All posts by Anna Regan

WoosterStreetStyle: Showcasing personal style on campus


Adriana Hoak ‘14: What she’s wearing: A vintage dress from a thrift store in Houston

What made you want to wear it today?: Convocation! You’ve got to look nice.


George Skelly ‘14: What he’s wearing: Clothes from Paris

How would you describe your style?: European


Audrey Platt ‘15: What she’s wearing: All Goodwill. The bike is from her grandparents.

How would you describe your style?: Comfortable and happy!

Allie Miraldi WooStreet

Allie Miraldi ‘14: What she’s wearing: All old clothes from her mom and grandma

How would you describe your style?: 90s mom


Laura Merrell

I have committed an egregious blunder that makes people gasp in horror when I recount it. Until this past summer, I had never watched a “Lord of the Rings” movie. Before I receive unwarranted criticism, I must explain that I did read “The Hobbit” when I was younger so, in my defense, I was at least familiar with the books. On a slow night in August, my friend lightly coerced me into watching the first installment of the new “Hobbit” trilogy and I was hooked. The music, beautiful landscapes and driving energy of the film totally won me over. My sudden obsession with the “Lord of the Rings” movies arose from a desire to make up for being more than a decade behind the times. Within the next week, I had watched “The Fellowship of the Ring” and “The Two Towers,” as well as all the behind the scenes footage I could get my hands on.

When explaining my mistake to people, I seem to use the “Harry Potter” books and movies as a crutch and claim I was distracted by my fascination with them, thus causing me to ignore Peter Jackson’s films as they came out. While this is true, the more truthful reason is I have always had an aversion toward movies that rely heavily on special effects such as green screens or CGI (computer generated imagery). Mediocre acting and a subpar plot can be masked with modern technology and a ridiculous budget to somehow become a box office success.

However, an engaging plot and excellent acting coupled with the magic created by special effects is an immersive movie experience that I wholly support, and that is exactly what Peter Jackson’s films achieve. I also appreciate that the films can be enjoyed on multiple levels. The “Lord of the Rings” movies can simply be a fantastic escape – a compelling take on the quest or hero’s journey, or a warning on the effects of war and the destructive temptation of power.

Another issue I have traditionally had with movies like “The Hobbit” is that I find 3D movies to just be a way to monkey a little with whatever is in the foreground of the shot and hike up ticket prices. Once again, Peter Jackson has proved me wrong. While I watched “The Hobbit” at home with surround sound, I can see how the experience would have been enhanced seeing it in a theater in 3D.

In one of the production videos I watched on YouTube, Jackson and the film crew explained the new 3D methods employed on the latest film and the rationale behind them. When that much thought and effort goes into tailoring 3D to heighten the audience’s enjoyment, then I completelysupport it. I have already marked the December release of the second installment of “The Hobbit” on my calendar. Abandoning my previous beliefs, I will watch the movie in 3D and marvel at the special effects. After all, I have to put “Toy Story 3”, my disappointing and only experience with 3D, behind me.

The Voice staff looks back on the summer

Travis Marmon

Editor in Chief

Death Grips

I spent this summer paying money to have my senses assaulted. I saw the loudest concert of my life after the last day of finals when I went to Cleveland to see the stoner metal/drone/garage rock/psychedelic band Boris. The Japanese trio is notoriously deafening, and they lived up to the hype when their drummer flipped a switch that sent feedback into the audience for a solid 10 minutes. It ruled.

In June I saw the experimental hip-hop group Death Grips, who recently have made headlines for not showing up to their own concerts. Although drummer Zach Hill was absent and they played less than an hour, their harsh electronic blasts coming from the stage convinced me to invest in earplugs. Those helped greatly when I saw the legendary Melvins in July, who played with two drummers on their 30th anniversary tour just to make things heavier.

Another time I experienced total sensory overload was when I saw the movie, “Pacific Rim,” which I highly recommend to anyone who was once an 11-year-old boy. Later in the summer I saw “The Conjuring,” which I highly recommend to anyone who hates sleeping.

Anya Cohen

Managing Editor

Ashlee Simpson-Wentz

If a new school year isn’t enough to make you feel old, this certainly will: it’s almost been a decade since the Ashlee Simpson “Saturday Night Live” lip synching fiasco. For a decade, Simpson’s foolhardy and buffoonish jig has been my go-to association with the lesser of the sibling pair. But, no more!

After seeing Simpson play the iconic jailbird Roxie Hart from Chicago this summer, I can once again associate her with a nice set of pipes and sparkling stage presence rather than an impromptu hoedown.

With a star-studded cast that included Simpson, Drew Carey, Stephen Moyer, Lucy Lawless and Samantha Barks, not to mention the show’s director, Brooke Shields, seeing “Chicago” at the Hollywood Bowl was worth it just for the celeb sightings.

Beyond that, the show was still spectacular. Moyer and Simpson’s rendition of the ventriloquist number, “We Both Reached for the Gun,” was especially memorable.

The view of the Hollywood sign from my seat in the outdoor theater was breathtaking. Plus, with the Bowl’s BYOB policy, I don’t think any theatergoer left the show unhappy. I sure didn’t.

Ian Benson

Editor in Chief

Charlie Day, Idris Elba, Rinko Kikuchi, Charlie Hunnam, Robert Kazinsky, Diego Klattenhoff, Ron Perlman

I’m a recovering anime nerd. Not full-on otaku, but I would know my way around a con. And being a lover of any niche genre means that at some point, I have to prepare myself for the inevitable Hollywood film adaptation.

I’ve dealt with the whispers of a live action “Akira”, weathered the terrible “Dragon Ball Z”, adaptation, and am constantly prepared for “Cowboy Bebop” to be butchered. But then, something happened this summer. And it changed everything: “Pacific Rim” was released.

“Pacific Rim” was an independent, intellectual property- a rarity these days. It was about extra dimensional giant monsters invading from a hole in space-time located in the Pacific Ocean. It was about the giant robots we build to fight them.

But mostly, it was what it would be like if an eleven year old was given permission to write ascreenplay. It’s about how awesome it is to watch a rocket power fist hit Godzilla in the face. It’s about how fantastic it is to see a sword come out of a robot’s arm and then slice a monster in half, while the pilot screams “for my family!” in Japanese. Seeing it is like being young again and

dreaming about being awesome.

Jesse Tiffen

Viewpoints Editor

David Byrne, St. Vincent, Annie Clark

From a very young age I’ve admired Talking Heads for their unapologetic weirdness and ability to make the uncool look unbelievably cool.

For the first time this summer I had the privilege of seeing the leader of the group in person. To top it all off, I was fortunate enough to not have to pay a cent to see this magnificent artist. In return for working the Apple Theater Street Team in my communnity, I would periodically receive free tickets to local events.

I have never before witnessed such an elaborate display of musicianship and commitment to professionalism in an artist. Every little idiosyncratic movement on stage was choreographed and executed without flaw.

The music of David Byrne’s and Annie Clark’s “Love This Giant” evoked the old and changing tenants of intellectual indie-rock, blurring the the lines between convention and experimentation.

A David Byrne concert is more than just a concert, but rather an experience that poses a challenge to your musical taste and complacency.

Whether you enjoy the music of the duo or not, a David Byrne & St. Vincent concert is not to be missed.

(All photos courtesy AP).

A reevaluation of Tame Impala’s “Lonerism”


Dani Gagnon

If there were ever an album released in the wrong season, it was Tame Impala’s, “Lonerism.” The Perth, Australia neo-psychedelic band’s most recent album was released in October of 2012.

Yet, almost a full year later it is just hitting its prime. In fact, because 2013 has so far been a generally slow year for album releases, it claimed the position album of the summer for this college student.

Although Tame Impala’s late introduction to my iTunes library may be unfortunate for my sake, it seems simultaneously fitting as it parallels their older sound. “Lonerism,” like Tame Impala’s debut album, has consistently been compared to albums from the late 1960s and early 70s.

Tame Impala’s qualities from the past eras color the audience’s feeling towards them in such a way that it is similar to that classic and loveable band, the Beatles.

In spite of this, Kevin Parker, Tame Impala’s lead songwriter and recording director, keeps a distinct difference from the bands they are constantly compared to.

As Pitchfork writer Jason Greene stated in a review, Parker, “sounds like someone trapped John Lennon’s vocal take from ‘A Day in the Life’ in a jar and taught it to sing new song.”

Yes, there is an undeniable likeness between Parker and Lennon’s voices; it is what Parker does in the recording studio that draws the distinct gap between the Beatles and Tame Impala. Contradictory to “Lonerism’s” “Feel’s Like We Only Go Backwards” it is the intersection of technology and humanity that is explored throughout the album and creates Tame Impala’s unique identity.

Through “Why Won’t They Talk To Me” and “Nothing That Has Happened So Far Has Been In Our Control,” Lonerism explores the intersection and differences of being alone and isolated.

“Lonerism’s” examination of these corners is what dramatically affect and shapes their sound. The electronic tweaking submerges the listener into their dream-like sound as they explore the state of mentality.

Pitchfork writer Ian Cohen compares “Lonerism” to being “along the lines of ‘I’m Only Sleeping’, embodying and advocating a wakeful and passive state of psychedelia.” This state of half wakefulness is particularly reminiscent of the college student’s state of mind during summer.

The simple rhythms and melodies that are spun into intricate circles evoke the anticipation of what will come on a summer day.

There is a nostalgia for the ‘good old days’ evoked from their music and yet simultaneously a freshness that hasn’t been explored yet in it.

The combination of the familiar and unexamined speaks well to the summers of college students as they return to familiar places and find that there is something different now about them.

Particularly during the first summer going home from school, it is a shocking experience returning to a hometown and expecting to find the familiar only to be greeted by changed and new faces.

The conflict, although jarring, makes for an exiting and unpredictable summer, and in terms of the album, an interesting and layered listening. The gaps in familiarity and expected timings of summer and where their album will go provides for a memorable summer experience.

So, to be sure, although “Lonerism’s” claim to fame came late, its timing now further enhances its sound quality and acute meaning to listeners as the perfect summer album for road-trips.