A Netflix original series came out this week with an unusual premise: A suburban mom living with her family in Southern California suddenly becomes a zombie who feeds on human flesh. Starring Drew Barrymore and Timothy Olyphant, the horror-comedy Santa Clarita Diet is 10 episodes of witty banter, corny jokes and a totally self-aware plot and cast of characters. It’s all so ridiculous that somehow it works, and if you can deal with the total cheesiness of the whole thing, then this show worth watching.
Of course, zombies are a pop-culture fixture right now — and really, haven’t they always been? — but this is a new take on the genre. There are the classic symptoms of flesh cravings, superhuman healing ability, lack of pulse or heartbeat and endless energy with no desire to sleep.
Barrymore’s character Sheila takes these all in surprising (and slightly unbelievable) stride. But then again, this show is not meant to be questioned in terms of its believability. It’s always difficult to tell how someone would act in such a situation, but it’s fair to say that most characters might be taking the whole “Sheila’s a zombie” thing a bit too easily.
Sheila’s daughter Abby (played by Australian actress Liv Hewson) and her husband Joel (played by Olyphant) join Barrymore as the stars of the show. Abby’s the stereotypical, deadpan, I-don’t-really-care teenager. She doesn’t have a lot of friends and recruits the nerdy boy next door to help with her mom’s “issue.” In more ways than one, this show relies on stereotypical tropes to further its story development.
Olyphant, who some might recognize as either Pam’s former romantic interest on The Office or a deputy U.S. marshal on Justified, takes a comedic turn as Joel. He struggles with some of the ethics of killing people to satisfy his wife’s cravings, wondering if it is okay to kill someone if they are a “bad person” like a pedophile. His character is there to balance out Barrymore’s off-the-handle Sheila, while also throwing out some one-liners and punchlines.
Barrymore takes on her role as Sheila with obvious on-screen enthusiasm. In interviews she has said that “it goes beyond wacky” but it “totally liberated” her in her personal life. Meanwhile, it’s obvious that comedy may not come naturally to Olyphant, but that might make him even funnier. The one liners — while very cheesy, yes — are always perfectly delivered. His high-strung personality makes up for daughter Abby’s monotone voice and unfazed expressions.
If you can take a bit of gore, like a three-foot pile of intestines and a brain smoothie, along with some cheesy jokes, it’s worth watching Santa Clarita Diet. The premise alone is enough to draw an audience there and keep them for all 10 episodes of season one.
Oakland-raised artist Kehlani is bringing R&B’s roots back to the industry, with a soul-gripping debut album tracklist that will top the charts if its cool intimacy and dark lyrics don’t intimidate the national audience. SweetSexySavage, a nod to TLC’s CrazySexyCool, is easily one of the best debut albums to come out in the past few years, not just in R&B but across all genres.
Kehlani has a background we’ve all heard before: The struggling artist trying to make it out of the ghetto with drugged-up parents who ditch her at a young age and leave her in poverty. But at only age 20, Kehlani has risen above it all. After a quick semi-successful stint with POPLYFE on America’sGot Talent when she was a teen, she released her first mixtape, Cloud 19, in 2014. Her second mixtape, You Should Be Here, was released in 2015. To understand her music on this new album, one has to understand this history.
SweetSexySavage runs through many themes in Kehlani’s life, like her struggles in the industry, with her mentality, in romantic relationships and commitment in all its forms.
It’s a personal album that isn’t exactly looking for chart-topping hits, but it still demands attention. Obvious album favorites include “CRZY,” an anthem to independent women paving the way in their careers; “Gangsta,” an ode to old ’90s R&B hits about loving the boy on the wrong side of the tracks; and “Distraction,” a proud shoutout to women who are “playas” in the field and aren’t settling for any man. These are the songs that will hit radio stations hard, earn Kehlani praise at the Grammys and top the charts.
Hidden gems include “Not Used to It”, which dwells on Kehlani’s fear of commitment even at such a young age, and “Piece of Mind,” about struggling with forgetting a past relationship. Of course, there are few minor issues with the album; it’s worth noting the too-long 17 song tracklist. Also, a few tracks feel more like imitations than homages such as “Escape” and “Get Like;” however, Kehlani’s unique voice keeps anything from sounding too much like Rihanna or R&B girl bands of the late ’90s.
The one-minute “Intro” is also worth a listen, as a recording of a conversation between Kehlani and her grandfather is played. Kehlani explains her heartbreaking struggles to get where she is, saying, “I’ve seen things and I’ve felt more pain than some will in their entire lives / all before the age of even being able to buy a fucking drink at a bar.” It’s a phrase that will still hurt 16 tracks later when you’re listening to silence. And then SweetSexySavage plays again.
Catch Kehlani at WOW Hall in Eugene on April 28. Get your tickets here. Watch the video for “CRZY” below:
Friday, Jan. 27: Blues to Cure the Blues at Ninkasi Brewing Company (155 Blair Blvd.) 7 p.m., $60, 21+
This weekend, Ninkasi Brewing Company will host a live blues performance to raise money to benefit a local nonprofit called WellMama. The night will consist of live country blues and bluegrass music, great food, and classic Ninkasi beverages. Furthermore, a silent auction will be held featuring local products, artists and excursions in the Willamette Valley and Portland areas. Dinner will be provided for guests by Eugene’s Bill & Tim’s Barbecue.
Proceeds go to WellMama, a non-profit “providing education, advocacy and resources” for parents struggling with mental health issues during pregnancy and first year postpartum. Its no-cost peer support services treat women with perinatal mood disorders throughout Lane County.
Thursday, Jan. 26: Barber Piano Concerto at Hult Center for the Performing Arts (7th and Willamette) 8 p.m., $21-$60, $10 for students
If you have an ear for the arts, you can join Ryan McAdams and Andrew von Oeyen this week for their performance of musical works of Mozart, Barber and Brahms, put on by the Eugene Symphony.
McAdams is a Brooklyn resident that made his musical debut in Europe with theMaggio Musicale and later went on to perform with the Israel Philharmonic, being hailed by the Jerusalem Post. He is the first ever recipient of the Sir Georg Solti Emerging Conductor Award.
Oeyon made his debut at 16 years old with the Los Angeles Philharmonic and went on to perform with the National Symphony in Washington D.C. in 2009. He has a range of experience, with a repertoire that includes a wide variety of works, from Beethoven to Tchaikovsky.
For an evening of classical piano music, you can learn more at eugenesymphony.org.
-Mathew Brock
Friday, Jan. 27th: Ladysmith Black Mambazo at WOW Hall (291 W 8th Ave), 7 p.m., tickets $21 seated, $35 GA
This Grammy award-winning group will make a stop in Eugene this weekend to share its blend of world and a cappella style of music. Founded by frontman Joseph Shabalala in the early 1960s, this South African group considers itself a form of musical preservation of heritage just as much as they are entertainers. Its unique sound is derived from the traditional African musical style of Isicathamiya, which was first developed by miners in the early 1900s. After being captured and forced to work for European mining companies, South Africans would sing this music in their native tongue, Zulu.
The group got its first big break when American folk musician Paul Simon enlisted Ladysmith Black Mambazo to sing backup vocals for a track on his critically-acclaimed album Graceland. Simon later produced their first record in 1998. The album went on to win a Grammy for best folk recording. Since then, the group has been nominated for 15 Grammys and completed several worldwide tours.
-Zach Price
Saturday, Jan. 28: Masquerade Ball at Opal Center for Arts and Education (513 E. Main St.), 7:30 p.m., tickets $13
This weekend, an evening of mystery awaits you. Take yourself back to the Renaissance days of costumed parties and join Eugene’s Opal Center for Arts and Education for a Masquerade Ball. Formal attire and costumes are highly encouraged as well as festival hair and theatrical makeup. If this isn’t your first ball, bring a mask of your own — if not, there will be a chance to make your own at a mask making workshop held by Crafty Mercantile.
Tickets include hors d’oeuvres and a beverage in addition to a night full of music, dancing and intrigue. The event lasts until 12 a.m.
Tuesday, Jan. 31: Drew Shirley/Switchfoot at Mcdonald Theater (1010 Willamette st.), 7 p.m., tickets $38.00 advance, all ages
Christian rock band Switchfoot, known best for its musical contributions to the Nicholas Sparks film A Walk to Remember, will make its way to the Mcdonald Theater on Tuesday. Led by frontman Drew Shirley, the band helped popularize alternative, radio-friendly rock, complete with soaring vocal melodies and heavy, pounding guitars. The show promises to inspire and uplift audiences of all ages.
Ohio-based duo Relient K will open for Switchfoot on Tuesday. The prolific band has been around since the late ’90s and released 11 albums. It brings a huge amount of material to each set list and promise a huge amount of variety to their energetic performances. Even for the non-religious crowds, both bands are sure to entertain and make for a fun night.
It’s that time of the year when winter break ends and extreme stress from the second quarter begins. College students begin to experience academic ruts, pressure to perform in extracurricular activities and the compulsion to maintain a positive attitude through it all.
But it can be argued that Oregon students have it worse than many other colleges, as students also deal with the daily rain that comes with Eugene winters. This kind of stormy, dark weather often enables lethargy and negligence to commitments. It’s too easy to stay inside during this weather, avoiding academic and social responsibilities. Here’s how to fight what is known as Seasonal Affective Disorder, with information provided by the University of Oregon’s Counseling & Testing Center.
According to the C&T Center, it’s not the small incidents or bad test scores that wear students down, but the “cumulative impact of small stressors or major events.” There are two types of stressors to be aware of: Type I and Type II.
Type I has a readily identifiable solution and generally has an easy fix, but still causes stress, like a blown-out candle. Type II stressors are harder to define, easy to build up over time and can’t be resolved very quickly. This includes ongoing interpersonal conflicts in relationships.
The weather can make this all much worse. Students avoid facing their problems if they don’t have to leave the house to do it. Furthermore, the gloomy gray skies provide a much darker perspective than sunny blue skies ever could.
The C&T Center has a list of strategies for dealing with this kind of stress and depression students may experience during winter quarter; however, it is important to note that these are strategies — not solutions. The more effort put in will lead to more benefits received.
First, exercise is a primary way to engage with issues and physically erase stress. The production of endorphins acts as a natural stress and pain fighter. Endorphins also enable a better night’s rest because sleep “gives your mind and body a chance to recover” from the day’s stressors, according to the C&T Center.
Exercise is still possible despite the rain. The Student Recreation Center provides opportunities to exercise indoors and also has intramural teams that can provide a team to work with as an alternative to solo exercise. Socializing is also important if anxiety becomes too much.
Another helpful way to reduce stress during this quarter is to “set priorities and learn to say ‘no’” in order to reduce the sense of being overwhelmed with responsibilities, according to the C&T Center. Mentally, changing attitude and perspective accomplishes a lot more than fighting against the rocky waves of anxiety.
Assertiveness training is recommended by the C&T Center because when students can’t assert themselves, “needs go unmet and stress rises.” Additionally, set rewards for even the smallest of accomplishments in order to feel proficient and busy.
Although 2016’s musical legacy is bound to be remembered more for the stars that died than the actual music itself, there was no shortage of great songs created. The Emerald’s music writers have selected their favorite songs of the recently concluded year.
Craig Wright’s top songs:
5. “Easy Eating” by Naked Giants
Equal parts psychedelic-punk and classic rock, Seattle’s Naked Giants play with an absurd amount of energy both onstage and on record. “Easy Eating” kicks off the band’s debut R.I.P E.P. with some stick clicks, a reverb-filled guitar and a quick splash of feedback. From there, it bursts into a guitar-filled attack led by Henry Lavelle’s perfectly-timed, razor sharp riffs. Gianni Aiello’s effects-heavy bass sound adds a menacing low end to the track, and Grant Mullen’s drumming powerfully punctuates every interaction.
This is a band to watch closely.
4. “Shut Up Kiss Me” by Angel Olsen
Easily the most unconventionally catchy rock song of 2016, “Shut Up Kiss Me” is propelled by Angel Olsen’s yearning vocals as she attempts to salvage a failing romance. Olsen’s trembling vocal introduction makes the chorus that much more powerful as she bursts out a series of commands for her lover to “shut up kiss me hold me tight.” Much like in Sleater-Kinney’s breakup anthem “One More Hour,” Olsen knows the inevitable end has come; luckily, she decided to turn her misery into a rock song that remains fresh after more than 50 listens.
3. “Lazarus” by David Bowie
David Bowie may be gone, but his farewell performance will not be forgotten soon. Blackstar was released days before he died from a private battle with cancer, making the first lines of “Lazarus” that much more haunting: “Look up here, I’m in Heaven/I’ve got scars that can’t be seen.” As the song progresses, it turns from a somber death march to a triumphant celebration: “This way or no way/You know I’ll be free/Just like that bluebird/Now, ain’t that just like me?” Bowie may have left this world, but first, he left us with a final masterpiece.
2. “Drunk Drivers/Killer Whales” by Car Seat Headrest
Will Toledo wisely summarizes one of the most difficult aspects of transitioning into adulthood with a single sentence: “There’s no comfort in responsibility.” In “Drunk Drivers/Killer Whales,” Toledo realizes it’s probably time to stop living a carefree life and attempt to change for the better of himself and society. Although the song clocks in at 6 minutes, it continues to change and grow like so many of Toledo’s best works. From Toledo’s opening solo falsetto to the closing chant along, there is no shortage of clever lyrics, and the instrumentation perfectly matches the song’s frustrated but hopeful content.
1. “Hands Together” by The I Don’t Cares
Paul Westerberg has been a world-class songwriter since his days with the Replacements, but rarely have his lyrics packed such a devastating punch. On “Hands Together,” the closing song on Wild Stab, Westerberg analyzes his life by taking inventory of his relationship with household items including “a cup of coffee that likes to be called a mug,” the TV, newspapers and, most hauntingly, the bed he alone occupies after a divorce in 2014: “The pillows are exhausted to hold my head again so soon / The dreams I had before are now too bored to even show up / And the blankets are embarrassed / It’s only me that they cover up.”
Westerberg sings like he’s telling a secret he’s not entirely comfortable sharing, but the 12-string guitars and I Don’t Cares’ partner Juliana Hatfield allow him ample freedom to navigate his thoughts. It’s chock full of witticisms and sarcastic self-deprecation, but in the end, Westerberg seems to conclude that loneliness is an inherent part of the world: “Give my regards to midnight / Tell him he ain’t changed a bit / Long, tall, dark and handsome, still lonely as shit.”
“Hands Together” is easily the best song Westerberg has written since 1987’s “Can’t Hardly Wait.”
Sararosa Davies’ top songs:
5. “Barely 21” by Seth Bogart feat. Tavi Gevinson
Seth Bogart released his first studio album without the moniker of Hunx and his Punx in early February. Listening to “Barely 21” feels like binging on Halloween candy. It’s a sickly sweet song with vocals that get stuck in your head easily, like the way candy gets stuck in teeth. Bogart’s repetition (“So cry, baby cry”) is almost too much, but it’s still a good song. This song in three words? Annoying, but great.
4. “Emotions and Math” by Margaret Glaspy
The title track from indie-rocker Margaret Glaspy’s debut full-length album, Emotions and Math, is sharp in every way. Glaspy’s voice has an almost insular, inverted quality to it in this track, like her body is holding the air in. When she sings, “I was a rolling stone,” it’s like a knife is slicing her voice in half. This track is a great introduction to Glaspy’s vocal and musical style.
3. “Good as Hell” by Lizzo
Minneapolis-based hip hop artist Lizzo makes the case for self-love in “Good as Hell.” The song features horns that tie together lyrics like, “Hair toss, check my nails/baby how you feeling/feeling good as hell” and the occasional “Yas, lord.” It’s the perfect anthem for girl power or for rousing spirits during hard times. Samantha Bee had Lizzo on her show the night after Donald Trump was elected; the segment was called “Lizzo Saves Us All,” and “Good as Hell” does indeed save from despair.
2. “Old Friends” by Pinegrove
Pinegrove may be indie rock, or emo, or alt-country. The world will never truly know the Montclair, New Jersey band’s genre because it blends influences a lot. Lead singer Evan Stephens Hall’s voice takes a country twang at times in “Old Friends,” but that’s not the only quality to the song. Hall sings about losing friends and how “Port Authority is a sort of fucked up place” in the way any great emo band does. With words like “solipsistic” and guitar riffs that layer like Tetris pieces, “Old Friends” still defies the conventions of indie-rock. It’s clear that Pinegrove knows the rules, so let the band break them.
1. “Fill in the Blank” by Car Seat Headrest
“I’m so sick of fill in the blank/accomplish more, accomplish nothing,” Will Toledo practically yelps in the opening track of Teens of Denial. University of Oregon grad Andrew Katz’s frantic drumming and Toledo’s fuzzy riffs move the song forward to the climax: “You have no right to be depressed/you haven’t tried hard enough to like it.”
“Fill in the Blank” is a song for those moments of catharsis that 2016 was full of. It’s a song that fits its album, its time and its place. It stands at the top because of the way it exists inside and outside of the context it was born in. 2016 was a year for fuzzy guitar riffs and lyrics detailing angst, and 2017 might need those sounds, too. Car Seat Headrest’s “Fill in the Blank” is my song of 2016 because it can and will exist long after Dec. 31 rolls by.
Emerson Malone’s top songs:
“Don’t Touch My Hair (feat. Sampha)” – Solange
On A Seat At the Table, Solange created an affective portrait that, as former Emerald music writer Daniel Bromfield once noted, ought to be remembered as one of the model protest-soul albums from the Black Lives Matter-era. Solange illustrates the understated authority of a patriarchal society and the subtle influence of white supremacy. Solange equates her coiffure, her “crown,” with her dignity, her essence and her “pride.” She and British electronic musician Sampha go back and forth until they harmonize an unanswerable inquiry: “What you say to me?” Consent, identity, beauty and agency are tucked into “Don’t Touch My Hair,” which is the core tenet of A Seat At the Table: through a modest scope, revealing a hard truth.
“Shut Up Kiss Me” — Angel Olsen
Here’s the jam: sometimes you want to preserve a relationship that’s more trouble than it’s worth; sometimes communication in a tender love affair is distressing and liberating in equal measure. This sentiment is scarcely as beautifully delivered as it is in this cut from Angel Olsen’s My Woman. The perilous nature of love is being filtered through Olsen’s strained vocal chords: “At your worst I still believe it’s worth the fight / I could make it all go away / Tell me what you think and don’t delay / We could still be having some sweet memories / This heart still beats for you / Why can’t you see?” If nothing else, “Shut Up Kiss Me” is a plea for attention, an admission of vulnerability and a heartfelt need for respect. “Stop pretending I’m not there, when it’s clear I’m not going anywhere,” her voice shakes. “Shut up! Kiss me! Hold me tight!” she persistently cries, wanting to push away and embrace her lover all at once. Love, as it were, may be a battlefield, but it makes for an amazing pop song.
Casey Miller’s top songs
“Never Be Like You” by Flume
Never has a song’s beat gripped me by the heart like Flume’s “Never Be Like You” did the first time I heard it. It’s heartbreaking and relatable, about one too many mistakes in a relationship. Flume is one of the top DJs in the world right now, and “Never Be Like You” was the first single from the insanely successful Skin album dropped this year. For at least three weeks straight, everywhere I went on (and off) campus had this song bursting through the windows, the beat demanding to be heard. I certainly wasn’t complaining, as it’s one of those timeless songs that I now associate with some of the best times of my freshman year.
“Caroline” by Amine
One of my favorite feel-good songs, “Caroline” is the song you blast in the car, with the whole back seat rapping every verse. Clearly Amine knew that would be how it was perceived, as his music video for “Caroline” was he and his buddies driving around town singing about the girl who keeps playing hard to get. It’s fun, lighthearted, and easy to sing along to, making “Caroline” the ultimate frat party, house party, or even small kickback song. Every girl wants to be Caroline, and every guy has a girl like Caroline in their life. It’s relatable, catchy, and never gets old.
“One Dance” by Drake
When you think of “the song of the year,” at least one person in every friend group would bring up this song. It’s a classic jam from everyone’s favorite sad boy/meme/Canadian/rapper, who had an amazing year after the stellar release of Views. After the pop culture phenomenon of “Hotline Bling,” this song was the perfect follow-up to prove that while Drake can hit the #1 spot in the chart, he can also make it with real lyrics and rhythms.
J. Cole’s new album, 4 Your Eyez Only, was released this week with little publicity (only one tweet from Cole himself), yet songs from the album instantly rose to the tops of the charts.4 Your Eyez Only is Cole’s fourth studio album, and it is a major deviation from his extremely popular last album, 2014 Forest Hills Drive, and not in a bad way. It defines rap activism, with Cole spinning a beautiful and heartbreaking story of the struggles of a black man in modern America.
Unlike this new album, 2014 Forest Hills Drive had a broader appeal for a mass audience, with smooth R&B and songs to sing along to. “Wet Dreamz” and “No Role Modelz” are instantly recognizable in any club and drew a massive fan base for Cole. The album earned him a Grammy nomination for Best Rap Album, and countless other awards.
This is why it’s surprising that the new songs are already topping the charts: 4 Your Eyez Only is based on a very specific experience, genre, and its lyrical content is very depressing; however, even with such little publicity, the album was hyped by the internet and excited fans who have waited more than two years for new music from Cole.
The narrative of 4 Your Eyez Only is not wholly unique in the rap genre: the story of a black man’s life in America. However, it isn’t told from Cole’s perspective, but rather that of another man. This album takes the listener on a track-by-track journey of a black man’s experience of growing up in our nation, from encountering ghetto violence at a young age, suffering inescapable racial prejudices in real life and in the media and dealing with death and mortality. He also discusses falling in love and having a child, which provides a source of levity for the album because after all, not everything in life is tragic. Cole proves to be a beautiful storyteller and avoids repetitive lyrics and choruses.
For Cole, this album isn’t about radio hits, and it’s certainly not filled with the upbeat tempos found in 2014 Forest Hills Drive. It isn’t full of songs you blast at a party, or even songs you might choose to listen to with a group. 4 Your Eyez Only is personal for Cole and his fans alike. It’s one of those albums to listen to with earbuds in and get lost in the lyrics. The beats are not new and innovative like the rhythms of 2014 Forest Hills Drive, but the poetic narrative is a story worth your time. Give Cole a chance with this unique album.
Emerald writers Dana Alston and Casey Miller give their takes on Childish Gambino’s newest album, Awaken, My Love!
Dana’s Take:
Donald Glover made a career out of being unpredictable. Originally an actor and writer known for his role in Community, Glover rose to musical prominence with 2011’s Camp, the first album released under his Childish Gambino moniker. It was a mess, but it did prove Glover’s versatility behind the mic. The Gambino name later gained further popularity in 2013 with Because the Internet, the screenplay-led, ill-advised super project that felt more like a desperate claim to relevance than an enjoyable rap album. For all of his talent, Glover seemed more concerned with proving himself to others than actually making good music.
This is why his new release, Awaken, My Love!, is such a breath of fresh air. On this sprawling, genre-twisting album, Glover has ditched rap almost entirely, opting instead for a fun romp that combines funk, reggae and R&B. It is the first project in his discography that feels fully unique, and a fantastic showcase for Glover’s artistic talent and versatility.
It is also unapologetically itself, and it doesn’t take long to fall in love with Glover’s sprawling, kaleidoscopic style. On the six-minute “Me and Your Mama” he shifts from a harmonized, hi-hat-led hook to a dirty funk jam, complete with heavy fuzz bass and guitars. Other tracks walk the tightrope between unique and bonkers. “California” relies on an auto tune/reggae beat combination, a mix that will leave many scratching their heads. “Boogieman” uses a overtly familiar guitar riff and uniquely modified vocals to offer a psychedelic soundscape.
The result is an album that is about as easy to love as it is to completely reject. Make no mistake, Awaken, My Love! is so strange and unexpected from Glover (who announced a Childish Gambino hiatus only recently) that it will not be for everyone. At times, its commitment to newness feels a little forced. But when artistically confidant tracks like “Zombies” appear near the middle of the album, it’s almost impossible to deny its quality. Welcome back, Gambino. For the first time, it’s good to have you back.
Casey’s Take:
As a long time fan of both Donald Glover and his musical alter-ego Childish Gambino, I’ve been left simply confused after listening to his most recent release, Awaken, My Love! However, my emotions towards the album were clarified when I listened to it not once more, but twice more. Gambino said it best in a recent interview with Fader magazine: “We play with pictures and sounds that affect people in ways they don’t realize are happening until the fifth listen.”
In an unusual twist from the harsh rap and smooth R&B of past albums Camp and Because The Internet, this new release is genre bending; Gambino told the Today Show in 2015 that he might quit rap and he certainly did. Awaken, My Love! is funk, gospel, psychedelic soul and old school hip-hop. But at the same time, it feels like a new genre altogether. Gambino alters his voice in nearly every song to ease in a better overall rhythm with the synths and instruments being used, to the dismay of some of Gambino’s older fans of his true rap and real voice in old favorites like “3005.”
Unfortunately, these new lyrics tend to get lost in this mish-mash of vocals and instruments that occurs with most of the album. And they are lyrics to be paid attention to, especially after election season and this year of extreme social unrest in the United States. With Gambino’s highly modified voice and overpowering rhythms in “Riot,” it’s easy to miss the passionate lyrics like “Everyone just wants a better life/They tried to kill us/Love to say they feel us/But they won’t take my pride.” It’s easy to see where Gambino has drawn inspiration from, sadly.
An open mind is necessary to listen to and enjoy this album. It’s a personal and spiritual journey that Gambino goes through, one to be respected and truly heard. It’s about exploring roots musically and personally, relationships with lovers and others, and justice in America.
You can check out tracks from Awaken, My Love! at Childish Gambino’s official YouTube channel.
Many of us have younger friends or siblings applying to the University of Oregon during this college application season. Our Student Ambassadors do an amazing job giving on-campus tours, but applicants should know what we do outside of school too. For the real University of Oregon experience, take your future Duck on a tour of Eugene classics.
First stop is an early morning hike up Spencer Butte. Along with floating down the Willamette, hiking Spencer Butte is the most typical adventure taken by UO students. Only a 15-minute drive from campus, this trek is a 30-minute climb through a beautiful forest. At the top, hikers are rewarded with a breathtaking view of the Willamette Valley, with Autzen’s “O” easily visible in the distance. The best time to go is early in the morning, to catch the post-sunrise glow of the green valley after reaching the peak of the butte. Take breakfast with you to make it a picnic.
Another beautiful nature walk is Alton Baker Park and the Willamette River. Take that legendary walk across the river to Autzen, visit the dog park or bike along the river on the Ruth Bascom Riverbank Path. If your future Duck is visiting late winter quarter or early spring quarter, tubing down the Willamette is a must (or, just hanging out along the banks with some friends requires a bit less energy).
Of course, every future Duck needs to take a trip to Taylor’s Bar and Grill. Underage students can still enjoy a delicious burger or mac ‘n cheese without imbibing in the classic college bar scene. Other quintessential 13th Ave. lunch destinations include Caspian’s Mediterranean food and Webfoot Bar and Grill. But it’s also a good idea to take your future Duck to the real downtown, off of 13th. The center of Willamette and East Broadway is filled with Eugene dining classics: Sizzle Pie, Voodoo Doughnuts and Off The Waffle to name a few. Buy enough food to convince your future Duck to go to college in one of the most underrated foodie towns in the nation.
The most important detail of a prospective University of Oregon student’s visit is seeing the most unique aspects of campus and Eugene. Make sure your future Duck wanders around Autzen to see all of our other sports stadiums, and visits Hayward Field and our famed Rec Center. They should check out the beautiful architecture and insides of Jordan Schnitzer Museum and Knight Library, and every corner of the new EMU. Off campus, check out the Eugene Saturday Market to pick up interesting goodies and meet fascinating people. Enjoy the 5th Street Market, or even just take a walk through beautiful residential Eugene.
Finally, make sure your future Duck goes to a sports game. This is the real University of Oregon student experience: school spirit.
“Friendsgiving” is upon us! Whether you can’t go home for the short holiday break or you just want to celebrate Thanksgiving twice, Friendsgiving is the best way to eat, drink and be merry with friends while still in Eugene. Friendsgiving, also known as friends coming together to celebrate Thanksgiving, can be a bit difficult to host, but following these guidelines can help you host your own fun and successful Friendsgiving feast.
First of all, the dinner has to be potluck style. No college student can afford a turkey, mashed potatoes, green beans, stuffing, booze and all the Thanksgiving classics on their own. Therefore, the invitation must include a requirement to bring food and drink. It’s not impolite; it’s understandable.
Of course, not all the food must be traditional. Baked ziti, casseroles, funky veggie dishes and even leftover Halloween candy are welcome to the party. It is also worth mentioning that this is a party of college students, so don’t just leave at home that extra wine bottle you have. “The more the merrier” also applies to food and booze at Friendsgiving, because there are never too many leftovers of either.
Another important aspect of Friendsgiving is the guest list. Those on the invite list should be people who you will know after college, not just your friends right now. These people are the ones who will make you tear up with “what I’m thankful for” speeches. Beware of inviting people’s exes or any possible drama. It’s a holiday of coming together, not your birthday party, so take other peoples’ feelings into consideration.
Furthermore, the venue is also very important. A tiny apartment living room is great — if you’re inviting five people. But if the guest list is more than ten people long, table set-ups and chair counts must be pre-planned. Ask your guests to bring their own chairs, or try to find cheap chair rentals. Find as many fold-out tables as possible. Planning ahead of time is most important when it comes to the venue and general set-up. The kitchen doesn’t necessarily need to be off-limits, but it needs to be out of the way.
Finally, you need a timeline. There should be a specific time that everyone goes into the buffet-style kitchen setup since this is a holiday in which everyone sits down together. Be prepared for the after-party if guests plan on staying after dinner by planning drinking games or any holiday-based games. A general timeline ensures that people aren’t sitting around wondering when to get food or when it’s polite to go home.
The small gathering of only 23 people made Goldroom and Autograf’s concert at HiFi Music Hall very intimate and lighthearted on the day after the 2016 election. While protests have been occurring around town and certainly across the nation last night, the mood inside of HiFi was carefree and friendly as beautiful rhythms bounced off the walls of the small venue.
Goldroom performed first as Autograf’s opener. Both Goldroom’s and Autograf’s genres are electronic, however, it’s important to make the distinction between what they make and EDM (electronic dance music). Goldroom’s music was definitely more beats per minute, more instruments overall and a faster pace of rhythm and vocals. On the other hand, Autograf played beautiful soundscapes, music that could be compared to a mellower Flume.
Goldroom just came out with his first studio album this year, West of the West. At HiFi, he played new tracks from the album, as well as old EPs and remixes. Only two girls danced during Goldroom’s entire set — but to be fair, only 15 people were in the room at the time. Most of Goldroom’s audience sat in seats and tables lining the outside of the dance floor, watching the two girls and their light-up hula hoop while nursing their beers. But no one was complaining about the lack of a crowd.
Autograf, a trio of DJs from Chicago, appeared around 9:45 p.m. after a fifteen-minute intermission. It became immediately clear why such a small crowd is so important for this kind of music. Since it’s not quite EDM but still a form of electronica, Autograf’s music is bound to draw the perfect audience. They draw an audience that appreciates the digital creation of music but aren’t extreme ravers donning fur and neon and tripping on various drugs. Peaceful but energizing, Autograf’s sound could be described as possibly future house, maybe synthwave or perhaps ambient techno. Each song provided a new wave of peace, with smooth beats and relaxing vibes from the trio.
Like the audience was pleased with the lack of mosh pits, the guys of Autograf also were happy to be performing for a smaller group. “Our favorite shows are the ones with like 25 to 30 people!” Autograf member Mikul Wang told the audience.
Another interesting aspect of Autograf’s performance was their incorporation of live music. Many DJs and electronic music artists are unable to incorporate music for instruments live into their pre-recorded tracks. But Autograf member Jake Carpenter was especially skilled in playing the xylophone with a quickness to match the rhythm exceptionally.
Overall, this was the perfect, intimate show for this type of music and artists. Check out Goldroom’s West of the West on iTunes or Spotify and catch Autograf’s Future Soup EP on iTunes or Spotify.
