Faye Moledina  

Contributing Writer

On July 30, 2021 at exactly 12 a.m., I laid down on my cousin’s couch in darkness watching her projector light up the ceiling with a swirling galaxy of colors as we listened to the “Happier Than Ever” album for the first time, both of us lying in silence listening to Billie Eilish tell her story. 

Through this album, we see the sheer growth of Billie as an artist and a person. Billie said in her 2021 Vevo interview that she wanted this album to be open for people to find their own meaning in each song and know that, “their own interpretation is the right interpretation.” Although Billie wants us to each have our own interpretation, one main theme she carries through this album is her growth as a person. One aspect of that self improvement is disregarding the opinions of other people. 

In her previous album, “When We All Fall Asleep Where Do We Go,” the tone of her voice is lower, darker and grim. It is iconic. Her sound is very distinct. She speaks to people through her music. Her voice is soft and raspy, giving listeners a sense of comfort and familiarity. You hear her raw voice clearly through her songs as if she is talking to you. Although some of the mellow and blurred tones carry through into the new album in songs such as “Everybody Dies,” “Overheated,” “Halley’s Comet” and the beginning of “Happier Than Ever,” one of her goals in creating this album was to make it feel like a complete collection of songs but not the same song over and over. To achieve this, she incorporated a wider variety of sounds, including bossa nova, rock, voice layering and choir. 

One of my favorite parts of the album is the seamless transition between the two songs “Not My Responsibility” and “Overheated.” “Overheated” begins with the same end melody of  “Not My Responsibility. ” These two songs move seamlessly into each other, not only in the melody but also in the lyrics. She goes from talking about people’s opinions in “Not My Responsibility”’ to being “Overheated” by the media and bombardment she faces in public. In “Not My Responsibility,” Billie recites a dialogue with a beat in the background moving from ear to ear as you listen. In both songs, she comments on her every move being constantly watched and being judged for her actions, opinions and body. Billie also mentions the controversy over her clothing while interrogating why her choice of dress unreasonably matters so much to others. Moreover, Billie questions and challenges people’s perceptions and opinions of her. She portrays this through questioning, asking what people want from her and if she should change herself for the approval of others. The overarching theme of these two songs is to not care about the opinions of outsiders. This is especially important for Billie, who is a public figure constantly being watched as people try to find her flaws. But, as Billie says  “It’s so weird that we care so much until we don’t.” 

Morgan Hunter

Contributing Writer   

Come for the music, stay for President Bolton blowing bubbles. This was the consensus among students in attendance at Springfest this past weekend, put on by the Wooster Activities Crew (WAC). It was truly a night to remember — one you did not want to miss. If you did miss it, however, here’s everything you need to know about the evening. 

         Activities kicked off around 5 p.m. and there was something for just about everyone! Many people found their competitive spirit and enjoyed the fun, partaking in the inflatable obstacle courses available on the academic quad. Aubrey Davis ’25 summed up the experience shared by many: “My arms are shaking but I feel accomplished.” For those less inclined to battling it out in the hamster balls, there were plenty of snacks and refreshments, all courtesy of WAC. 

         At 7 p.m., the real party started! Spotting Sarah, a student band, opened first with a well-received set of both covers and original music. The crowd loved every minute of it, even encouraging an encore. “We only recently formed up as a band so being able to play on this scale for the campus before multiple of our members graduate was an absolute blast,” explains Karabella Hernandez ’22, the lead singer of Spotting Sarah.  “Playing music with friends has honestly been the highlight of this school year for me,” Colin Schrein ’25 added. “The other artists were amazing as well. I was honored to be able to open for Kenzo Cregan and Wallice.”

         In a last-minute replacement, the second performance was an acoustic set by Kenzo Cregan. While it was not what many expected, all were enthusiastic. The performers even stuck around and had a blast socializing with the students. “I thought it was very funny that we were wearing the same outfit. [Cregan] acknowledged it and we had a good laugh about it,” shared Shane Byrne ’23. Many enjoyed the duo’s folksy, original songs and how their personality set the stage for the long-anticipated headliner: Wallice! Wallice came all the way from Los Angeles to perform and everyone couldn’t get enough. She sang all of her most popular songs and even a few from her new EP that is being released this Friday. Students enjoyed her relatable lyrics and her personality on and off the stage. 

         Events like this don’t happen without months of preparation. Whether it be the tireless planning down to the wire by the dedicated members of WAC or the overtime hours put in by the generous volunteers, putting on the first in-person Springfest in three years was no easy task. “It’s fun, usually not that annoying, but sometimes things don’t go how we plan. That’s whenever we start improvising,” explained Preston Melchior-Fisher ’24, Vice President of Membership and Finance for WAC, when interviewed at the conclusion of the event. Executing an event of this size is hard, but can always be made easier with more volunteers. One volunteer, Robert Stark ’23, discussed his fulfilling experience working alongside WAC members. “This is one of the most fun nights every year, a fantastic tradition. It’s so great of WAC to put this all on and provide all the fun and exciting activities. Volunteering was a chill experience, but we always need more hands on deck.” 

         All in all, the results are in: Springfest is back and it was a resounding success! We all owe WAC a big thank you for making yet another weekend memorable beyond compare. After all, no one put it better than Alexa Carlozzi ’23: “I got to boogie, and that’s a good night for me!”

Haley Huett

A&E Editor

The College of Wooster’s Department of Theatre and Dance annual Spring Dance Concert concluded on Saturday, April 23. With the Dayton Contemporary Dance Company as a special guest, the show ran for three days at Wooster’s Freedlander Theatre. 

Directed by Emily Baird, a Professor of Theatre and Dance at the College, the concert featured 10 shows choreographed by students and one performance choreographed by Baird herself. Ranging from whimsical, to energetic, to intense and hard-hitting, the dancers participated in a number of dance styles covering various themes. Modern, contemporary and classical Chinese dance were used to convey topics of intersectional feminism, party culture, dance and disability, or the joy of reconnection. According to Baird, “[t]hough each dance looks and sounds different, each one is an exploration of the human experience.”

The dance concert highlighted the hard work of nine student choreographers: Gracie Shreve ’23, Nicole (Nikki) Preucil ’22, Morgan Carson ’23, Dantong Bi (Bee) ’23, Iván Mreïs Akiri ’22, Kate Yordy ’22, Sarah Brunot ’22, Katie Spence ’23 and Liv Mourning ’22. Their dances celebrated community and identity, commented on struggles with mental health, critiqued the pitfalls of party culture or portrayed historical events.  

Each performance was a beautiful, sensory experience. The use of lighting, costumes and music created a distinct mood for every performance and enhanced the audience’s participation in the acts. A swathe of light across the back of the stage glowed softly for more light-hearted pieces, such “III – The Empress,” choreographed by Shreve, but turned dark or flashed for heavier, more intense pieces, like “The Destructive Party Fouls,” choreographed by Carson, or “gone.” choreographed by Spence. “It was the best dance concert I’ve seen in my time at Wooster,” said Mariam Zghuladze ’22, a member of the audience, “all of the performances were so well done!”

From the audience, it was clear that enormous amounts of work went into the finished product, which included a piece presented in partial fulfillment of the senior Independent Study process. Choreographed by Mourning, the piece related experiences with injury with experiences in the dance world. A compelling and visually interesting piece, Mourning’s dancers captured the severity and stringency of the dance world, and how difficult it can be to keep up. Mourning’s study incorporated preventative physical therapy exercises as a method of diminishing the chance of injury for dancers during practice.  

While the show has closed, students should keep an eye out for more performances by the College’s Theatre and Dance Department in the coming semesters. While you’re waiting, make sure to congratulate the choreographers and performers for all their hard work — they’ve earned it!