “I Would Die 4 U.” He kissed gender barriers goodbye and embraced his sexuality. Prince was unafraid of his sexuality and often demonstrated that through his style, stage presence, and music until it became a part of his image.

Prince was a brilliant musician. He was a multi-instrumentalist and very skilled in all of them, particularly guitar. His fingers were paint, his guitar was a canvas, and the beautiful rhythms he created were so complex. One of his standout guitar moments for me was his performance in the Super Bowl XLI halftime show. The pure passion in his face as he played showed his love for the instrument.

With unique vocals and catchy lyrics, his music was meant to be sung along with. Standout songs such as “When The Doves Cry,” “Kiss,” “Let’s Go Crazy,” and “Raspberry Beret,” were on the Billboard Hot 100 hits for multiple weeks. His blend of funk, R&B, pop, and rock just worked and enraptured fans in his sweet melodies, loud guitar, and funky keyboard.
Prince lived for music. He was influenced by music at a young age by his parents who were both musicians, and throughout his life he produced dozens of albums and went on dozens of tours.

His unapologetic and unquestioning individuality serves as an inspiration for many fans today, whether or not they are straight, gay, bisexual, pansexual, transgender, gender fluid, or cisgender. No matter how they identify, Prince shows that it’s ok to love yourself and be whoever you want to be.

Fans across the world have been celebrating his life with mass dance parties and cover performances for days after his death. Thousands gathered outside of Minneapolis nightclub First Avenue which was featured in the movie “Purple Rain.”

A legend such as Prince will continue to live on in spirit through his music, and the many lives he has touched.

Continúa la moda de los superhéroes con calificación R

Por: Ashton Newton
Redactora

Fox’s “Deadpool” was the first R-rated movie to come out of the superhero craze, and it was amazing. In the Journal’s review, we said “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.”

“Deadpool” made $758 million worldwide, far surpassing its $58 million budget.

With its success, it’s no surprise that “Deadpool 2” is on the way. Tim Miller is returning as director, and of course Ryan Reynolds is returning as the Merc with a Mouth, himself.

The sequel will also feature the popular comic book character Cable, who was confirmed to be a part of the movie by Deadpool, himself. No actor has been chosen.

Cable is the time travelling son of Cyclops who befriends Deadpool and forms the group “The X-Force.”

“Deadpool 2” releases next year.

Following the trend of R-rated superhero movies, Fox confirmed that “Wolverine 3” would also be rated R. The movie will be Hugh Jackman’s final appearance as Wolverine and will also include Patrick Stewart’s Professor X.

“Wolverine 3” is based off of the “Old Man Logan” comic storyline, which is set in an alternate universe and sees the US taken over by villains and most of the heroes killed. “Wolverine 3” has a set release date of March 3, 2017.

DC is also jumping into the R-rated movie pool with the upcoming animated film “The Killing Joke” based off of the wildly successful graphic novel of the same name.

This is the first animated film in DC Animation’s nine years to be rated R. The critically-acclaimed graphic novel is said to be one of the Joker’s most defining sources of material. Christopher Nolan has also said that “The Killing Joke” was one of the inspirations for Heath Ledger’s Joker.

The film will first screen at San Diego Comic Con, and then release on home video in July.

With the new R-rated superhero trend, adult fans have a lot of hilarious, gory, and dark films to look forward to.

Agentes de "S.C.O.O.B"

Por: Ashton Newton
Redactora

Con el gran éxito del universo cinematográfico de Marvel, otras franquicias han comenzado a profundizar en la idea de un universo cinematográfico compartido. DC comenzó el suyo con "Batman v Superman", y Star Wars tiene el suyo con el próximo spinoff "Rogue One".

Pero uno de los universos cinematográficos más sorprendentes se reveló con el universo cinematográfico Hanna-Barbera de Warner Brothers, cuya primera película es una nueva película animada de Scooby Doo, "S.C.O.O.B.", cuyo estreno está previsto para 2018.

Todo lo que se ha dicho sobre la trama hasta ahora es que la película tendrá a la "Banda de la Máquina del Misterio" trabajando para una organización mayor.

Tony Cervone dirigirá "S.C.O.O.B.". Cervone ha dirigido muchas películas de Hanna-Barbera y otras películas de animación de Warner Bros.

El universo Hanna-Barbera consistirá en películas de animación tradicional con personajes de la larga lista de proyectos anteriores del estudio, como Scooby Doo, el Oso Yogui, Los Picapiedra y los Jetsons. Su larga lista de programas de animación que se emitían en Cartoon Network puede encontrarse ahora en Boomerang Network.

Hanna-Barbera dominó la televisión de animación desde los años 60 hasta principios de la década de 2000, por lo que ver a sus personajes en la gran pantalla será una experiencia muy nostálgica para muchos.

Ahora la pregunta es, ¿se reunirán algún día la pandilla de Scooby Doo, Atom Ant, Quickdraw McGraw y otros queridos personajes al estilo "Vengadores"?

En televisión, los personajes se unían ocasionalmente en episodios especiales. Uno de los más memorables fue "La carrera espacial de Yogui", de 1978, en el que se cruzaron Los Picapiedra, Quickdraw McGraw, el Oso Yogui y Huckleberry Hound, entre otros.

En un mundo lleno de universos cinematográficos, el universo animado de Hanna-Barbera tiene el potencial de ser uno de los más nostálgicos y entretenidos que se hayan visto hasta ahora.

"S.C.O.O.B." se estrena el 21 de septiembre de 2018.

Todo en su sitio

By: Darien Campo
Staff Writer

Last week, Radiohead’s manager Brian Message announced that the band’s ninth album would be released on June 11. Fans around the world collectively rejoiced.

A few days later Radiohead released a statement saying that “Brian Message is not Radiohead’s manager […] any quotes from last night’s event […] should not be attributed to RadiohScreen Shot 2016-04-25 at 6.57.05 PMead’s management.” And fans around the world collectively groaned.

As one of the groaning fans, I have no idea where we stand at this point. All I know for sure is that sometime in the near future (probably (hopefully)) Radiohead is releasing a brand new album.

In the meantime, I’ve been playing my all-time favorite Radiohead release, “Kid A,” on repeat.

Released almost 16 years ago, “Kid A” marked Radiohead’s first dramatic transition from guitar-driven rock to the more ambient/electronic vibes of their latter releases. It’s hard to have a middle-of-the-road opinion of this album. Fans either loved the drastic shift in composition from their previous release, 1997’s “OK Computer,” or they felt betrayed that Radiohead’s newest work tends to sound more like electronica and dance music instead of rock songs. Context made this album so groundbreaking in 2000, but even today the music holds up as strongly as ever.

Even with a new sound, “Kid A” faithfully continues the work left off with “OK Computer” with its tone of synthesized calm. The cover art shows a vast landscape of snow and mountains, and just over the horizon we can see a forest in the distance burning to the ground. Through these songs, we get the feeling that something terribly wrong is happening, but the lyrics attempt to put up a front of forceful serenity that comes off as almost more frightening.

If you haven’t listened to this record in a while, or even if you’ve never heard it before, now is a great time to pick it up. Songs like “Everything In Its Right Place” and “Idioteque” give me chills everytime I hear them. “Kid A” was a marvelous step forward for Radiohead, and is now considered a defining album in their collection. Radiohead has said that their last album, “King of Limbs,” was a transitional period for them. With what little we’ve heard from members of the band, Radiohead’s (possible) upcoming release just might be another gamechanger for the band.

Revisión: LEMONADE

Por: Ben Bergerson y Brianna Bonham

El buen arte te hace sentir algo, el gran arte te hace sentir lo que el artista está sintiendo, que es algo que pocos artistas pueden hacer repetidamente. Beyoncé lleva años ofreciendo música provocadora y hermosa, así que no te sorprendas de que su nuevo proyecto deslumbre a un nuevo nivel.

La superestrella mundial ha dejado al mundo boquiabierto con el lanzamiento de "LEMONADE", un potente álbum visual sobre la infidelidad. El lanzamiento de una hora de duración en HBO y Tidal nos llevó a través del proceso de recuperación de la estrella del pop tras la "traición" de Jay Z, y los fans sospechan que también trata sobre la relación de sus padres.

El vídeo es asombroso. Un retrato artístico de sus emociones a lo largo del proceso de duelo, compuesto por las canciones del álbum "LEMONADE" y poesía hablada. Palabras como "negación", "ira", "apatía", "vacío" y "resurrección" parpadean en la pantalla, correspondiendo a la siguiente escena. Beyoncé no teme mostrar sus emociones en el vídeo, lo que crea un producto genuino y crudo que, en algunos momentos, resulta difícil de escuchar.

Mientras suena "PRAY YOU CATCH ME", la primera canción del álbum, Beyoncé canta agachada en un escenario, vestida de negro. Después de esa escena, se la muestra en una habitación llena de agua, flotando y con poesía hablada. "Puedes saborear la deshonestidad, está en todo tu aliento..." son las últimas palabras que pronuncia antes de cambiar a la siguiente escena.

Todo el álbum visual está construido de esta manera, una combinación de palabras habladas, canciones del álbum y vídeos ilustrativos. Todo esto se acumula hasta el final de la escena en la que ella dice: "Pero aún dentro de mí estaba la necesidad de saber... ¿Me estás engañando?". Nos quedamos boquiabiertos al ver cómo se pasaba rápidamente a la siguiente escena, dejándonos digerir la impactante información.

En todo el vídeo aparecen mujeres negras. Utiliza la poesía de Warsan Shire como interludios, y se le unen mujeres negras famosas como Serena Williams, Zendaya y Quvanzhené Wallis. Blue Ivy y Jay Z también aparecen en el vídeo.

El hecho de presentar a mujeres negras fuertes en el escenario en el que lo hace este vídeo celebra su belleza y su poder a través de imágenes y representaciones asombrosas.

Como colofón a todo el proyecto, el título "LEMONADE" procede de una cita de su abuela, Agnez Dereon: "Tuve mis altibajos, pero siempre encontré la fuerza interior para levantarme. Me sirvieron limones, pero hice limonada".

Contacte con los autores en bebergerson13@wou.edu y bbonham15@wou.edu o en Twitter @ben_bergerson o @brianna_bonham.

Re-Opening “The Jungle Book”

Por: Declan Hertel
Redactor de Entretenimiento

From the moment the first trailer for “The Jungle Book” dropped, I wanted it so freaking badly. I have no especially great love for the 1967 version, beyond enjoying it as a child, but this new take on it looked gorgeous and had a killer voice cast, and I’d been super stoked for it since. So as the lights went down on a Friday afternoon screening, I found myself giddy, hoping that this movie would be as awesome as I had imagined it would.

And you know what, it came pretty darn close. This is a solid flick.

My favorite thing about this new version, directed by Jon Favreau (“Iron Man”), is that it doesn’t care that it’s gorgeous. James Cameron’s “Avatar” blew us all away in 2009 with its spectacular visuals, but honestly, it knew that’s really the only thing it had going for it: it looked stupid good.

“The Jungle Book,” for my money, looks better. But it doesn’t care. Painstaking effort was put into making it seem like this movie was shot by real people in real places with real cameras starring real animals. It’s not out to show off, it’s out to tell a good story, and just happens to feature visuals that would have been unthinkable five years ago.

As for telling a good story, this is where the movie falls slightly (but just slightly) short. In this age where blockbuster films are—seemingly as a rule—two and a half fugging hours long, I feel weird saying this, but here goes: I wish “The Jungle Book” was longer.

Coming in at a tidy one hour and 40 minutes, “The Jungle Book” certainly doesn’t overstay its welcome, but it also leaves too soon. When I say I wish it was longer, I don’t mean they should tack on another 20 minutes; I mean that I wanted another 30 seconds here, two minutes there, so that they could flesh out the great, great stuff they’ve got. Not more content, but fuller content. All the makings are there for a wonderful epic: it’s just not epic enough. I have fantasies of a director’s cut, but I realize that’s kind of a silly notion.

Personally, the visuals are worth the price of admission; just because the film doesn’t draw attention to them doesn’t mean they aren’t attention-grabbing. The voice performances are invariably great and delightfully understated (particularly Christopher Walken as a big-ass ape), and newcomer Neel Sethi—merely 10 years old—does a truly admirable job of carrying the film. I would love to see him get more work and improve his already pretty notable abilities.

I could say an awful lot more about the film, from the individual characters, to the perfect inclusion of “Bear Necessities,” to the slightly weird inclusion of “I Wanna Be Like You,” to the multiple questions raised by basing a mass-market movie in 2016 on a work steeped in the attitudes of a deeply racist time (next week in editorials), but alas—I’m almost out of words. Suffice to say “The Jungle Book” is a solid, highly enjoyable flick.

Contact the author at dhertel11@wou.edu or on Twitter @JournalFunTimes.

This is the Junk You Are Looking For

Screen Shot 2016-04-17 at 9.49.15 PM

By: Ashton Newton

There are few bands that give me the same feelings that M83 does. It’s been that way for longer than I can recall. Something about listening to their mellow synthpop sound, deciphering their poetic lyrics, and jamming out to their fast danceable tunes grabbed hold of me and refused to let me go.

That said, when “Junk” was announced I could barely contain my excitement. M83’s 2011 LP “Hurry Up, We’re Dreaming” was one of the most breathtaking things I’d ever listened to, and shaped the way I look at music.

“Hurry Up, We’re Dreaming” was a very cinematic record; the songs went with each other and flowed perfectly. The album was hugely inspired by movies. But “Junk” is different in that the songs are meant to stand alone, yet work together in an unrelated way.

The first song to release off of “Junk” is “Do It, Try It”, and it’s apparent that M83 was trying something entirely new with their music. The song is weird, completely on purpose. The pop sound is so upbeat and all over the place that it’s so weird it’s danceable.

Weird and different sounds are very present in “Junk.” The songs “Bibi the Dog,” “Walkway Blues,” and “Road Blaster” are all very fast paced dance songs that rely on unrecognizable synthpop sounds to create a groovy beat that the queen would have no choice but to dance to.

“Junk” also has its sweet side. Susanne Sundfor lent her voice for the song “For the Kids,” a more traditional sounding ballad. “Atlantique Sud” is a beautiful French duet with Mai Lan that is the most sentimental song on the album.

Beck also makes an appearance on “Junk” in the song “Time Wind.” Beck’s vocals with M83’s music make for a really cool song. Rock artists and M83’s music go very well together.

There are some songs that are a bit underwhelming for me. M83 is known for long and epic instrumental songs like “Lower Your Eyelids to Die with the Sun” off of their album “Before the Dawn Heals Us,” but on “Junk” the instrumentals like “Moon Crystal” and “The Wizard” just feel too short and rushed for their style.

The album ends with “Sunday Night 1987,” one of the most calming songs on the album. M83 ends their albums with songs that leave you thinking and with a smile, and “Junk” is no exception.

“Junk” is an extremely satisfying album to listen to. M83 gives a new, unique sound with songs for every mood and person.

Contact the author at anewton14@wou.edu.