Mount Hood

BonnaWOU brings the beat back to Western

Caity Healy | Editor-in-Chief

The year was 1969. While everyone else was cooling off from the summer that would act as a pivotal moment for music and the core of the counterculture generation, Western, which was then known as the Oregon College of Education, was still heating up. Likely inspired by Woodstock’s three days of peace and music that took place just a month before, from the start of Fall Term, the Wolves were ready to keep the beat going.

A number of concerts took place within that academic year. Headlining at Homecoming was the Grass Roots. Between the years 1967 to 1972, the Grass Roots set a record by being on the Billboard charts for 307 straight weeks, according to their website, the-grassroots.com. At the time, the band was comprised of Creed Bratton — who is now known for his work as a character by the same name on “The Office,” Rick Coonce, Warren Entner and Rob Grill. In the late ‘60s and into the ‘70s, they released many hit singles, including “Midnight Confessions” and “Wait a Million Years.” This was the band that would kick off a series of concerts that would only be remembered by the yearbooks.

Also appearing in 1969 and the year following were bands such as “The Happenings,” which is known for their hit “See You in September,” and is also known for their member David Libert, who went on to manage artists such as The Runaways and Alice Cooper; Gary Lewis & the Playboys, which is known for their hit “The Diamond Ring,” and is also known due to their frontman, Gary Lewis, being the son of comedian Jerry Lewis; and, to top it off, was the Cowsills — a band comprised of all family members, who, according to their website, cowsill.com, were the inspiration behind “The Partridge Family.”

Exactly 50 years later, the year is 2019 — and Western is ready to bring the music back to campus. On May 23, Student Activities Board will be hosting “BonnaWOU,” a play on the annual Bonnaroo festival. Spearheaded by SAB member Helen Goodyear, the event was brought about for a specific reason.

“As far as anybody that I have talked to can remember, they don’t remember seeing a concert on campus. And I would love to bring that back,” Goodyear said. “I want to hit it with a bang … I want people to remember that this is a Western thing.”

To do this, Goodyear decided to look locally for some bands who might be interested. And in asking, what she found was that not only were these bands interested, they’ve been waiting.

“Every single one of them was like, ‘this is something that should’ve happened a long time ago,’” Goodyear added.

Although she had several options, Goodyear rounded her choices down to just three bands that she felt would best relate with the styles Western would enjoy: Jimmy Wolfson, The Ferenjis and Chromatic Colors. All of these are local bands, all have ties to Western and all were more than willing to help out. But aside from the fact that Goodyear knew students would enjoy these bands, she chose them for a few other reasons.

“I want to show (Western) that this is part of our identity as students. This is part of our identity as Oregonians. This is a part of us, and it’s a community that doesn’t get showcased that often. And I want to expose people to that and I want people to try something a little bit new,” Goodyear explained.

To make an event like this happen, there are a number of obstacles that Goodyear has had to cross — the largest being budget.

“When the budget was allocated at the beginning of the year, nobody was thinking that this was going to happen. And then I came in half way through year, and I was like, ‘Okay. We’re doing this,’” said Goodyear. Using only the small amount she was given, she was able to find “the cheapest options and the best quality options,” they could possibly get, as she explained. But due to her connections with the music department and those she knows, as well as her support from the rest of SAB, she was able to pull it off.

As for what students can expect, Goodyear was very transparent on her goals.

“I want people to be able to lay out on the grass, and bring hammocks,” Goodyear said, “If they feel they want to, I want them to be able to get up and dance. I want them to be able to enjoy the music however they want.”

The event is free to anyone interested in a night of music and relaxation. Running from 5-9 p.m., it will be located in the Grove. For any questions, contact Helen Goodyear at hgoodyear16@wou.edu.

 

Contact the author at howleditor@wou.edu

Photos courtesy of  WOU Archives

Daniel Sampson’s capstone presentation on “Kaleidoscope ‘85”

Cora McClain | Copy Editor

May 10, in Smith Music Hall, senior music major Daniel Sampson gave a presentation on the journey of his album “Kaleidoscope ‘85.” He began work on the album in the summer of  2018, after being thoroughly inspired by the music of the 1980s, specifically that of George Benson’s “20/20” album that he heard growing up. After explaining why he decided on an ‘80s inspired album with a focus on his major instrument, the clarinet, Sampson dove into how he created it.

Taking the audience right into his production software, FL Studio, Sampson played a track that did not end up on his album. “Timeless Lover” played out over the theater, but had a few crackling issues. Sampson kept in good spirits despite these hiccups and broke down the track by each of the samples he took.

Sampson even explained how he chose specific samples to use.

“When I heard the track, I was like, ‘I’ve got to use that,’” he said in reference to the sample DX7 Electric piano. He concluded stating that it can be found somewhere in every track on the album. He also highlighted using electric guitar samples, stating “it is the poor man’s way of not hiring a guitarist.” He highlighted another two tracks, “Warrior” and “Remember When,” to illustrate how he stacked these sounds.

Explaining the recording of his clarinet tracks, Sampson said that he did so in “WOU’s very own recording studio.” Sampson continued by stating the gear that he used to do such recording. Later he explained how he used different preamps to change the sound of the clarinet, often using vocal synth to add depth and sparkle to the sounds. He even explains using a guitar preamp to create the sound of an electric guitar.

Then Sampson transitioned into the production side of the album, covering copyright and his difficulties with that, as well as having to change his mastering engineer, who finishes out the sound of the album. “It didn’t sound like an album” he said. But he soon found another mastering engineer who fulfilled on his vision.

He finished off the presentation with a little Q&A, answering more technical questions such as one on where he wants to see his music go.

“Out into the world? … Move down to LA?” he joked.

When asked about what advice he would give to others putting together a capstone presentation, Sampson answered, “You should get started on it as early as possible. Also, make use of your strengths when preparing the presentation.”

“Kaleidoscope ‘85” will be released on iTunes, Apple Music, Spotify, and Amazon on July 2, which is Sampson’s birthday. He will also be releasing physical copies, but still has to work out the kinks with things such as shipping.

 

Contact the author at howlcopyeditor@wou.edu

Photo by Cora McClain

Review: “Extremely Wicked, Shockingly Evil, and Vile”

Chrys Weedon | Entertainment Editor

Ted Bundy is one of the most notorious serial killers in the United States according to history.com. Aside from his trial being the first televised in history, Bundy’s trial was unique in many ways. Bundy acted as one of his own defense attorneys, escaped twice and even gained an immense fan-base.

Released on Netflix on May 3, “Extremely Wicked, Shockingly Evil, and Vile” was released not long after the docu-series “Conversations with a Killer: The Ted Bundy Tapes” was strategically made public by the same streaming site on January 24.

While “Extremely Wicked,” whose title is too long to say naturally in conversation and is therefore always referred to as “that new Zac Efron movie,” could be seen as a complementary fictionalization of “The Ted Bundy Tapes,” it watches as a slightly fuzzier iteration of the same show. It seems as though nothing much happens that watchers familiar with the case wouldn’t have already known about the Bundy case.

Every event was predictable, and the liberties that were included weren’t shocking — to me, this film really didn’t shine a new light on the case or the characters involved. The film often flip-flops between painting Bundy in a sympathetic light and trying to make him out to be the manic killer that he was. In my opinion, we really didn’t need another “slightly-sympathetic serial killer” story in the world.

I did appreciate a look at the ways in which Liz Kendall, played by Lily Collins, was affected by her long-term relationship with Bundy, but it all felt like a glorification of Bundy thinly veiled through a “different” perspective. I would’ve been more intrigued with a story from the point of view of Carol Daronch, the woman who successfully escaped Bundy’s attempted kidnapping.

Arguably the most disappointing aspect of the movie was Zac Efron’s performance. Efron, I believe, embodied Bundy in an extremely believable way, but “Extremely Wicked” overall was an underwhelming film and I feel like Efron’s performance was wasted. I was honestly surprised at how effectively creeped out I was at the actor whose breakout role was Troy from the “High School Musical” franchise. I believe this could’ve been a breakout role for Efron, if only it wasn’t an overrated, over-told story.

 

Overall Rating: I would not recommend this film.

 

Contact the author at howlentertainment@wou.edu

Photo courtesy of voltagepictures.com

Western’s Dance Department hosts 2019 Spring Dance Concert

Mikaela Wong | Staff Writer

Western Oregon University’s annual Spring Dance Concert commenced over the weekend, May 9-11, and with it, brought intricate dance routines incorporating styles such as ballet, neo-classical, and contemporary. The various dance styles were accented by bold costumes and makeup which further emphasized the themes of each piece.

One piece called “To Become Without Fear” consisted of black clothing, dark makeup and jerky movements which highlighted the theme of conquering one’s fears and hardships in hope for a better life. Ali McCarthy, a senior English major, expressed the difficulties she faced portraying a much more intimidating style of dance.

“I’m so used to doing ‘pretty’ kind of dancing which is more flowy, has proper movements and is a lot of fluid (movements),” said McCarthy. “This is more scary, edgy and like possessed kind of dancing so it got me out of my comfort zone.”

Sharon Oberst, one of the main choreographers, announced her retirement after 32 loyal years in the school’s dance department. Her piece, “End Pointe”, captured both the beauty of the pointe dance technique and the sentiment of the end of her legacy at Western. Pointe is a form of classical ballet and is a technique that requires the dancer to support all their body weight on the tips of their fully extended feet whilst wearing specific pointe shoes which have special material in the front to support them.

Eva Batenhorst, a junior pursuing a double major in dance and biology, was the soloist in Oberst’s piece and expressed her gratitude to the soon-to-be-retired choreographer.

“This the final dance that she choreographed for it and she blessed me with a solo in it, so that’s awesome,” said Batenhorst. “I haven’t done a pointe (piece) since senior year in high school and this will also be my last time doing a pointe piece.”

The final piece of the show was called “Into the Mystic” and seized the attention of the audience through mesmerizing light-up props and baton spinning while telling an enticing love story. The intricacy of the movements along with the long duration of the piece itself made the skills of the dancers even more palpable.

Throughout the show, various dancers in different costumes performed expressive pieces that showcased not only their physical capabilities, but also their ability to portray emotion through facial expressions, interactions between dancers and purposeful body movements. The variety of dances included dancers from all kinds of different backgrounds and experiences, while the clean-cut dance routines and articulate costumes reflected the hard work and practice that the dance department had invested in the last six months.

“We try to take it as professionally as we can and not a lot of people realize how much we really put in,” said McCarthy. “Everybody has a place here which is nice because you can have any level and someone is going to find a place for you.”

 

Contact the author at mwong16@wou.edu

Photos by Paul F. Davis

The Coming Out Monologues return to Western

Chrys Weedon | Entertainment Editor

On April 30, 1997, Ellen DeGeneres came out on her sitcom, “Ellen.” In an episode titled “The Puppy Episode” when she tells her therapist, played by Oprah Winfrey, that she is attracted to women, making “Ellen” the first sitcom to feature a gay main character.

In honor of this landmark, Western’s SafeZone program puts on a biannual performance titled “The Coming Out Monologues.” The Monologues are performed on or around SafeZone’s birthday, April 30.

On April 30, 2000 was the Millennium March on Washington for LGBTQ Equality. That’s why we picked that date for the SafeZone birthday,” said coordinator CM Hall. Hall, with the help of Ted deChatelet, manages the show every two years.

The SafeZone program started at Western in 2006, and according to their website, “seeks to form an allying network of students, faculty and staff committed and trained to provide safe, non-judgmental and supportive contacts for all WOU community members regarding LGBTQ+ issues.” This program provides the campus with community events and Ally trainings. SafeZone partners with Abby’s House, Stonewall Center and Triangle Alliance to produce the Monologues.

“I was a queer student during a very different time at Western. The early/mid-90’s — when the faculty, admin, staff, and students were silent or hostile and there just weren’t many of us, or any out faculty or staff to gain support from,” commented Hall. Since Hall returned to Western as a staff member in 2006, she has been working to change Western’s community for the better.

“Western feels entirely different. It’s become such an affirming and supportive place for folks who have different sexual and gender identities … It further validates and normalizes our lived experiences,” Hall said.

The Coming Out Monologues are stories authored and performed by Western students, staff and faculty. The stories are funny, serious and often heartbreaking.

“They are a representation of the diverse and unique experiences of people who identify within the LGBTQ+ community and/or as straight allies,” described Hall.

This year’s performance included six student performers: Aeron Esch, Hannah Bachelor, Hannah Hardcastle, Maria Bercerra, Max Groshong and Tyler Martin. Staff members performed as well: Annika Joy Barnett, Chrys Burcham, Rebecca Chiles and Chad A. Ludwig.

The first show took place in 2015, then was performed again in 2017. The turnout is always substantial, and it’s commonplace to need extra chairs on standby.

“The most fulfilling part for me is audience response and reaction. How folks really connect and resonate with someone’s story — even if that audience member isn’t LGBTQ,” said Hall, “there’s an electricity and bond in the room as we watch folks share their stories. Their truths. We all feel let in on someone’s journey and it’s a really special and sacred experience.”

 

Contact the author at howlentertainment@wou.edu

Photo by Ashlynn Norton

Musical guest, Deac Guidi, and staff serenade Smith Hall

Chrys Weedon | Entertainment Editor

On April 30, 1997, Ellen DeGeneres came out on her sitcom, “Ellen.” In an episode titled “The Puppy Episode” when she tells her therapist, played by Oprah Winfrey, that she is attracted to women, making “Ellen” the first sitcom to feature a gay main character.

In honor of this landmark, Western’s SafeZone program puts on a biannual performance titled “The Coming Out Monologues.” The Monologues are performed on or around SafeZone’s birthday, April 30.

On April 30, 2000 was the Millennium March on Washington for LGBTQ Equality. That’s why we picked that date for the SafeZone birthday,” said coordinator CM Hall. Hall, with the help of Ted deChatelet, manages the show every two years.

The SafeZone program started at Western in 2006, and according to their website, “seeks to form an allying network of students, faculty and staff committed and trained to provide safe, non-judgmental and supportive contacts for all WOU community members regarding LGBTQ+ issues.” This program provides the campus with community events and Ally trainings. SafeZone partners with Abby’s House, Stonewall Center and Triangle Alliance to produce the Monologues.

“I was a queer student during a very different time at Western. The early/mid-90’s — when the faculty, admin, staff, and students were silent or hostile and there just weren’t many of us, or any out faculty or staff to gain support from,” commented Hall. Since Hall returned to Western as a staff member in 2006, she has been working to change Western’s community for the better.

“Western feels entirely different. It’s become such an affirming and supportive place for folks who have different sexual and gender identities … It further validates and normalizes our lived experiences,” Hall said.

The Coming Out Monologues are stories authored and performed by Western students, staff and faculty. The stories are funny, serious and often heartbreaking.

“They are a representation of the diverse and unique experiences of people who identify within the LGBTQ+ community and/or as straight allies,” described Hall.

This year’s performance included six student performers: Aeron Esch, Hannah Bachelor, Hannah Hardcastle, Maria Bercerra, Max Groshong and Tyler Martin. Staff members performed as well: Annika Joy Barnett, Chrys Burcham, Rebecca Chiles and Chad A. Ludwig.

The first show took place in 2015, then was performed again in 2017. The turnout is always substantial, and it’s commonplace to need extra chairs on standby.

“The most fulfilling part for me is audience response and reaction. How folks really connect and resonate with someone’s story — even if that audience member isn’t LGBTQ,” said Hall, “there’s an electricity and bond in the room as we watch folks share their stories. Their truths. We all feel let in on someone’s journey and it’s a really special and sacred experience.”

 

Contact the author at howlentertainment@wou.edu

Photo by Ashlynn Norton

Review: “Endgame” is a fan service film

Chrys Weedon | Entertainment Editor

Even as someone who got into “The Avengers” franchise relatively late and has yet to watch all of the movies, I was super impressed by “Infinity War.” Naturally, then, I was very excited as the “Endgame” release date got closer and closer. I researched theories online, and even created a few of my own in anticipation of the film. By the end of premier night, though, I found that I had lost all my previous enthusiasm. In fact, I was fairly disappointed.

It seemed as though all the wonderful suspense built up in “Infinity War” crashed and burned within the first half-hour of the newest film. From the beginning, every “plot twist” seemed like the most convenient one to explain why the story progressed the way it did. All of a sudden, Thanos had morals. Scott Lang shoots out of a van and has the answer to the biggest plotline Marvel has been building up to in the past 10-or-so years. And Thor is fat now.

It’s not that the movie itself lacks intricacies, it doesn’t. The intricacies are just predictable. Time travel has been a theme repeated in multiple movies less successful than the Marvel cinematic universe. Although “Endgame” tackled time travel in a comprehensive way, and it was something that a fair amount of people anticipated, the way this movie arrived as time travel as a solution seemed a little rushed and I was left wondering why no one had thought of it earlier. This feeling intensified after Tony found the “secret” of time travel within 20 seconds of trying even though it was mentioned earlier in the film to be nearly impossible.

Another disappointment was how the most powerful avenger factored into the storyline. The “Captain Marvel” movie was released so soon before “Endgame” that I was sure that she would have a prominent role in this film as well. Captain Marvel got very little screen-time, and was only used as a last-ditch, “oh yeah, there she is” plot device.

Overall, “Endgame” wasn’t a completely terrible movie. The fight scenes were done well and creative, per usual. Also, I love the Hulk so I wasn’t too sad about the amount of screentime he received. But for a three hour movie, it felt fairly empty plot-wise and most of the big events were predictable, especially in the last big fight scene.

 

Overall Rating: “Endgame” is an enjoyable movie, but I found it was more enjoyable if you don’t go in with any kind of expectations.

 

Contact the author at howlentertainment@wou.edu

Photo courtesy of marvel.com