music – The Western Howl

April 9, 2025

Written by: Sadie Latimer | News Editor

Western’s music program is one of the university’s hidden gems. There are several music ensembles that students can join, including choirs, bands and orchestras. They host concerts, shows and many other events that are typically free for Western students.

If students are not in the music program but would like to participate in an ensemble, Concert Choir does not require an audition and students can earn one credit. It is also open to the public. Many of the other ensembles are open for non-music majors, however, most of them have an audition process.

According to Western’s catalog, the music department’s mission is to offer “comprehensive programs and services to students and the surrounding community, including professional and liberal arts degrees in music and an active schedule of performances. The department supports large and small ensembles in vocal and instrumental music and up-to-date facilities for electronic music production and recording.”

April 2, two professional musicians led a workshop for music students and afterward had a free concert in Smith Hall that was open to the public.

Musicians Merideth Kaye Clark and Jenn Grinels both have individual music careers but came together to create music under the name “Siren Songs.” They released one album in 2020 — also titled “Siren Songs” — and have released many singles and covers.

Clark and Grinels are both independent artists, composers, instrumentalists and vocalists. Although Siren Songs make mainly folk and Americana, they both have roots in musical theater, having met each other while performing in the same musical. Clark has starred in many beloved roles, such as Elphaba in Wicked in the touring Broadway cast (1st National Tour).

In 2024, Grinels composed a musical of her own for B-Side Theatricals that has been a finalist for several awards. A song from the musical “Goodbye Sun, Hello Moon” was released as one of Siren Songs’ singles. They chose this song in particular to release because, according to Grinels, the single is one of the only songs in the musical that fits the genre of folk, with the other songs leaning more towards classic musical theater.

The concert opened with Clark and Grinels singing three songs — two originals and one Joni Mitchell cover. The stage was filled with many instruments that were played throughout the concert, including guitar, a banjo, a viola, a tambourine and even a dulcimer — an instrument of the zither family.

After they had sung, the duo opened the stage to the students who had participated in the workshop. The students performed a wide range of songs, including genres of pop, musical theater and R&B. In total there were six students who sang in front of Siren Songs and the audience.

Then, after the students had showcased what they had learned in the workshop, Clark and Grinels finished the concert with a 45-minute set of songs. The set was a mix of songs from the Siren Songs album and a few of their newer singles. Their most recent single, entitled “April,” was released March 28, 2025.

The last song they played was “For Good” from Wicked. With Western being the last stop of their spring tour, they thought they would give the audience a treat by singing a duet from one of the most beloved musicals.

This concert and showcase is just one of the many events put on by Western’s music department. At the end of each term, each ensemble performs in a concert. There are also other events similar to Siren Songs’ concert. April 12, the Beo String Quartet will be performing in Rice Auditorium at 7:30 p.m.

For more information about creative arts events at Western, visit the 2025 spring term events schedule.

Contact the author at howlnews@mail.wou.edu

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“Preacher’s Daughter” review

February 26, 2025

Written by: Kiera Roedel | Copy Editor

Content warning: This article contains mentions of religious trauma, depression, suicide, murder, alcoholism, drug addiction, abusive relationships, domestic violence, police violence, child sexual abuse, prostitution, kidnapping and cannibalism.

Ethel Cain is the name of Hayden Anhedönia’s solo music project. Her music focuses around themes of depression, trauma, Americana and religion, and her voice and musical styling are not dissimilar to the work of Lana Del Rey from the late 2010s. Cain’s 2022 record “Preacher’s Daughter” is a partially autobiographical concept album. It tells the life story of a preacher’s daughter, including stories about her childhood in the American South, adulthood, death and afterlife. The raw emotion on display is accentuated by gaunt instrumentation and especially by Cain’s exquisite vocals, which can convey more pain than a motivational speech even when not using a single actual word. The lyrics evoke some cruel cross between true crime and Gothic horror, gray and dismal.

“Family Tree (Intro)” — Cain discusses in no uncertain terms how her character — the preacher’s daughter — was doomed from the start by her heritage. She portrays the allegorical concept of a “family tree” as a literal tree, one from which Cain is “swinging by (her) neck,” and compares her own family to that of Christ. Throbbing percussion combined with Cain’s slurring vocals make this an engaging listen and a fantastic opening track.

“American Teenager” — It is here that the story of the preacher’s daughter begins. “American Teenager” is the album’s third single and its most radio-friendly song, with structured lyrics and some addictive synths. Cain discusses her character’s isolation in the rural American South, condemning the nationalistic, Christian, individualist culture that pulses through those environments. To cope, the preacher’s daughter turns to liquor and religion, the latter being something from which she tries and fails to escape throughout the record.

“A House in Nebraska” — Here the preacher’s daughter experiences one of her few content moments in life, describing her time spent loving a man who eventually abandons her. Seven minutes long, even this reminiscence is not soaked in joy; ambient-adjacent vocals, strong percussion and soulful guitar accentuate the melancholy. Cain describes a dirty mattress, bed sores, dirt roads — the epitome of “alone together.”

“Western Nights” — After being shunned by the man in the house in Nebraska, the preacher’s daughter turns to another lover, this one abusive and violent. Despite his faults, she describes her unbreaking love for and codependence on him. Cain sings like she just finished crying her eyes out, over thundering piano chords.

“Family Tree” — “Family Tree” is the only song on the album where the story felt obfuscated. Its lyrics describe a wedding, baptism and threats of violence, but apparently are intended to be about running from the police after the man from “Western Nights” is killed during an armed robbery. Plus, the song isn’t really related to the intro track that shares its name. The guitar solo, however, is sensational.

“Hard Times” — Over some subtle piano and drums, Cain describes the preacher’s daughter’s history of being sexually abused by her father — the preacher — when she was “too young / to notice / that some types of love could be bad.” The events described in the song are not directly autobiographical, but that doesn’t make them any less horrific. Absolutely devastating, and perfectly executed.

“Thoroughfare” — “Thoroughfare” is a ten-minute epic about the preacher’s daughter running away from home, when she encounters a strange man named Isaiah who promises to take her to California in his truck. On the ensuing long road trip, she slowly falls in love with him, and he with her. However, later lyrics and some lore posted online by Cain indicate that Isaiah actually kidnapped the preacher’s daughter, rather than her going with him consensually. The song starts acoustically, complete with harmonica, but builds to an electric guitar solo before falling away once again, and it is stunning from start to finish.

“Gibson Girl” — Taking its name from a drawing that was once considered to depict the pinnacle of American beauty standards, “Gibson Girl” describes the preacher’s daughter’s work in California as a prostitute and her simultaneous development of a drug addiction. Isaiah encourages her the whole way through, saying “if it feels good / then it can’t be bad.” This was the album’s first single, and is well-deserving of it; I’m especially in love with the drums through the choruses and the outro.

“Ptolemaea” — A million words could describe this song — shoegaze, terror, demonic, chilling — but not even all one million would be enough to honor it. Beginning with an echoing masculine chant, Cain’s voice cuts in like that of an angel. She sings of her fear of Isaiah while he has a psychotic breakdown of some kind. The climax of the song, and really of the album, comes when Cain begins to repeat the word “stop” with building intensity, the final one a bloodcurdling shriek as Isaiah dismembers her. This isn’t one I would ever choose to listen to individually, but as the peak of “Preacher’s Daughter” it is transcendent.

“August Underground” — While “August Underground” lacks lyrics, Cain’s wordless vocals take a prominent role. If death itself had a soundtrack, this would be it.

“Televangelism” — Also an instrumental, “Televangelism” is much brighter and less terrifying than either of the preceding two songs. Predominantly piano, it depicts the preacher’s daughter’s ascent into heaven, and is beautiful to match.

“Sun Bleached Flies” — From heaven, Cain reflects on her life and its few bright spots. In a particularly powerful bridge, she describes what I interpret as meeting God, and she realizes that she misses being alive, especially the man in the house in Nebraska. With driven but digestible instrumentation, “Sun Bleached Flies” is nothing short of cathartic.

“Strangers” — The closer of “Preacher’s Daughter” is also its second single. “Strangers” shows the preacher’s daughter in heaven, watching Isaiah cannibalize her body, and wishing she never fell in love with him. The outro is the most touching thing here — the preacher’s daughter speaks directly to her mother over acoustic guitar, telling her she doesn’t blame her for what happened. Especially interesting is the fact that no woman characters had been previously mentioned except the preacher’s daughter herself. “Strangers” is an excellent closer, bringing together the highlights of the album’s musical style into a cohesive whole.

The strengths of “Preacher’s Daughter” rest primarily in the story it tells and the soundscape it creates — less like music and more like the listener is just floating around inside Cain’s head throughout the course of these events. This isn’t a flawless record, but in some ways that just makes it more perfect. Absolutely worth a listen.

Contact the author at howlcopyeditor@wou.edu

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“The Howl” staff picks

February 5, 2025

Written by: Jaylin Emond-Hardin | Entertainment Editor

Looking for a new show to binge or a new artist to fill the homework hours? The staff of “The Western Howl” has all avenues covered — and then some.

Shows and movies:

“Attack on Titan” — Sophie Taylor, designer

One of the highest-rated animes of all time, Taylor’s choice of “Attack on Titan” is a show that “is breathtaking and was crafted to perfection. Twists and turns that no one sees coming will leave you jaw-dropped, looking at your own reflection on the black screen.”

The show follows protagonist Eren Yeager as he joins the elite Survey Corps and faces off against Titans — gigantic, humanoid creatures that feed on humans — and is currently streaming on Apple TV+ and Crunchyroll.

“River Monsters” — Sophia Pierce, designer

“After 9 seasons, the show has sadly been discontinued since Jeremy Wade, the show’s star, has caught essentially all our waters have to offer,” Pierce said.

Following Jeremy Wade as searches for exotic fishes, both big and small, the show goes across the globe and explores the cultures and stories of the people who have seen these creatures.

“When a Stranger Calls” — Quincy Bentley, sports editor

Bentley’s love for horror shows in his pick, calling it a horror movie without the gore. “Though it was made in 1979, the suspense remains timeless. The utter intensity of the film kept me on the edge of my seat for the full 97 minutes,” he said. “(It’s) definitely worth the watch.”

The film follows high school student Jill Johnson who is terrorized by a killer during an evening of babysitting. She receives repeated calls asking her, “Have you checked the children lately?”

Books:

“Jurassic Park” by Michael Criton — Isabelle Jones, lifestyle editor

Jones is a self-professed lover of all things “Jurassic Park,” and her pick had her captivated by the relationship between man and dinosaurs — and its destructive nature. “For those waiting for Jurassic World Rebirth, take some time and learn about the origins of the franchise in this vicious adventure,” she said.

The first in a duology, “Jurassic Park” explores the concept of cloning dinosaur DNA and its consequences. Much of the plot is similar to the movie, though of course creative liberties were taken during its filming.

“The Invisible Life of Addie LaRue” by V.E. Schwab — Hannah Field, editor-in-chief

“My favorite book of all time. Addie LaRue is cursed to live forever and be known by nobody — until somebody remembers her and, against all odds, they vow to rewrite their past and future as one. V.E. Schwab writes with magnetic prose in this standalone novel, capturing the human experience in such a captivating story,” Field says.

“The Book Thief” by Markus Zusak — Addie Floyd, head designer

Perhaps one of the greatest books of our time, Floyd’s choice is one that she says broke her heart to pieces. “(It’s) definitely a life-changing book. I finished this book when I was in class my senior year of high school,” she says. “Worst idea ever. I should have known better. After all, it is narrated by death.”

Music:

“Preacher’s Daughter” by Ethel Cain — Ruth Simonsen, digital media manager

At Terry House, there’s one rule: in Ruth’s music we trust, and her choice of Ethel Cain’s album is the best example of why this is. “This album strikes home for anyone with religious trauma, as it follows the daughter of a preacher through her life, brutal death and afterlife,” she says. “Listen to this album during the quiet hours of the evening, preferably with a candle burning and noise-canceling headphones.”

“the sugar machine” by slenderbodies — Kiera Roedel, copy editor

Aside from being our copy editor, Roedel is also phenomenal at writing deep-dive album reviews, so this is familiar territory for her.

“A falsetto-laden dream-pop record about yearning for days gone by and wishing for love and tranquility. Soft guitars, synthesizers and unusual percussion lines make it a peaceful yet engaging listen,” she says. “It doesn’t hurt that almost every song has an earworm chorus.”

“Imaginary Appalachia” by Colter Wall — Jaylin Emond-Hardin, entertainment editor

My personal pick, Wall’s debut album is reminiscent of the days of Johnny Cash, Willie Nelson and Loretta Lynn. With soulful lyrics that dredge up images of the American South, this album is sure to make one yearn for the days of open ranges, cowboys and whiskey so strong it would knock the fuzz off a peach.

Podcasts:

“The Magnus Archives” — Sadie Latimer, news editor

A horror anthology podcast, “The Magnus Archives” progresses as Jonathan Sims archives a collection of statements dealing with the paranormal. Each episode varies between 20 and 40 minutes and is sure to keep listeners riveted.

“This podcast is long, but so worth it. Throughout the 200 episodes, it delves into the supernatural world and what it really means to be human,” Latimer says.

“Old Gods of Appalachia” — Jaylin Emond-Hardin, entertainment editor

Another horror anthology podcast, “Old Gods of Appalachia” narrates the sordid and violent events surrounding the town of Barlo, Kentucky and its paranormal origins.

With a backing soundtrack that throws listeners into the moment, this is a podcast that is truly terrifying.

“Ologies” — Ruth Simonsen, digital media manager

This podcast is filled with interviews from experts in basically every field — “If it has an ‘-ology,’ it has an episode,” Simonsen says.

With more than 130 episodes, the podcast explores the truly wild and niche fields, including basket weaving, called canistrumology.

Contact the author at howlentertainment@wou.edu

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alt-J’s “The Dream” album review

Written by: Kiera Roedel | Copy Editor

Content warning: this article contains references to murder, domestic violence, drugs and addiction.

The death of the American Dream seems a strange subject to tackle for British indie rock trio alt-J, but that is exactly what they did with their fourth studio album, “The Dream.” Released Feb. 15, 2022, the album contains 11 songs, each a short vignette of somebody’s life in modern-day America. The band’s trippy songwriting, with spare, occasionally nonsensical lyrics and stunning guitar work, does a great job of telling these stories in an emotionally impactful and musically satisfying way, exuding the sensation of wandering through the quiet streets of a dying city, where sickly green weeds peek up from cracks in the sidewalk.

“Bane” — The first sound in the first song on this album is the snap-pop of someone opening a soda can, which kind of gives one an idea of what they’re in for here. “Bane” tells the story of a teenager who is so addicted to cola that they dream about a swimming pool full of it. Using plenty of choral vocals and guitar, and a quote from Jesus’ crucifixion — “My God, my God / Why hast thou forsaken me?” — this is an absolutely incredible opening track.

“U&ME” — If somebody asked about my favorite song of all time, this would be a serious contender. It is one of the most radio-friendly on the record, it’s much more firmly structured and layered musically than most of the other songs, and more positive lyrically. It was also the album’s first single. Its subject is someone spending a summer day high on psychedelics with their partner at a music festival, upon which the singer concludes, “I could hold on to the memory of that day for the rest of my life.” It’s a simple pleasure in a complicated world.

“Hard Drive Gold” — “Hard Drive Gold” is sung from the perspective of a self-important 15-year-old boy who becomes a millionaire by trading cryptocurrency. One of the shortest songs here, it has a catchy chorus and excellent percussion. Fittingly, the music video is about a nuclear attack on the United Kingdom. Neither a critique nor an endorsement, the band stated, “How ironically you interpret [the track’s] message is entirely up to you.” It was a perfect choice as the album’s third single and an overall very solid song.

“Happier When You’re Gone” — Following two radio-friendly songs, “Happier When You’re Gone” is a ballad that swells and shrinks multiple times; its subject is a disgraced lover who kills their partner in a fit of jealous anger. The pre-chorus is ominous, saying, “The smell of burning cattle / hangs on the westerly / sweeping up through the ferns,” which I honestly cannot begin to try to interpret. It’s an okay fourth track.

“The Actor” — Musically, “The Actor” picks up right where “U&ME” left off, which I definitely appreciate. It’s about a theoretical aspiring actor who can’t get a big break and ends up selling cocaine to Hollywood stars. It’s the album’s fourth single and easily one of its best tracks.

“Get Better” — A strange choice for the record’s second single considering how slow and long it is — almost six minutes. It’s also seriously heart-wrenching, its subject being a beleaguered lover whose partner is slowly dying in the hospital. Its lyrics give an idea of what their life together was like, and it’s so sad it sometimes makes me hesitate to listen to “The Dream” start to finish. It’s a bit disingenuous to call the song skippable for that reason, though, it really is great, it’s just not for casually listening to.

“Chicago” — Starting off slow and acoustic, “Chicago” soon shifts to a biting techno track inspired by the music genre it shares a name with, Chicago house. Its lyrics are about a sibling pair hiking in the hills above a town until one of them falls to their death. Blunt and substantial, alt-J pulls off this new musical territory perfectly.

“Philadelphia” — The second song on “The Dream” to take its name from an American city, I can’t help but wonder why the band chose Chicago and Philadelphia specifically. Regardless, “Philadelphia” is told from the perspective of a recent murder victim who hasn’t died yet, wondering how they got there as they bleed to death in the street. The band describes death as “… losing my ability to fathom / Awake and not awake,” which I find fittingly poignant.

“Walk a Mile” — The embodiment of the slow, skippable intro stereotype, when one digs into it, “Walk a Mile” is a fantastic song. “Lyrically simple but melodically diverse,” lead singer Joe Newman said about it. Yet another track about death, it touches on alt-J’s frequent topic of domestic violence and references one partner drowning the other. Musically it’s slow but full-bodied and incredibly satisfying.

“Delta” — Less than a minute long, “Delta” is an interlude with simple lyrics and no instruments. Perhaps its most interesting feature relates to its title — alt-J is actually the band’s nickname, its rarely-used actual name being Δ, the Greek letter delta. The nickname comes from the Mac keyboard shortcut to type a delta. Clearly, then, this song is important to the band, but I don’t really see it.

“Losing My Mind” — “Losing My Mind” calls back to the musical style of “Happier When You’re Gone” and “Walk a Mile,” though it is faster and more percussion-intensive than either of them. It tells the story of the victim of a serial killer who targets children. Its music builds without a release, which makes the music as strangely uncomfortable as the lyrics. In this case it works in the song’s favor.

“Powders” — Rife with spoken words, including a skit in the middle recorded by drummer Thom Sonny Green and his girlfriend, “Powders” ends “The Dream” on a strangely positive note. With quiet piano and a three-word chorus, it tells of a schoolboy who falls in love with his cashier while buying cologne. It makes the listener wonder what alt-J’s intent really was with this album, with so many stories about murder and dying capped off by one of love.

With its dark and brooding look at Americana and the human condition, “The Dream” definitely requires a degree of emotional commitment. But when one sinks their teeth into it, they find a sensational album filled with experimental songs, amazing instrumentals and lyrics about everything from soda to the murder of children. Turn up your speakers for this one.

10/10.

Contact the author at howlcopyeditor@wou.edu

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Coldplay’s “Everyday Life,” five years in

Written by: Kiera Roedel | Copy Editor

Content warning: this article contains references to police violence, war and suicide.

Nov. 22 was the fifth birthday of Coldplay’s 2019 album “Everyday Life.” The project sticks with Coldplay’s well-established pop-rock sound, but mixes in influences like classical, afrobeat and jazz, making it one of the band’s most experimental releases.

Lyrically, “Everyday Life” focuses on unity between people, regardless of ethnic or national barriers. This is perhaps best showcased by the fact that the only-ever live performance of the full tracklist was streamed globally from the Amman Citadel in Jordan, though Coldplay themselves are British.

The album’s 16 tracks, split into “sunrise” and “sunset” halves, have proved divisive among fans. Many proclaim certain songs as some of the band’s best ever, while dismissing others as pointless filler. So, five years on, how does “Everyday Life” stack up?

“Sunrise” — “Everyday Life’s” opener is a short instrumental track driven by calm, spare string music. It is compositionally simple and its lack of lyrics really count against it for me — not a favorite.

“Church” — Considered by many to be the true opening track, “Church” is one of the strongest on the album. Its almost four minutes are driven by a strong percussion line while lead singer Chris Martin weaves a love story that compares his significant other to a divine figure. Later in the song, Arabic vocals by guest Norah Shaqur bring the entire song together, and Martin’s sing-rapped couplet at the end over them is nothing short of incredible.

“Trouble in Town” — The first appearance of this album’s oft-discussed political themes. “Trouble in Town” condemns police violence with floaty yet strong piano-centric instrumentals and a profanity-laden recording depicting verbal abuse while a police officer detains a suspect. Not for everyone, but fantastic for those unfazed by its unique characteristics.

“BrokEn” — A divisive song due to its style — an almost a capella gospel track — and a strange choice to follow up “Trouble in Town.” Its strong religious themes and direct references to God would not be out of place if sung by a church choir. I find it catchy.

“Daddy” — This song hits some harder than others. It is sung from the perspective of a child with an absent father figure, wondering where he has been and whether he will ever return. It is slow and ethereal throughout, opening with heartbeat sound effects before a somber piano melody begins a few seconds in. The emotion in this one is bare and painful, definitely a highlight.

“WOTW / POTP” — The sound of this demo track is defined by an acoustic guitar, quiet singing and birds chirping in the background. To me, it has almost no staying power and may as well have not been included.

“Arabesque” — The title here references a style of visual art involving intricate repeating patterns covering large surfaces. Similarly “Arabesque,” one of the album’s singles, discusses unifying the people, proclaiming that we “share the same blood.” Its aggressive, percussive rhythm thumps along like a freight train, and the song is without a doubt in the top 3 best on the album.

“When I Need a Friend” — Another short, less-than-impressive track. Its slow, formless, layered vocals recall holiday carols, or more church-choir music, with a Spanish spoken-word segment inserted awkwardly at the end.

“Guns” — Aggressive and biting, “Guns” begins the “sunset” segment of the album and is perhaps the antithesis to the prior track. It is extremely political, referencing climate change, oppression of the working class, violent revolutions and the military-industrial complex. I love it for that.

“Orphans” — The other single from “Everyday Life,” “Orphans” was a breakout hit and a song that many have likely heard already. It tells the struggles of a girl and her father who become refugees during the oppressive Syrian Civil War. Thematically and musically a masterpiece, this might be the objective best on the record.

“Èkó” — Calm and relaxed, the quaint and hopeful “Èkó” shares the name of a town in southwest Nigeria. Honestly, it serves pretty well as a comfort song, but nothing special.

“Cry Cry Cry” — Angel Moon, Coldplay’s alien vocalist who is really just a digital effect, sings along with Chris Martin throughout this deceptively optimistic song. It might have been good if its themes were better developed and it had more than a verse and a half of actual lyrics.

“Old Friends” — Another slow, calm song with simple lyrics. It describes a childhood friend of Martin’s who saved him from being hit by a car when they were riding bikes as kids. While the theme is heartfelt, the song isn’t very engaging.

“بنی آدم” — The Arabic title of this song is taken from a Persian poem, pronounced “Bani Adam.” The majority of its lyrics are a verse from the poem, spoken softly in Arabic. A great idea, but it has almost two minutes of piano solo and was likely better suited to being a 90-second interlude rather than the over-3-minute full feature that “بنی آدم” purports to be.

“Champion of the World” — To be blunt, this is far and away my favorite song on the album. Its lyrics begin with short anecdotes of the failures of the lead singer, going so far as to specifically reference suicide and gravestones. As the music slowly builds, the lyrics pull away from the depression, asserting that whatever happens, we are still here, and that is a success in itself. The song climaxes when Martin and drummer Will Champion sing in duet that “giving up won’t work / Now I’m riding on my rocket ship / And I’m champion of the world.” “Champion of the World” has the overwhelmingly positive theme and grandiose musical style that are hallmarks of recent Coldplay, and to me, it’s probably their single greatest song in the past decade at least.

“Everyday Life” — The final song, bringing back earlier themes of the album like the similarities between and power vested within the people of the world. Musically spare but proud, it uses the same chord progression as the earlier “Church,” which helps tie the album together. While a little unimpressive in the shadow of the previous song, “Everyday Life” is still an excellent closing track.

Overall, “Everyday Life’s” occasional extremely strong tracks have their impact lessened somewhat by slow and underdeveloped songs that hold almost no significance to the overall styling of the record. Still, those strong tracks stand as some of the best in the history of Coldplay, and are each excellent on their own. Plus, “Everyday Life’s” aesthetic is confident, with unique lyrical themes and experimental music styles strongly contributing to the album’s identity. Lyrically and musically, Everyday Life shows what Coldplay can be when at its best, even if it is interspersed with a few less-than-amazing songs.

8/10.

Contact the author at howlcopyeditor@mail.wou.edu

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Meet Trey Vincent

Written by: Sadie Latimer | News Editor

If you have seen someone dancing down the streets of Monmouth wearing a pair of iconic sunglasses, it’s most likely been 20-year-old Trey Vincent. He has lived in Monmouth for about 13 years and will find any excuse to show off his moves around town. Even though he is not a student, he may still be found dancing down the sidewalks of Western’s campus. When asked if he was enrolled, he replied, “No, I just like walking around all the time.”

“I absolutely love listening to my music, and I also like dancing,” said Vincent. “There’s a perfectly good road ahead of me. Why not dance and listen to music?”

Specifically, Vincent prefers tunes from anywhere between the 1940’s and 1990’s. Most recently, Vincent had “Ain’t That a Kick in the Head” by Dean Martin on loop. “(Dean Martin) is called the ‘King of Cool,’” said Vincent. The song was released in July 1960 and was originally written for the film “Ocean’s 11.”

“Also, I’ve been listening to ‘From Russia with Love’ by Matt Monro. It’s one of the James Bond theme songs, and I’ve been watching the Sean Connery Bond films,” said Vincent.

Although his favorite songs are not from this century, he does branch out occasionally.

“My friends have been trying to get me into Sabrina Carpenter and I’m not going to lie, for a modern performer, she does pretty good,” said Vincent. Although it may be a bit controversial, he admitted to not being a fan of Taylor Swift.

Although the weather has been less than ideal recently for those who love the outdoors and the sun, Vincent can still occasionally be spotted frolicking down a sidewalk.

“Sometimes I’m just not in the mood to dance in the rain. But there are some times I have all this pent-up energy and I just gotta head down (a road).”

No matter what — rain or shine — Vincent can always be spotted wearing a pair of sunglasses. It’s the one item he can’t live without, and he owns fourteen pairs.

At heart, Vincent is an extrovert. He loves meeting, starting conversations and sharing his music with new people.

He is currently working at a police academy in Salem, Oregon, as a roleplayer. He acts out scenarios with the cops-in-training, such as pretending to get arrested or being in a high-speed chase. He also occasionally acts out behavioral health scenarios for practice. “Apparently I’m very believable,” said Vincent.

He’s been working as a roleplayer since March 2023. “They post notices every few months. For me, it was in January of last year, and then I got the job in March. They also do another hiring process in October,” he said.

In his spare time, Vincent loves to do karate. He first joined mainly to make new friends, however, he was also influenced by the TV show “Cobra Kai,” a modern continuation of the “Karate Kid” movies.

In school, Vincent’s least favorite subject was math, with his favorite subject being P.E.

“I never got a chance to do acting in high school … so P.E. was my favorite by default.” He does hope to do more acting in the future, inspired by his favorite actor, Robert Downey Jr.

Despite not being fond of math, he loves learning new things. “I would like to build up as many skills as possible and learn as many languages as I can before I turn 25,” said Vincent. “Apparently the more languages you learn before 25, the more languages you can easily comprehend and have at your disposal later in life.” He is already fluent in American Sign Language, knows a small amount of German and is teaching himself Spanish.

“(Learning Spanish is) not that easy, because all I have is a book and no one to practice with,” said Vincent.

Another thing he has learned is how to be patient. “(I’m proud I was) able to build my patience. It isn’t naturally one of my strong suits,” said Vincent.

He has many goals for the future, including his main goal of acting in films. He plans to build as many skills as he can before he turns 25, on top of his language learning goal. He also wants to get his barber’s certification and become a film hairstylist, before he eventually becomes an actor himself — leaving the future bright for Western’s “Dancing Dude.”

Contact the author at howlnews@mail.wou.edu

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Millennials vs Gen Z

Written by: Taylor Duff | Lifestyle Editor

Fashion has been a decade-specific vital component of style as generations’ styles and trends evolved. Clothing went from being functional and necessary to becoming a status symbol for designers and high-profile personalities. People dressed more modestly in the ’40s and ’50s, whereas the ’60s and ’70s introduced a new rebellious style of attire that offered more individualism rather than uniformity. The 1980s and 1990s made those designs more distressed and destructive and discovered a method to combine high fashion with more basic and inexpensive apparel. The 2000s were chaotic, but the 2010s and beyond showed potential for consistency. Music has a major effect on fashion, with artists using their outfits to make statements and grand impressions. Hip-hop has been a major contributor to this for decades. Artists like MF Doom, Erika Badou and Nelly have worn accessories representing their individuality and music. Musicians see clothes as a statement about who they are and their uniqueness.

Millennials were the generation born between 1981 and 1996, with ages currently ranging from 28 to 43. Fashion for millennials has advanced significantly, particularly in streetwear. Brands include Supreme, DCs and Adidas. Musicians in the period, such as Soulja Boy and Avril Lavigne, wore baggy pants with belts and chains, as well as skate shoes like Converse, Vans and DCs. Some notable millennial celebrities who have made fashion statements include Paris Hilton, who has worn items that have sparked trends, such as velvet Juicy Couture tracksuits; Britney Spears and Christina Aguilar. Together they helped popularize the 2000s Y2K look. There’s also Billy Porter, who is known for his outlandish ensembles that make androgynous looks work. Finally, Timothée Chalamet stands out for his powerful but experimental style on the red carpet. Aside from developing music and apparel, all of these superstars grew up in a generation that valued fashion as a vital part of their brand. It’s not surprising that when celebrities and original influencers donned specific apparel, people followed suit. Clothing companies would pick their inventory based on what was popular at the moment, and millennials worldwide would loot the shelves for those tracksuits, Hillary Duff’s new jewelry piece or J.Lo’s perfume.

Now, millennial fashion is bright and trendsetting.

Generation Z was born between 1997 and 2012, which means their ages range from 12 to 27. Gen Z introduces a new style of fashion onto the scene, where trends have resurrected. In today’s world of rapid fashion and social media, trends come and go quickly. With trends coming and disappearing, it’s tough to pinpoint where Generation Z gets their style. A popular motif is a return to basics, with teenagers and adults now wearing plain-colored clothes and focusing on accessories and layering. There is also an edgy aspect that is prominent in many Generation Z styles, seen with renowned celebrities such as Billie Eilish, who is rather experimental with her attire. She wears masculine style and feminine apparel in a variety of hues that are well-planned and adorned. Emma Chamberlain has also made her YouTube channel the focal point of her fashion offerings with a preference for vintage and modern apparel, which gives her style a nostalgic feel. Lil Nas X is among the most outlandishly dressed celebrities. Nas takes his outfits extremely seriously — they are always well-thought-out and resemble costume designs. Every item of Nas’ clothing tells a narrative, and everything is designed to work together seamlessly. And, of course, Zendaya, who is possibly the Gen Z “queen of fashion” with her seamlessly fierce looks. A fan favorite at the Met Gala, audiences look toward her movie premieres to see what she pulls out of her fabulous bag. She’s a true talent for Gen Z and knows how to be original and unique. For Gen Z, clothing is more of a statement piece in terms of impressions, since it is about adding a specific item to a look rather than the appearance itself. For example, a new trend has been to wear hair bows of every color and size. Gen Z’s clothing preferences are always changing, thus many trends may or may not last, and many people will forget about them. While constant change might be a negative, it also allows Gen Z to experiment and be creative with their wardrobe. Combining complementary colors and accessories opens up a world of options. Generation Z has the potential to recycle vintage items in ways previous generations did not, and much of it is paying off. With the emergence of fast fashion, Generation Z is turning to charity stores and secondhand sites to discover excellent quality things that they can incorporate into their wardrobe — a return to vintage styles with a new perspective.

Overall, every generation has its ups and downs, and everyone will always believe that their generation’s dress was more cool and right for the period. Fortunately, the nicest part about new generations is that they can take a little bit of each generation’s style and trends and either reuse them or even make the decision to let them go altogether. Individuality and culture have never been more widespread in previous generations with everyone having the opportunity to develop their distinctive style. Millennials are responsible for the existence of Generation Z fashion for they did the dirty work of finding what looks good and trendy, and without them, many of the celebrities of this time wouldn’t have such a stance on iconic pieces. Gen Z continues to thrive, so maybe things will change. But until then, this one goes to the millennials.

Contact the author at howllifestyle@mail.wou.edu

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