Behind Curtain the
A backstage look at a CU production
Hannah Owens Managing Editor
The curtain goes up at 7:30 p.m. Thursday, Friday, and Saturday, and at 2 p.m. on Sunday.
When the curtain rises on “The Complete Works of William Shakespeare (abridged) (revised) (again)” at Cameron University, audiences will see polished performances, intricate sets and costumes that transport them to the Elizabethan era. However, what happens behind the scenes is a flurry of creativity, collaboration and hard work, a process that requires weeks of preparation. From costumes to set design, the effort behind Cameron University's latest theatrical endeavor is a testament to the dedication of students and faculty alike.
Victoria Spruill, a senior theater major with a focus on performance, is one of only three actors cast in this fastpaced, comedic take on Shakespeare’s works. With such a condensed play, where the actors are required to quickly switch between multiple roles, she must focus on finding unique aspects of each character, ensuring they stand out from one another.
For Spruill, the journey to opening night is both exciting and challenging.
"The most challenging part is for me – making it my own,” Spruill said. “I have a really bad tendency of trying to go
with jokes or ideas that other people give me or what's been done before. And I really need to hone in and make it my own character.”
The six-week process for preparing the play begins with a read-through of the script during the first week. By the second week, blocking is set, followed by weeks dedicated to scene work. By the third or fourth week, actors are "off book," meaning they perform without scripts in hand. A week later, they go "closed book," where they can no longer call for a line if they forget it. This rigorous process helps actors like Spruill fully embody their roles and bring Shakespeare’s characters to life in new, unexpected ways.
Professor Jean Tartiere, the director, is known for his approach to casting. He doesn’t always pick the best actors for a role in the traditional sense. Instead, he selects those he believes will grow the most by taking on the part.
“We are doing educational theater, so our considerations are very different,” Tartiere said.
Jaiden Standridge, the show’s costume designer, is in charge of bringing the Elizabethan flair to the stage. For Standridge, who is also a senior theater major focused on technical theater, this production doubles as her senior capstone project. Balancing the creativity required with the practical constraints of a budget has been one of her biggest tasks.
For this production, the costume budget was set at $800, but Standridge only needed to use half of that, thanks to Cameron’s extensive costume storage.
"For this show, I would say it's about 50/50 with costumes," Standridge said. "I was able to source most of it from our basement."
From the basement of the theater department, where hundreds of costumes and shoes are stored, she was able to repurpose several items, though some iconic pieces — like the big puffy pumpkin pants worn by one of the characters — had to be purchased specifically for this play. A favorite tool among the department, Amazon, was her go-to for the new additions.
Standridge’s love for theater dates back to her time in theater camp as a child. That early experience sparked a passion that has stayed with her through
her academic career. This production, with its mix of old and new costumes, is a culmination of years of dedication to the craft.
Another senior working on her capstone project, Shayson Lenee’ Hodges, is the set designer for the show. Dual majoring in theater arts with focuses on both performance and scenic design, Hodges has the unique challenge of balancing the visual needs of the set with the practical realities of staging. For Hodges, the design process is deeply personal.
Unlike many modern set designers who use iPads or computer programs to draft their ideas, Hodges prefers a more hands-on approach.
"I know I'm in the minority of that, especially today, but I prefer to do all my work by hand," Hodges said.
One of the unique aspects of Cameron University’s theater department is their use of a paint frame, a feature that only two other universities in Oklahoma have. This tool allows students like Hodges to craft large, intricate set pieces that bring productions to life in ways that standard equipment might not allow.
As a leader, she ensures her team can learn by doing, making mistakes, and ultimately creating something together.
"It's a delicate balance of making sure things are getting done on pace, but also making sure that all of the students in practicum and the student workers are learning from their experience," Hodges said.
One of her proudest moments as a student was when her suggestion for a previous production, “Ride the Cyclone,” was taken seriously by the department and chosen for the season.
At the core of any production is the collaboration between all the different departments. Hodges and Standridge work closely with Tartiere, the stage manager, the lighting and sound operators, props designers, and of course, the cast.
Tartiere gives his creative team room to interpret the show as needed. For original Shakespearean productions, he has the flexibility to gender-bend characters or rewrite lines, making them feel fresh and relevant to modern audiences. However, for other shows, contract restrictions might prevent such alterations, leaving less room for
creative liberties.
Cameron University’s productions are performed in two distinct spaces. The main stage, which can hold between 300-400 audience members, offers a more traditional theater experience. On the other hand, the black box theater, with a seating capacity of 80-120, creates a more intimate environment where the audience can sit on three sides of the action, making them feel part of the performance.
Directors like Tartiere choose the venue based on the needs of the show, balancing intimacy with spectacle.
As the production process nears its conclusion, there’s a consensus among the cast and crew: the most rewarding part is seeing it all come together on stage. The long hours of rehearsals, set building, costume stitching and script memorization finally pay off when they hear the audience’s applause.
For students like Hodges and Standridge, who are wrapping up their senior capstones, this production marks a significant milestone in their academic journeys. As they prepare to step into the world of professional theater, “The Complete Works of William Shakespeare (abridged) (revised) (again)” serves as a fitting culmination of years of learning, growing and creating.
Graphic by Hannah Owens
CU SUCCEED
TALK SAVES LIVES
to actually prevent suicide from occurring,” Craig said.
On Sept. 19, in the Buddy Green room, Cameron University students gathered for the CU Succeeds Talk Saves Lives Workshop to discuss topics and strategies related to suicide prevention and awareness.
During the workshop, students were educated on topics like skills and awareness techniques to better understand the warning signs of suicide and how to provide support for those with mental health struggles.
Cameron University’s Office of Student Development hosted Candace Craig from Comanche Nation Prevention and Recovery to present the event as the first CU Succeed workshop of the fall semester.
As Native Spirit Project Director and a Cameron alumna, Craig said her focus is to bring awareness of suicide prevention techniques to Comanche County.
“I think it a really important workshop to introduce to students,” Craig said. “I know at this level this might be the first time that people have heard about this, and so I was excited to present it and give this information to people where it will matter the most.”
The presentation, titled “Talk Saves Lives,” focused primarily on the importance of recognizing the signs of suicidal thoughts and how to offer further support and intervention to those who are affected. Craig said it is imperative for students to learn how to provide support to those who they know may be struggling.
“The more comfortable we get with talking about it, the more able that we are
The workshop began with Craig explaining integral information to be aware of when discussing suicide awareness.
“Suicide is a health issue,” Craig said. “Part of unlearning the stigma attached to suicide and other mental health crises is to reorient the way that we think about suicide. So in the same way that we think about diabetes or high blood pressure, we want to think about suicide in the same category.”
Craig continued her presentation with a slideshow stressing the critical role of passing time in suicide prevention.
“Understanding the perspective of a suicidal person has helped us learn that suicidal feelings are often temporary,” Craig said. “They can come on intensely, and they can sometimes pass in minutes or hours. Keeping people safe and helping them feel supported can get them through those critical moments. There’s evidence that putting time and distance between an individual who is suicidal and the means to take their life can be a life-saving action.”
Craig elaborated on the importance of being prepared and equipped to hold a conversation regarding suicide.
“I feel the most important thing that somebody can take away is get comfortable asking,” Craig said, “Not only do you show the person that you’re talking to that you care about them and that you are open to talking about this serious topic, but it also just makes sure that you and that person are on the same page as well.”
Workshop attendee and Junior Psychology major Harmon Parmer said he would encourage others to learn about
suicide prevention and awareness.
“It’s something that has plagued society for a bit, and mental health has grown more and more important over the last couple of years,” Parmer said.
Parmer went on to share a crucial takeaway from the workshop: “Always pay attention to the ones you love most when something is going wrong with them. Even small things can add up over time,” Parmer said.
The workshop concluded with Craig providing vital resources and contact information to share with those who may be struggling with suicidal thoughts.
“If a person is in suicidal crisis, what they need is to be heard and then led to help,” Craig said. “Listen to their story and offer them to help find them a mental health professional and take active steps towards keeping their environment safe.”
Craig then went on to urge students to remember one simple resource
“You can just remember three numbers 9-8-8, and you can call them,” Craig said. “They will walk you through the steps to help someone in crisis.”
Craig concluded with a reminder that with suicide awareness and education comes prevention.
“Together, we can create a culture that’s smart about mental health and suicide prevention,” Craig said. “So it’s a simple yet powerful idea, but by talking about suicide, we can prevent suicide, because talk saves lives.”
If you or anyone you know is struggling with suicidal thoughts, do not hesitate to seek help.
Call the Suicide & Crisis Lifeline at 988, available 24/7 for free, confidential support.
PAC hosts“Aggie Architects”
Alyssa Martinez News Editor
From 6–8 p.m. Sept.17, the Programming Activities Council (PAC) hosted Aggie Architects, a Lego building competition, in the McCasland Ballroom of the McMahon Centennial Complex (MCC).
Students had the opportunity to showcase their Lego building skills and submit their creations in order to be named an Aggie Architect.
Competitors submitted a total of ten entries; a member of PAC photographed each entry, and students subsequently voted for the winners.
PAC announced winners the following Sunday afternoon.
Students cast a total of 138 votes, and Event Coordinator and Business Administration sophomore Ty Spence informed the winners.
First place went to Michael Gonzalez with 38 total votes.
Gonzalez constructed a yellow duck titled, “Duck.”
The second-place winner with 25 votes was Cadence Tredwell for a dinosaur creation, “Bernard.” The third-place winner, Jadyn Soliz, trailed closely with 24 votes for her entry “Cars.” PAC is an organization run by students, dedicated to hosting and creating fun activities for Aggies.
The Executive Board consists of Spence and President Caryn Stringham. Spence’s role as Event
Coordinator is to help come up with ideas, organize and put event plans into action. The idea he landed on for the Aggie Architect event was something students could take with them.
“I wanted an event that was more of an experience and something people could take home and look at,” Spence said.
PAC members aid the organization by working at events and helping generate ideas for future events at PAC meetings.
A Family and Child Studies
Junior, Stringham has been President of PAC since August and is responsible for overseeing meetings and assigning tasks to other PAC officers.
“The most interesting part was seeing the similarities of what was built,” Stringham said. “I was not expecting the number of ducks we had.”
PAC holds meetings at 6:15 p.m., Mondays, in the Buddy Green room of the MCC.
For more information, contact PAC at pac@cameron.edu.
Tawny Vanover Staff Writer
Courtesy graphic
Photos by Alyssa Martinez
The second Presidential Debate of 2024 was an absolute disgrace to the nation.
Polled responses were overwhelmingly negative due to interruptions galore, question-dodging, blatant falsehoods spewed left and right (quite literally), and incivility through the roof. Neither candidate explained anything substantial during the debate, aside from vague feelings and personal insults. Despite all of the pointlessness and gaffes, this did tell us a good amount about the current presidential race.
For example, former President Donald Trump emphasized immigration and protectionism, the cornerstones of his 2016 campaign, revitalized (if that, indeed, is the right word to use). Anything not hitting on those issues was promptly ignored.
Foreign policy?
Not a peep other than question-dodging and empty promises, with Trump claiming that the Ukraine war never would have happened if he was in power.
Trump’s healthcare plan for what he will do after he finally gets rid of the conservative boogeyman of Obamacare: “I have… a concept of a plan,” Trump said.
What about abortion — arguably the most important issue, morally speaking?
Enough waffling to make Bob Dole blush.
But Trump is definitely fighting hard for those Rust Belt votes, viewed as his definitive path to victory. He needs to ensure voters understand that if they don’t want their wages undercut by foreign workers, then they ought to vote for Trump. Every issue goes back to those two things: economic policy segues into tariffs, foreign policy segues into immigration, January 6th, for whatever reason, segues into immigration.
Trump was hilarious, as usual, an absolute crowd-pleaser, and as incoherent as usual, too. Praising President Viktor Orban of Hungary, someone who amounts to a right-wing dictator and a Russophile, is probably rather worrying for the three viewers for whom foreign policy matters. For better or for worse, a lot of Trump’s lines are making the rounds on social media, and I doubt they’ll go away soon.
Vice President Kamala Harris, for her part, didn’t have much more to say about policy, although her general attitude was far more reserved than Trump’s.
Curiously enough, Harris held to traditionally conservative rhetoric with regard to foreign interventionism, particularly going out of her way to praise the armed forces of America. This is especially odd in that she did not bring up our European allies, despite NATO having an almost plus twenty-point
favorability rating in America and a previous cornerstone of Democratic talking points on foreign policy.
Beyond those 10 minutes of foreign policy discussion, Harris was almost silent when it came to actual policy, simply preferring to stand and look professional as Trump hopefully selfdestructed.
It was clear that Harris had prepped for this debate and prepped hard. Perhaps too hard. As she responded to Trump, her tone and general style fluctuated severely from what she naturally would say, in her folksyesque and, importantly, human tone to what she was trained to say (with more than a touch of Pete Buttigieg in there).
There was quite a bit of tonal whiplash, and in that was a clear divide between Kamala Harris the person and the VPOTUS, with more than a whiff of inexperience found. Harris
has never been good with talking policy (perhaps better than Trump, but that bar isn’t exactly sky high), and it’s been a major issue in the past.
What Harris has been good at is actually connecting with the people through the stories she tells. Her segment on racism was probably the best delivered set of lines in the whole debate, because the viewer could make themselves believe she spoke from the heart. But it is in the failed synthesis of her strict training and her “speak from the heart” style that makes it so clear that the training is just that — training, not actual knowledge of the subject matters at hand.
Harris did not convince me that she was genuinely human, or that she would be capable of calling this sort of debate performance to the White House, compounded with the fact that even with her extensive training,
her performance was mediocre at best.
Overall, the reason this article was read (and written, for that matter) was because the reader wants an opinion of who won, and it would be rude to refuse that. Purely on the basis of the transcripts, Harris won. Easily.
Debating against Trump is something special because, as you attempt to dismantle his ideas, you’ll find him in the midst of doing it before you get the chance to.
Grand oratory and the like have never been Trump’s strong suit, and it shows.
Yet, taken with the context in mind, I don’t think it right to give the crown to Harris. Trump played his cards well.
The standards for his actual performance were on (or under) the floor, so it wasn’t really like he was going to lose votes from an awful debate performance.
And the presidential debate has become a social
media brand, not an actual debate, in which Trump cleared. Two months after the debate, nobody will remember that Harris won, even if she won by a lot, which she did. What we will remember are the zingers Trump got in, Trump talking about eating dogs and cats and, even if it isn’t true, it will remind voters of the border, which is the one major issue Americans trust Republicans on more than Democrats.
Trump didn’t need to win the debate. He just needed to get his sound bites out and to prevent an embarrassing Harris zinger on his person. The board was never level. And Trump just took advantage of it — like everyone knew he would. It doesn’t matter anyway, though. Trump supporters will say he won, Harris supporters will say she won. It’s the same song and dance a hundred times over.
Julian Ebacher Staff Writer
by Skylar Teddington
Graphic by Matthew Hasley
“SPEAK NO EVIL”
AN AMERICAN TAKE ON A DANISH SCREENPLAY
Ramona Villegas Staff Writer
Based on the Danish film “Speak No Evil” (2022), “Speak No Evil,” starring James McAvoy released Sept. 13, 2024.
Seeing the trailers, I thought it looked like one I would have to see, especially since James McAvoy is in it.
McAvoy brings out the eerie vibes in any character he plays, and his role in “Split” was one of my favorites.
Although, in all honesty, anytime I see a horror movie, physiological thriller or anything similar releasing to theaters, I have to go watch it, no matter what.
I have and will continue to have a soft spot for horror movies.
The plot of the film follows American couple Louise (Mackenzie Davis) and Ben Dalton (Scoot McNairy), along with their daughter Agnes, who decide to spend time with Ciara (Aisling Franciosi), Paddy (James McAvoy) and their son, Ant (Dan Hough), who they had met days before out on the streets of Europe. When the two couples and their kids originally met, Ciara and Paddy seemed nice, which made the Daltons feel comfortable— comfortable enough to even grab dinner with them a few hours after meeting.
Little did the Daltons know that Paddy and Ciara approached them because they looked like foreigners. During
dinner, Paddy and Ciera made sure to ask what they did for work because they wanted to see if anyone would call the police if they went missing.
Throughout the movie, there is so much foreshadowing going on, although not a lot is outwardly said.
When the Daltons are on their way to Paddy and Cierra’s house in the middle of nowhere. It is so far away from anyone that Louise asks, as they pull up to the house, “Do they even have neighbors?”
Instantly, there is a feeling that the Daltons are in danger by going to a couple’s house in the middle of nowhere, making the film tense and suspenseful.
I could see where
someone would want to expect to see the best in people and trust people.
I could also see where there are people who would not even want to speak with people they barely know, let alone grab dinner with them and spend the weekend with them at their house. There was also little character development throughout the whole movie.
Ant plays a vital role in moving the story along and allowing the audience to put two and two together to figure out what might happen to the Daltons. I never thought I would say this, but this is a movie that I would die to see a prequel for. Why is Paddy a sociopath? Who raised Paddy? Who was Ciara’s family? I do not enjoy movies
that leave me with more questions than answers. If you want to watch a movie that will keep you on the edge of your seat and has a good ending, I recommend “Speak No Evil.”
Overall, I’m going to give “Speak No Evil” a solid 6/10 simply because character development is something I like to see in the movies I watch.
2024 Video Music AwA rds
CHAPPELL ROAN won her first VMA for Best New Artist.
SABRINA CARPENTER won her first VMA for Song of the Year for her song “Espresso.”
KATY PERRY received the VMA’s highest honor, the Video Vanguard award.
TAYLOR SWIFT won seven awards such as Video of the Year, Artist of the Year, Best Collaboration and Song of the Summer.
Graphic
Photos
FENNELL’S WUTHERING HEIGHTS:
AN ADAPTATION THAT IS DOOMED TO FAIL
Julian Ebacher Staff Writer
Emerald Fennell recently announced that she would be making a film adaptation of Emily Brontë’s classic work “Wuthering Heights” on X of all places, sharing a graphic of a medieval style skeleton grinning at the reader macabrely.
At first glance, she would appear to be a perfect fit for any adaptation of this work: an Englishwoman and socialite from a prestigious family, a prodigious filmmaker who, despite having just two films under her belt, is the recipient of an Academy Award and five nominations, and, perhaps most importantly, a declared lover of tragic Gothic romance. Yet, at the same time, believing that she has the filmmaking chops to make a proper adaptation of a novel of this scale is a difficult pill for me to swallow.
A large part of that is the distaste her previous works have left upon me. Despite being critically lauded beyond belief, both her films, “Promising Young Women” and “Saltburn,” ended up being immensely vulgar, yet in the manner of vulgarity that arises in the
upper classes for whom anything to do with the vulgus is sacrilege.
They were, as the term goes, Oscar bait, applauded as provocative to an out-of-touch film hierarchy when there was nothing actually substantial being put forth in her art. They follow the same formula of titillating her audience with a “dark, forbidden love that is quite clearly abusive, between individuals rich enough to pay for therapy,” along with a message of empowerment that seems almost an afterthought, tacked on in order to posthumously give meaning to the pointless emptiness of the previous two hours.
However, all this is meaningless — the total sample size is only two, after all. It’s entirely possible that she could shift her style for her third film.
That would be an exceptionally reasonable hypothesis, should the popular conception of the thematic depth of “Wuthering Heights” not almost precisely mirror her previous work’s throughline.
As it stands within the conventional consciousness, “Wuthering Heights” is precisely the same schlock that her previous works were, and I think Fennell understands that — I would dare say that is why she was so drawn to the novel in the first place. And yet, as much as it immensely pains me to say it, “Wuthering Heights” is not “It Ends with Us,” nor is Heathcliff remotely similar to Ryle Kincaid. Yet, I do suppose that in order to indicate what “Wuthering Heights” is not, it must be shown for what it is.
It is, first and foremost, a
familial tragicomedy that contains a Gothic romance, not a Gothic romance. It is a story of generational trauma, of the sins of the father being visited upon the son, and the consequences that spring from that and the eventual end of the cycle being discovered through love. This is not a story about Heathcliff and Cathy, it is a story about the Earnshaw house and its collapse, with a new love springing from the ashes burnt into the fabric of the family by Heathcliff and Cathy’s disgusting and tremendous love.
To paint it as a tragic romance robs it of its meaning, and to remove the tragic romance robs it of its soul. In short, it is a masterpiece of literature, one with a certain depth to it, and with that, it is quite unsurprising that I doubt the upcoming adaptation
Neither have the films preceding it given much hope.
In fact, the novel has almost become considered completely unadaptable to the big screen following the failures of every possible predecessor of the film, often commercially and always critically panned, particularly among the fans of the novel as is. Part of that is the insistence upon the book as a work of tragic romance and nothing beyond that; that is, it follows Heathcliff and Catherine’s relationship, unquestionably the most exciting part of the book, while neglecting everything else that drove the themes presented within their relationship home. Part of that is the book’s very nature as a Gothic epic — it takes place over three generations, among four different framing devices, with each character at numerous different ages
throughout.
An adaptation was always going to be difficult, although that certainly hasn’t stopped directors from trying. Particularly amusing was “Wuthering High,” a TV film that placed the characters in a Californian high school, with Heathcliff as a “bad boy” who leads Cathy down a questionable path within her high school career. I am only partially jesting when I say that I fully believe that movie carried itself with more maturity than the upcoming film.
Incredibly frustratingly, on Sept. 23, the casting of both Heathcliff and Cathy sparked significant outrage from fans of the original novel, myself included. Cathy is slated to be played by Margot Robbie, and Heathcliff by Jacob Elordi. Beyond the distaste at casting celebrity actors rather than character actors to play the roles, particularly those currently perceived only to be in contention due to their placement in the current cultural zeitgeist (Robbie starring in “Barbie” and Elordi in “Euphoria”), there exists a deeper reason why this was so insulting: Elordi’s race.
Regardless of what you believe about the practice of whitewashing, and whether it be innately wrong or if it is a minimal issue, this casting choice certainly belies a complete lack of understanding about Heathcliff’s character.
Specifically, Heathcliff exists as a person of color within the text, which not only contributes to the “othering” of his personage and the exacerbation of his abuse, but also serves to highlight to the audience the prejudices of the narrator, who often describes him as dark as the devil, compared to the rest of the characters, who, set in Yorkshire, are not in fact the victims of racial prejudice.
Casting a white actor to play him is not just wrong for the sake of whitewashing being bad; it is wrong because it takes away a fundamental part of his character, and a large part of how he becomes so embittered against the house of Earnshaw. It is partially because Cathy can look beyond that racial divide and still love him that makes him grow so close to her, and it is that love that makes it all the worse when she rejects him in favor of Linton. It is tied to Heathcliff’s name in the same way that him being adopted is — if you get rid of that, you don’t have Heathcliff. It is reminiscent of Netflix’s “The Picture of Dorian Gray” trying to remove any sort of intended homosexual subtext in the name of originality by making our deuteragonists siblings.
I was desperately hoping that Fennell would make something out of her wheelhouse, something that could be artistically provocative and thought invoking without being pseudointellectual shock value for the sake of it. I genuinely believed her when she mentioned that she read the book and loved it, and I dreamt for but a moment that this could be something artistically rich. Yet it seems that she, at the very best, does not understand the book she claims to love, and at worst, is actively subverting it in order to make another “Saltburn” with Brontë’s name plastered upon it. I still even now hope that it could be good.
In any case, even if it fails artistically, the farmers of Yorkshire will appreciate it, I’m sure — Emily Brontë turning about in her grave will till quite a bit of land. Her soul always was unquiet, just as the ghosts of Cathy and Heathcliff upon the moors. Perhaps she never wanted to lie peacefully.
UNCOVERING LEY SOUL
her
Ley
As
Scott and Ella Fitzgerald.
Ley Soul does a fantastic job of
taking inspiration from these artists while having her own unique style in her music.
Ley Soul is self-taught on how to sing, record clean vocals, stack harmonies, and all the tricks to make your own music.
What’s admirable is that she does all of this while studying engineering physics in college.
She expressed that she often feels torn between the opposite worlds, but her determination, discipline and passion are what keeps her motivated to make music while keeping up with school.
Ley Soul only has three songs out at the moment; however, all three are amazing.
She released her first song, “Intergalactic Janet,” on Dec 6, 2023.
This song is about an ethereal being who lives in space.
The lyrics suggest that this being is all-knowing and is someone that you could call on with lyrics like “Whispering spells about / what it means to be wise” and later in the song “You know who to call,” almost as if you are speaking to the universe.
MetzMusic is the producer for the beat.
This beat has a soul-funk aspect with delicate vocals.
Ley Soul’s second song, “Fortune Eyes,” released on April 25, 2024. This song is about gaining the vision of your third eye.
It talks about relying on this vision to navigate through life.
The first verse goes “For I / Will rely / On these fortune eyes.”
Kay Patel produced this beat.
It is similar to her first song, but it has a more jazz aspect.
She most recently released her third song on Sept. 17, 2024.
This song, “Into Sands,” is about derealization and how your brain is trying to escape reality.
The opening lines, “I can see right through / the skin of my hands,” suggest derealization.
Later in the song, the lyrics are “I’ll find myself in time / Across the phantom line” as if she were somewhere else.
Elijah Hill produced this beat. It’s euphoric.
The beats sway with the electroniclike vocal chops and fit that neo-soul vibe she’s going for.
Ley Soul also released a fourth song; however, it is not out on streaming platforms anymore. This song, “Save Your Love,” was about not being able to return someone’s love.
It is unknown why she took this down, but fans are demanding it be put back up. Even though Ley Soul only has three songs released, she is a great artist. Her songs made it to my playlist off the first beat. Everything about her songs is exquisite and well-crafted.
Ley Soul is worth a listen.
Soul is an underground neo-soul artist who deserves more recognition.
much as I would love to gatekeep,
music is beautiful and should reach the top charts. She takes inspiration from artists like Erykah Badu, Jill
Mikayla Flenoury Staff Writer
Courtesy photo
Graphic by Kaley Muse
CU Style On Campus
Ciera Terry Student Life Editor
With a large student body, Cameron University has plenty of fashion icons on campus.
Sophomore journalism student Makayla Flenoury said her style is a mix of fashions.
“Sometimes I lean toward street wear, and sometimes I try and be a little gothic, but I don’t pull it off very well, so I don’t do it very often,” Flenoury said.
Authenticity is important to Flenoury.
“You can tell when they (people) are not being themselves with their style, and I think you’re more confident if you feel more yourself with your style,” she said.
On the topic of what it means to have good style, Flenoury said accessories save her outfits.
“Definitely accessorizing, probably having clothes that fit your body well to get that clean look,” she said.
Dressing more alternative in a rural town is difficult.
“We’re surrounded by conservatives, and they hate us, so I know people who are queer who
probably don’t feel comfortable in their own style,” she said, “so seeing other people in that style will probably help them.”
Fashion is subjective and is always available for students to tap into.
“Go for it! Look on Pinterest, get some inspiration on what you like,” she said. “I used to not know how to dress — Sweats, hoodie everyday at school — and then I started hanging with my two friends, and I saw their style and was like ‘I wanna try.’ And I did,” she said.
Thrift stores are Flenoury’s main shopping destinations.
“I get a lot of my stuff from there. A lot of my jewlery. It’s cheap, and they have a lot of the 2000s vintage stuff,” she said.
Flenoury hopes her style gives off a welcoming presence to others who see her.
“I always wanted to be the cool mysterious person but I am not that person, i’m not nonchalant but I want people to think my style is spiritual, kind, and welcoming”
Her biggest style inspirations are her best friends.
“They have very opposite styles, but put them together, and that’s kind
of my style,” Flenoury said.
Senior Skylar Teddington is very active on campus, including running her own show “Pop Axe.”
When it comes to Teddington’s style, she has a mix of them and believes that style is just a concept.
“Even if you’re trying something new for the first time, like I can go from goth to like hirogaru in like one day, and I think it’s nice to have closet diversity like that,” she said.
Teddington also believes it is important to be who you want to be.
“I want to be known as someone who is fashionable and someone who has an outfit for every occasion, and I’d say that’s me I do a lot, I say a lot,” she said. “I have a lot of different things going on at once so I think having a style that changes every business hour is definitely fitting for me.”
Style is whatever makes you comfortable, Teddington said.
“Whether that’s like dressing in all black or all pink, if it makes you comfortable, you are fashionable,” she said.
Teddington doesn’t see much action for fashion in Lawton.
“I would say that there is not exactly a whole lot going around in this town in terms of fashion,” she said, “it’s important to dress up and have your own fun, to be the change you want to see in society.”
Maurices, sometimes Shein, I know there are some issues for that but it’s cheap and easy,” she said.
Regarding shopping, Teddington buys from a variety of places.
“I like to thrift, but they don’t have a lot of big girl friendly options, so I’ll go to other stores like Hot Topic,
Teddington taking inspiration from many fashion icons including Aliyha’s Interlude and Doja Cat. However, she also wants to see more older fashion in today’s styling.
“I know people like to do 50s, 80s look but how about 40s or like the 20s, we are quite literally in the 2020s right now, why don’t we bring back the roaring 20s or better yet we could put our own spin on it. I think that would be fun,” she said.
Teddington doesn’t believe any factor should stop people from being who they
“Whether you’re fat, skinny, black, white, asian, etc., don’t let anything stop you just be yourself,” she said.
“It’s really important to be yourself because your fashion is an extension of you. Be the person you want to be and reflect that in your own style.”
Knit & Crochet:
Very peaceful, Very mindful
Ciera Terry Student Life Editor
Knit and Crochet is an unofficial club that meets on campus.
After looking for an organization on campus to join, Cameron Freshman Michael McClung failed to find a group that interested her. Instead, she decided to start her own.
“I thought about it for a while, and then a couple of weeks ago, I put up some flyers and the response has been good so far,” McClung said.
Before Knit and Crochet could become an official organization, McClung needed students to join. After creating flyers, McClung invited interested students to meet in the Student Work Room.
The positive response surprised McClung.
“I didn’t think anyone was gonna show up at first, but people did,” she said.
McClung has enjoyed her time with the other Knit and Crochet members and being able to meet new people and make new friends.
“I feel like it’s a community, and I’m meeting and making lots of friends which is fun,” she said
Knit and Crochet is an open space for everyone.
“A lot of people have been coming with no experience, and everyone just kind of works together and helps people learn which I think is nice,”,
the experience can still be nerve-racking.
“It’s a little bit scary, sometimes,” McClung said. “Getting an advisor was intimidating, but I just happened to get lucky, and she just showed up. It’s definitely helping me come out of my shell and talk to different people and its fun cause we’ll have a shared interest.”
Francesca Morris, a Community Resource Communicator and faulty member of the Student Enrichment Center, is the Knit and Crochet Advisor.
“To be honest I have always been a crocheter or someone who works with yarn. All different kinds of yarn craft so, when I saw the flier ion campus, I just went to just have a place to crochet during lunch and they asked me to be the adviser,” she said. “I thought it would be a really good opportunity to get involved on campus, support students on campus and also kind of bring something unique to the
attracting all kinds of amazing students that are
Graphics by Ciera Terry
Makayla Flenoury
Skylar Teddington
Photos by Ciera Terry