Ioselani Ioselani, a junior from Samoa, majoring in political science and Pacific Island studies, said he would be Maleficent because she is a mixture of both good and evil and she represents a lot of his personality. “I’m kind and I’m evil in a way, when I get pissed I get mean so fast,” he explained.
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Rapunzel
ABOUT
The Ke Alaka‘i began publishing the same year the University, then called Church College of Hawaii, opened. It has continued printing for more than 70 years. The name means “the leader” in Hawaiian. What began as a monthly newsletter, evolved into a weekly newspaper, then a weekly magazine and is now a magazine published 8 times a year with a website and a social media presence. Today, a staff of more than 20 students work to provide information for BYU–Hawaii’s campus ohana and Laie’s community.
Taren Parmley, a senior from California, majoring in computer science said she’d like to be Rapunzel. “She’s always trying to do what she thinks is right. She is also creative, fun and chooses to see the best in everyone,” she shared. Parmley also said she loves Rapunzel’s ability to connect with people which is an attribute she is working on refining herself.
Illustration by Guen Ramirez-Platon. Page deisgn by Cho Yong Fei.
Dear reader,
Editor’s Letter
I do not have to be the greatest film connoisseur or a trailblazing music scholar to know that life without music and films would be a mistake.When Walt Whitman wept, “O me! O life! ... of the questions of these recurring; of the endless trains of the faithless ... of cities filled with the foolish; what good amid these, O me, O life?” I imagine myself answering:That we are here.That we exist to take in the abounding poetry, love and beauty in the melodies of a song and the frames of a movie.
And it does not stop there. Life goes on, and we are not only witnesses. We can contribute a note and play a role in a scene. To see a good film, to hear great music—these are among the most profound experiences we can have as humans.
I remember when these experiences used to be so out of reach for me and my little hands. Cinema tickets cost a day of my parents’ wages. A streaming subscription was, of course, unthinkable. Even the Internet with its endless promises was a locked library. I could only watch a narrow selection of local movies on our old television and listen to a humble playlist of old songs on my grandfather’s stereo— faded colors and sounds that felt sacred.
That was already more than a decade ago, but even today, the brilliance of songs and films still stands behind a wall for many. What is wondrous for some still feels impossible for others.
I hope this issue serves as a reminder for everyone that art shouldn’t be a luxury—it’s a lifeline. It’s an expression of cultures: the differences that draw us to each other, the similarities that make us feel connected,
the universal experiences and feelings that unite us. It is not just meant to entertain. It reminds us that we are humans. It helps us trace where our heart is, and this magic shouldn’t be reserved for the few.
So here’s the soundtrack of our lives and films that magnify reality—sounds and scenes we hope to bring to everyone. May our words remind you that art belongs to all of us. A verse is not complete and a scene remains unfinished until everyone can take part.
Until the next,
Samantha Faith Satorre
Copy Editor
team members
John Andrew Quizana Editor in Chief
Jessika Santoso Managing Editor
CJ Shinihah Notarte-Orr Managing Editor
Samantha Faith Satorre Copy Editor
France Valerie Lucillo Multimedia Journalist
Myco Chillian Marcaida Multimedia Journalist
Linda Laulu Multimedia Journalist
Gene Cymmer Ramirez Multimedia Journalist
Ice Cesario Graphic Designer
Cyrelle Briz Graphic Designer
Cho Yong Fei Graphic Designer
Guen Ysanth Ramirez-Platon Illustrator
Hiroki Konno Lead Photographer
Justin Venotti Photographer / Videographer
Caleb Galotera Photographer
ECHOES of emotion
Explore how music reveals the power to heal, tell stories and connect
BY JOHN ANDREW QUIZANA
Music moves us—not just through melodies or powerful lyrics, but through its ability to echo our deepest emotions, says the Music and Language Learning Center. Music transcends words and borders, becoming a universal language of feeling, the website says. Whether it’s the nostalgia of a childhood song or the comfort of a sad melody, music gives shape to emotions we often can’t explain, it adds.
According to the Music and Language Learning Center, music is a tool that can elicit human emotions. “Music has a remarkable capacity to evoke a broad spectrum of feelings in its listeners. It directly channels our innermost emotions, transcending language and cultural boundaries,” the website states. Different musical elements shape our emotional responses, such as tempo, melody, harmony and rhythm, the website explains. “For example, an upbeat rhythm can inspire joy and excitement, while a slow, minor-key melody can evoke introspection and sadness. This emotional responsiveness to music demonstrates its universal power to tap into emotions.”
Music holds the enigmatic power to alter the face of our personal and collective experiences, the very perception of ourselves and the surrounding world, according to the research done by Kobu Agency. “Life without music would lack meaning and enchantment. Music transforms mundane experiences into moments of transcendence, emotion and connection. The research also states that songs imprint themselves onto our identities, especially those heard during formative years. “Listening to music can evoke nostalgia, selfreflection and remembrance of key personal moments, making music a time machine within us,” it says.
Soundscapes of the heart
At 21, Jonah “Charlie” Bawden, a freshman business management marketing major student at BYU–Hawaii, has already carved out years of experience in music production. But what began as boredom and injury during the pandemic slowly turned into something deeper—a personal and emotional journey expressed through sound, he said.
“I grew up playing piano. I took piano lessons for maybe eight or nine years,” Bawden
said. “But I could never focus on the classical music my teacher was teaching me. I hated playing the songs. I never practiced, and so I got dropped.”
Ironically, it wasn’t until he could no longer move freely that he began to fall in love with music, he said. Stuck in his basement during Covid-19 and recovering from a physical injury, he turned to music production software on his laptop. “Out of boredom, I learned it, and I started to really like it. I started practicing, took all my classes and got good at it,” he said.
Bawden currently works as an audio specialist in BYUH’s Media Productions studio, spending his days writing, producing, mixing and mastering songs—a skill he’s refined over the past six years, he said. He said his growth came from a divine push. “God put me in a room where I couldn’t do anything else, and I just learned how to do music,” he said.
But Bawden’s music is more than craft—it’s emotion translated, he said. He shared his tribute song “Today I Lost a Friend,” written after the death of a fellow student, emerged from a moment of personal and communal grief. “I was actually in the hospital dealing with my own medical problems. That’s when I got the news,” he recalled.
The song brought others into the process, he said. “I got the student’s friends to help out with it. They sang it. They helped with some of the lyrics,” Bawden explained. He said a line
in particular—“He took a part of me. I hope he holds it closely”—resonated with more than he expected. “I wrote it as filler lyrics at the time—I was trying to get a demo out. But it ended up really connecting with people. Everyone else said it was exactly how they felt.”
Although emotion is often the driving force behind his music, Bawden said he begins with structure. “When I feel something strongly, that’s usually my cue—it’s time to write a song,” he explained. “From there, I explore the chords, select the instruments and sounds, and those choices naturally guide the melody.” For Bawden, instrumentation and arrangement form the emotional framework—the very architecture—of a song.
“People tend to have this automatic connection in their minds—‘I want to write a sad song, so I’ll use a somber piano and minor chords,’” Bawden said. “But it doesn’t always have to work that way. I’ve written sad songs on ukulele.” He said he loves experimenting with contrast. “Some of the best songwriters take an upbeat, happy-sounding vibe and pair it with melancholy lyrics. That contrast creates a kind of bittersweet anthem—where the sadness is softened by a hint of hope,” he said.
Not all of Bawden’s songs stem directly from his personal experiences, he said. “I write about my personal emotions about half
the time—or maybe one-third,” he explained. “Usually, I’m writing a narrative, almost like a fictional story, but I’m taking a situation or a lyrical idea and writing from that.” He said his song “Movie” is a prime example. “While it might sound autobiographical, the inspiration actually came from a popular phrase: ‘Let’s live our life like it’s a movie.’ Though emotionally resonant, the track is fictional,” he said.
Even his heartbreak anthems don’t necessarily reflect his own love life, he said. “I’ve written a lot of heartbreak songs,” Bawden said
with a laugh. “But my relationship is great.” Like a novelist, he said he values the power of emotional storytelling—whether it’s drawn from reality or not. “It’s like an author; you don’t have to experience everything to write something.”
Songwriting has also become a medium for emotional clarity, he said. When asked if music helps him process his emotions, he responded immediately: “For sure.” He recounted moments where songs emerged from collective feelings rather than personal ones. One track, “Low Lately,” was written during a session
“You don’t have to experience everything to write something.”
Jonah “Charlie” Bawden
where the emotional tone of the room shaped the music, he said. “It wasn’t even because I was feeling low. It was just the people I was in the room with at the time—that’s just how it came out.” The song doesn’t offer resolution or optimism, he said. “There was no hope at the end of the song. No punchline.You just listen and feel those emotions.”
Reflecting on what songwriting has taught him, Bawden shared, “First of all, I didn’t know that I would be good at something like this.” He said he quickly realized that music
is as psychological as it is artistic. “A lot of people think music is just an art, but it’s also a science,” he said. “It’s like psychology. The best songwriters figure out how to please someone’s mind through sound.”
This mindset, he said, also informs his academic path. Though deeply immersed in music production, Bawden is pursuing a degree in business marketing. “Music is 100% marketing now,” he noted.
“Six years ago, music on the
Billboard Top 100 was there because it was good. Now, it’s whatever’s trending on TikTok or any social media platform.” For that reason, he said he’s chosen to focus more on marketing strategies than on music theory. “Music now is just like, ‘How can I shove this song in someone’s face a hundred times?’”
When it comes to musical inspiration, Bawden doesn’t idolize performers as much as he admires the writers behind the scenes. “If you go and look at all your favorite songs, it’s all the same people,” he said, naming Louis Bell, Blake Slatkin, Billy Walsh, Ryan Tedder and Amy Allen among his songwriting heroes.
Asked which song holds the purest form of his emotion, Bawden referenced a track written in high school about a friend who passed away—a song so raw it hasn’t been released. “It was very raw. I didn’t mince words,” he said. “It was about a friend who had passed away, and the lyrics could be triggering to some people. But it painted a picture of the event and the feelings around it.”
In all his music—whether shared or kept private—Bawden shared how emotion finds life through melody, harmony, and rhythm. “I think I was led to love music,” he said. “And now I want to help others find their creativity and put it in a song.”•
A photo of Charlie with his music equipment. Photos taken by John Andrew Quizana. Page design by Ice Cesario.
tnI e r grating culture in t o cisum
BYU–Hawaii senior blends Samoan roots with modern sound to inspire Pacific youth
BY LINDA LAULU
Lueli Segi Jr.
Lueli Segi Jr., an artist from Samoa also known as Shyboe99 and a senior majoring in Pacific Island studies, shared music isn’t just a passion—it’s a cultural mission. “Using my talent, I help preserve the Samoan language, uplift Pacific Island values and inspire young listeners to embrace their roots,” he said. Through original songs written in Samoan and infused with traditional themes of respect, faith and identity, Segi said he hopes to help his generation stay connected to their heritage.
From primary songs to purpose
Segi said his love for music began in childhood, when singing Primary songs at church was the highlight of his week. “I always looked forward to going to church just so I could sing Primary songs with the other kids,” he said.
He said his musical taste evolved as he grew older, inspired by local artists like Mr Tee and Zipso. Among these musicians, he shared, Vaniah Toloa left the biggest impact. “His style and message spoke deeply to me about Samoan identity—our way of life and the role of a son in caring for parents and loved ones,” said Segi. He added he now seeks to blend different styles in his own compositions, incorporating elements from Island music and reggae to contemporary pop.
Initially drawn to rap, especially mumble rap for its storytelling, Segi said he wrote mostly love songs before serving a mission in California. “After I returned, I felt inspired to use music in a more meaningful way,” he shared. “I wanted to write songs that uplift people and speak to real-life challenges.”
Embracing language and identity
Serving a mission, Segi said, gave him a new perspective, especially as he met people from diverse backgrounds and witnessed the impact of words and messages. That post-mission shift, he shared, led him to reconsider the language he used in his music. “At first, I wanted to write in English because it’s a global language, but over time, I realized I was leaving out the people I grew up with—those who share my roots,” he expressed.
Inspired by Samoan artists like Mr Cowboy, Segi began writing and performing in his native language. “Listening to artists like him helped me see how powerful it is to share our culture through music,” he said. “I try to honor Samoan culture in my music through both language and message.”
His songs often include Samoan proverbs, cultural values like fa‘aaloalo (respect), and themes of family, faith and identity. “Whenever possible, I incorporate Polynesian sounds and rhythms to give my music an authentic island feel,” he shared.
Uplifting the next generation
Segi said his music is meant to uplift not only personally but culturally. “I want my music to remind young Samoans and Pacific Islanders that their culture is something to be proud of,” he said. “In a world that often pushes us to blend in or forget where we come from, I hope my music helps them stay rooted.”
He shared everyone can be different, speak their language and chase their dreams without losing their identity. “If my music can inspire just one person to hold onto their values and walk with confidence, then I’ve done my job,” he said.
A brother’s view: Cultural pride through sound
Tautaisau Segi, Lueli Segi Jr.’s older brother and a BYUH alumnus with a degree in anthropology and cultural sustainability, said watching his brother’s musical journey has been powerful. “One moment that really stood out to me was when my brother served his mission in California,” he said. “He used that gift to share the gospel and bring hope to others. I still have a song he recorded, titled ‘Brother I’ll Follow You,’ saved in my files. It reminds me of how powerful his music is.”
While not a musician himself, Tautaisau Segi said he found ways to support his brother’s path. “As someone who studied anthropology, I’ve learned how powerful language is in preserving culture. Music is one of the strongest ways to keep our language alive,” he said. “Seeing him write in Samoan makes me so proud.”
Lueli Segi Jr. gained a new sense of confidence through embracing cultural themes in his music, Tautaisau Segi said. “He really stepped out of his comfort zone. He became more confident and more proud of who he is as a musician, a Samoan and a Polynesian,” Tautaisau Segi shared.
His brother’s music, according to Tautaisau Segi, is a form of cultural preservation. “It reminds people that our culture and stories matter, and that they should be recorded and preserved for future generations,” he said. “Through his music, he’s helping to preserve our language and stories—something our ancestors passed down orally.”
Looking ahead
Tautaisau Segi said he hopes his brother continues using music as a tool for inspiration and cultural pride. “He has the talent and heart to make a real difference, and I pray he never stops sharing that with the world,” he said. “Watching him lift our Samoan community through music has been inspiring.”
From childhood hymns to lyrical expressions of faith and heritage, Lueli Segi Jr.’s music is a bridge between generations, Tautaisau Segi said. Through melody and message, he continued, his brother is creating a space for Pacific voices to be heard and remembered.
From an audience’s perspective
Gafua Su‘a, a senior from Samoa majoring in political science, said she first met Lueli Segi Jr. in high school. “I didn’t pay much attention to his music until 2020, when a group of returned missionaries from the United States and Canada were quarantined together,” she shared. She recalled one song Segi and Elder Vaiaoga wrote about mothers that caught her attention. “I asked them to share it with me but later lost my Samsung phone where I saved it.”
“It still stands out as one of the most personal and moving songs I’ve heard,” she expressed. She said the song, though unreleased, reminds her deeply of her late mother, who passed away in 2016. Su‘a explained listening to it brings back memories of her mother’s love and sacrifices that shaped who she is today.
Su‘a said she believes Segi’s music blends heartfelt storytelling with core Samoan values like family, respect and resilience. She said his songs serve as reminders of the traditions and values her mother taught her. “It feels like a bridge connecting me to my heritage, my upbringing and the community I’m proud to be part of,” she shared.
She also highlighted the healing power of his lyrics for Pacific Islanders, especially those far from home or grieving lost loved ones. Su‘a emphasized the need for more music that inspires listeners to honor relationships, live with gratitude and remain connected to their identity regardless of where life takes them.•
Lueli Segi Jr.
Illustrations by Guen Ramirez-Platon. Page design by Cyrelle Briz.
Hans Zimmer shares in his interviews the role of music and how to achieve it
BY GENE CYMMER RAMIREZ
Film composer Hans Zimmer shared in his interview with Juan Enriquez on TEDxBoston the responsibility of a composer is to create an opportunity for an audience to have a deeper experience through music—one that does not manipulate or force its listeners to feel a specific emotion. Zimmer continued when words aren’t enough to communicate, music becomes the only power left. In his interviews with Vanity Fair and TED, Zimmer shared his creative process and philosophy in creating award-winning movie soundtracks are rooted in innovation and collaboration.
instruments to achieve the sound and vibe they were going for, calling Home Depot as their “secret instrument building site” because of the pipes they would often buy from the store to modify instruments like the flute.
The community of music
In the same interview with Juan Enriquez, Zimmer said innovation can be found in what was then-called the “stupidest” idea. “But as we sort of kick it around, it forms into something and becomes the answer to a question that we didn’t even know we needed to ask,” he shared.
The great tune
“I’m still hunting down the great tune. It’s somewhere out there, and that’s what makes me get up in the morning,” said Zimmer in a Vanity Fair interview on his career after composing music for more than 100 films. Zimmer’s challenge-driven motto, which he passes on to his musicians, is to “go crazy” and do something they have never done before in the industry, according to another interview with Vanity Fair on how he wrote the soundtrack for Denis Villeneuve’s Oscar-winning movie “Dune: Part Two.”
Zimmer said in the interview as they composed the music they also invented new
The art of listening
What defines a great musician is not how well they play but how well they listen, Zimmer said in his interview with Vanity Fair on the soundtrack of “Dune: Part Two.” He said when he composes music, he does not write immediately but instead tries to learn what the filmmakers think and feel about the movie they are making.
In the interview with Juan Enriquez, Zimmer said beautiful music can only be created when musicians learn how to work as a team. He said in a musical performance, unity starts when the conductor breathes and all the musicians breathe with them. “Now you’re united in this endeavor of creating something [...] and you’re hoping that this will go across into the audience,” Zimmer shared. He said when this is achieved, musicians create a community that succeeds in using music to get messages across.
In an interview with Vanity Fair on Zimmer’s Oscar-winning soundtrack for “Dune,” he said, “You asked me how the score was made and I said we were all colleagues and we did it all together.” He said the music he composes would not be what it is if he did not consider the musicians as his teammates.
Zimmer said he would watch the film while it was being colorgraded, look at the costumes on the set and talk to the writers and directors about the story. “We have this process whereby I don’t really read the script. I ask them to tell me the story because then I know what’s in their head,” he shared.
Zimmer said in the interview for the soundtrack for “Dune: Part Two” that because he knows the musicians he is working with, he writes his music with them specifically in mind.•
Photos from Creative Commons. Graphics by Ice Cesario.
Explore how Erik Satie’s avant-garde ideas—sounds designed to be ignored and dominated—paved the way for beloved forms of background music
BY SAMANTHA FAITH SATORRE
While most musical compositions of his time resounded in grand concert halls, Erik Satie, a French composer known for his minimalist piano pieces, devised something that merely peeks out from behind the curtains—music that doesn’t impose itself but instead serves humbly as a perfect backdrop to life’s everyday clamor, as explained in a video essay by Inside the Score. Some music, notes Dayten Rose in his article on Dirt, only seeks to skirt people’s attention. “Music, but no songs. A shape, but no edges,” he writes. This concept, details Inside the Score, is not a particularly modern invention.
Long before this age of ambient Spotify playlists and lo-fi beats, Open Culture says, Satie already understood humanity’s need
to hear music that did not demand full attention—sounds that simply drift with the gentle pulse of everyday life. According to Rose, Satie imagined composing “music that would be a part of the surrounding noise,” which would “soften the noise of knives and forks without dominating them” and “neutralize those street sounds which impinge on us indiscreetly.” This, Rose notes, is what they called musique d’ameublement, or “furniture music.”
“A chair, for example, is not usually something you would pay a great deal of attention to,” says Inside the Score. This concept, the video essay details, gave birth to furniture pieces Satie was known for—such as Tenture de cabinet préfectoral, Carrelage
phonique and Tapisserie en fer forgé—all designed to be unobtrusive.
Satie’s subtle revolution
“Before Satie, this was not done. When music played, people listened. No music had ever been composed for the purposes of not being listened to,” writes Rose. For most of history, he says, music has been nothing but an ephemeral moment—rare, fleeting and only appearing in descriptions of heaven—so every encounter with it was cherished.
But amid the rise of industrialization and all the vulgar noise that came with it, Open Culture says Satie thought of designing music that functions like water, electricity or furniture—ever-present, largely unnoticed
and not regarded as an especially momentous occasion. According to Inside the Score, the composer’s furniture music accomplishes exactly that.
“Furniture music was the natural consequence of a loudening world,” Rose writes. This approach, he shares, gave birth to pieces so repetitive, monotonous and exceptional only because they were designed to be unexceptional on purpose. “Yet they were a vision of utopia,” he stresses. There was even a story, he notes, that during the first time Satie performed his furniture music, he instructed the audience to chat, mingle, stretch their legs or do anything other than sit and listen.
“If it’s doing its job well, it’s likely to blend well into the environment, allowing for other things to absorb the user’s attention,” states Inside the Score. According to the video, furniture music functions correctly by simply brushing against people’s awareness, dominated by other tasks. It is not meant to be meaningful on its own—its purpose is contingent on another activity. “Furniture music creates vibrations; it has no other aims. It fulfills the same role as light, heat and comfort in all its forms,” Inside the Score explains.
When music critics like Theodor Adorno valued thematic development in Western art music, Satie, according to the video essay, served unvaried repetitions of short musical compositions. Inside the Score says
Satie’s sounds did not comply with the musical conventions of his time, rendering his pieces meaningless in their aesthetic—and that was precisely the point. “Just as thematically rich and complex art music only makes full sense when you listen to it attentively, furniture music only makes sense when it is listened to as background music,” Inside the Score explains. According to the video, Satie envisioned a type of music that “should be part of the ambience, which would take account of it.” This music, says Inside the Score, would both soothe the clatter of everyday life and embellish the silence that sometimes hangs heavy between people. This philosophy, shares Open Culture, would later on influence generations of composers and musicians—from John Cage’s
musical innovations, Brian Eno’s development of ambient music to the banal soundtracks of Muzak often heard in shopping malls and elevators.
The soundtrack of functional spaces
According to James Picken’s article on Startle, the concept of “music while you work” began to emerge in the late 19th century, when factories learned to maintain productivity and morale among workers by playing upbeat tunes. “This practice laid the foundation for Muzak, a brand that would become synonymous with background music in the 20th century,” he writes.
The Industrial Revolution, Picken says, significantly changed how music was treated in public spaces. And Muzak Corporation, founded in the 1930s by George Owen Squier, pioneered the concept of music specifically made to be played in the background of spaces like elevators, offices and shops. Funding Universe states Muzak enjoyed a ubiquity that left an indelible mark on American society.
“However it happened, Muzak became the word and the law and the air,” Rose writes.
According to the Passport to Dreams website, Squier and his idea of transmitting background music to homes, offices, factories and ballrooms across the country were in for a serious competition: the radio that gave life a distinct rhythm during that time. But roughly a decade after Squier’s death, says the website, Muzak experienced full ascendancy. “The constant hum of nonintrusive music has become a welcome addition to a world plagued by depressions and worldwide wars,” the website states.
Muzak differentiated itself from its competitors by refusing to play bootlegged light classical music—the company thoroughly designed and recorded its own pleasant
a specific method of programming playlists.
“Muzak claimed that workers were happier and more efficient while background music was playing, and that said music was more effective when played in 15-minute chunks, then silenced for another 15,” the website explains.
Muzak’s influence spread rapidly, says Picken, and by the mid-20th century, its carefully curated instrumental tracks have already become a staple in countless public and private spaces, their intentionally nonintrusive tunes subtly guiding people through everyday routines. According to Rose, the corporation did not regard itself as a maker of music. Instead, music was its raw material, and its service “the sequential arrangement to gain certain effects and to serve a functional purpose,” he explains.
(Erik Satie) Photo by Sonia y Natalia, licensed under CC BY-SA 3.0. Illustrations by Guen Ramirez-Platon. Page design by Cyrelle Briz.
within their stores,” Rose writes. In addition, Picken shares merchants learned that carefully chosen background music influences customer behavior, driving the movement of products and encouraging people to stay longer. This, he notes, was where music became functional.
Muzak strived to trudge along until the late 20th century, but as cultural tastes shifted and technology evolved, its omnipresence gradually declined, says the Passport to Dreams website. “For the size of its empire, Muzak [now] feels a little bit like lost media,” Rose writes.
Beyond Satie and Muzak
“Today, we are all music curators,” states the Passport to Dreams website. As simply making it through the week grows increasingly difficult, any opportunity for a relaxing, stress-free escape is appreciated, it says. “The
growing interest in wellness and mindfulness has led to the creation of background music designed to reduce stress, enhance focus or promote relaxation,” Picken writes. This, he continues, indicates that background music will continue to play a vital role in people’s lives—it’s like Satie’s avant-garde ideas and Muzak’s stimulus progression are still stretching through time to keep steering the world forward.
Around the time Muzak began to decline, English musician Brian Eno, shares Rose, sat in an airport and “thought of the disharmony between chipper Muzak and the death wish of flying in an airplane.” Eno, like Satie, envisioned highlighting audio production as an art form, separate from the vocals and instruments that usually sit on top of it, explains Rose. “But in the opposite direction,” he added. “Satie saw a lack of music, and
imagined filling it. Eno saw a glut of music, and imagined paring it down. Both dreamed of improving silence.”
Eno, stresses Rose, wanted music to be a place—an environment—rather than an event. “In that way, his art aligned with that of Muzak: using music to differentiate between ‘inside’ and ‘outside,’” Rose writes. The result, he continues, is Eno’s Ambient Music 1: Music for Airports. Inside the Score says his music “fuses the artistic ideals of romanticism with the functional uses of Muzak and Satie’s furniture music.”•
Dayten Rose
still bonds people
Students reflect on how digital platforms keep karaoke alive and brings them together
BY LINDA LAULU
work from the Philippines, karaoke is more than
Karaoke as a form of entertainment
Karaoke is a form of interactive entertainment where individuals sing along to instrumental versions of popular songs while reading lyrics displayed on a screen, according to Smithsonian magazine. The website continues the term comes from the Japanese words kara meaning “empty” and okesutora meaning “orchestra,” translating to “empty orchestra.”
social media, students say the tradition still brings
The website says this format allows people to experience music not just as listeners but as performers. Whether it’s in a lively bar, a private karaoke room,or just at home with friends, karaoke has become a global pastime, said Smithsonian magazine.
patrons to sing along to pre-recorded backing tracks for a fee, stated Singa, a karaoke app and digital service website. By the 1980s, Japan saw the rise of soundproof private rooms—known as karaoke boxes—that soon spread across Asia and beyond.
Today, karaoke is celebrated around the world, with international competitions and millions of people singing everything from classic power ballads to trending TikTok hits, according to HowToKaraoke.
What does karaoke look like today
At BYU–Hawaii, students say karaoke has adapted to modern technology without losing its social roots. “Karaoke culture is a lot more social but also digital,” said Sumiran. He noted how karaoke features are now embedded into apps, video games and social media platforms, creating virtual spaces where people can sing and connect even from afar.
Pedroso stated karaoke’s casual nature has made it even more embedded in daily life. “It’s something people enjoy doing no matter the occasion,” she said. “Even in events you wouldn’t expect, like funeral services, karaoke somehow finds its way in.”
Technology has played a major role in transforming the experience, Pedroso continued. She said today’s digital platforms offer clearer instrumentals and tools like autotune, often powered by artificial intelligence. These features make karaoke more accessible and fun, even for
amazing vocal ability, but as long as everyone is having fun, a karaoke session is good,” he said. He often sings with close friends, whose chemistry and shared sense of humor make the nights memorable.
Sumiran described a recent night where the group ended up singing and dancing until their voices gave out. “We had all gotten up out of our chairs and were laughing and dancing together despite our tired and raspy voices,” he said.
Pedroso shared a more sentimental side of karaoke. “Growing up, I bonded with my mom over karaoke nights at home, often livestreaming our performances on Facebook.” Since moving abroad, she now shares karaoke sessions with friends whether at the campus hub, in the car or in their hale lounge.
For her, song choice isn’t about skill; it’s about emotion. “Heartbreak songs are especially popular among our group,” she shared.
One unforgettable moment came when Pedroso’s best friend started crying during a breakup ballad, knowing it reflected Pedroso’s current situation with her ex—someone Pedroso had just gotten back together with. Pedroso said she couldn’t help but laugh when she asked her friend why she was crying and heard the emotional explanation. The moment became even more ironic when Pedroso realized it would be the last time she and that ex reconciled. “We broke up for real after that,” she said.•
Illustrations by Guen Ramirez-Platon. Page design by Ice Cesario.
From TikTok sounds to chart-topping hits, Latin and African cultures are redefining the sound of pop music globally, says three BYU-Hawaii students
BY MYCO MARCAIDA
Believing pop music serves as a bridge between cultures, Nokwanda “Charity” Sibandze said it is due to certain collaborations happening in the music industry. “For example, Tyla singing her song with Travis Scott and Selena Gomez singing with Rema—performances that connect us. We are at a place where our similarities, connected through music, are more seen and embraced,” explained Sibandze, a sophomore majoring in business management with an emphasis in economics from Africa.
When collaborations are done with respect, it bridges cultures together, says Natalia Oviedo Marambio, a senior from Chile majoring in TESOL. “It lets people from different backgrounds connect over shared emotions and energy,” she explained.
Seeing the impact of social media platforms, specifically TikTok, on trends, she shared she believes it helps educate other people on different cultures. “Coming from Africa and moving here to find people listening to our music gave me a sense of belonging. It shows that people know more about us and are slowly erasing the worldly stereotypes they have. They start to see us as normal human beings as everybody else,” she shared.
Uniting differences
Pop music right now is composed of multiple cultures coming together, Sibandze said. “It is seeing what we have in common through our differences. Collaborations have always been done in music but it’s more done now because of the impacts of social media,” she explained.
Cultural genres like Afrobeats and Amapiano have reshaped our listening habits and have reached nearly 4 billion global views in the last couple of years, says Highsnobiety website. According to the website, Afrobeats started in the 60s. “It is a genre which fuses American jazz and funk with West African musical styles linked to Ramadan traditions, and Highlife, a Ghanaian genre known for its jazzy horns and multiple guitars,” the site explains.
Further, the site says, Amapiano is a genre from the townships of South Africa. “It is a blend of house, jazz and Afrobeats into a unique laid-back groove. It features piano melodies, high pitched percussions, melodic baseline and thumping beats of techno,” the site continues.
The DEMODE Magazine website says pop music has the ability to adapt to changing tastes and trends. Further, the site says pop artists infuse diverse musical genres, cultures and styles infused with their own music to appeal to audiences all around the world. “Through the Latin rhythms of “Despacito” by Luis Fonsi and Daddy Yankee or the Afrobeat-infused sounds of “One Dance” by Drake, pop music continuously reinvents itself, embracing new sounds and sensibilities while staying true to its core principles,” says the site.
Billboard says “Despacito” was the tipping point for Latin music globally. “When I look back, what really hits me is the fact that it opened a huge door for the non-Latin world to vibrate to Latin music,” Luis Fonsi told Billboard in 2019.
Believing Latin culture was represented well through a song, Marambio said she likes “Hips Don’t Lie” by Shakira. “It is because she managed to mix Colombian cumbia and salsa influences with pop and hip-hop, bringing our rhythms to a global audience without losing her identity,” she explained.
Collaborations towards change
Marambio said she loves to connect with people from around the world dancing to Latino music through collaborations. “But if an artist who is not part of the Latino community uses our culture without giving credit or collaborating with Latino artists, it feels as an appropriation,” she explained.
Sibandze said she noticed how misrepresentation is prevalent in the music industry. “It happened a lot back in the day. Now, sometimes when artists would start a music trend, as soon as they get recognized internationally, bigger people or companies would take credit,” she explained.
While African artists seem like they represent Africa as a whole, Sibandze said people must keep in mind that it is a more localized representation. “There’s a lot of African countries with diverse cultures. For example, Tyla comes from a specific place in South Africa. So, I would say she’s representing that place,” she explained.
Sibanze said she loves the collaboration between artists, but she feels that people would benefit if they listen to African music as a whole and not just the remix. “It’s good that Western artists want to collab but at the same time, I want people to listen to our music purely as it is and the culture it carries,” she explained.
Collaborations between artists bring stereotypes, Marambio said. “The world should know that Latino music is broad, and not everything is about salsa and reggaeton. We have music that expresses pain, resistance and bravery that is very emotional and an important part of culture,” she added.
Topping Africa website says collaborations between Western and African artists have increased in number. Further, the site says it resulted in charttopping hits like Rema’s “Calm Down” featuring Selena Gomez, which garnered 564 million views in 2023, and Chris Brown’s “Sensational” featuring Davido and Lojay that reached 38 million global views, says the site.
Sibanze said she appreciates globally known artists who lift up locally known artists. “Selena Gomez recognized Rema and I just loved how she would talk about him in interviews, even saying how grateful she was to work with him,” she shared.
In a post from Selena Gomez’s official Instagram account, she expressed her appreciation for her and Rema’s collaboration on the song “Calm Down.” “This man has changed my life forever,” she shared, giving thanks to Rema’s decision to be part of the song.
Further, Sibanze said some people like listening to bigger or globally known artists and forget the local artists. “For example, Luis Fonsi’s ‘Despacito’ is only known by most people through the remix with Justin Bieber. I wish people would also give time to enjoy and appreciate the original artist,” she explained.
Sibandze said, African artists continue to make names for themselves globally. “They’re branding themselves and they’re just so proud of who they are, what they produce and where they come from. They make me so proud,” she shared.
Showing respect when featuring local artists includes, crediting producers openly, learning about history of the rhythms they use and performing in the local artist’s country and learning proper pronunciation, says Mariambo. She said if artists follow these, it inspires new artists and builds a connection with their target audience.
Social media as a pedestal
Social media and streaming services played crucial roles in spreading Afrobeats and Amapiano influences to the world, according to Topping Africa. “Platforms like TikTok have been influential, with dance challenges and viral trends propelling songs to international fame,” the site adds.
Topping Africa says the success of both genres has significance on African music industry. “Nigeria’s music sector saw 63 percent revenue increase from 2021 to 2022 and Spotify had a report on Nigerian artists generating over NGN11 billion in 2022 alone. Sub-Saharan Africa’s recorded music market grew by 24.7 percent in 2023, primarily driven by paid streaming revenues,” the site explains.
Los40 USA News website says in 2023, Latin music generated a record of $1.4 billion in revenue. “According to the Recording Industry Association of America (RIAA), a 16 percent increase from the previous year, accounting for 7.9 percent of total recorded music revenue in the U.S. In the first half of 2024, revenue reached $685 million, up 7 percent year-over-year,” says the site.
Further, there is a cultural shift in the rise of Latin music is the United States, says the website. According to the site, music icons like Shakira, J.Lo and Ricky Martin are key influences on the success of following artists like Bad Bunny, Karol G, Maluma and J Balvin.
Local sounds toward the future
In a study by Lourdes Moreno Cazalla, talking about Spanish-Language music as an unstable phenomenon in the United States, she said the music industry currently focuses on single releases and individual artists. She adds, new music releases are what fuels the industry. “Looking at this focus on new releases and certain artists, it’s very likely the numbers will go up even more in 2025, especially with the release of “DeBÍ TiRAR MáS FOToS” by Bad Bunny, which has taken over platforms and media,” she explains.
Keoni Porter, a sophomore majoring in biology from California, said he is seeing more collaborations between Western artists and Latin music artists in the United States. “I think because they see there’s a lot of popularity with collaborations especially in the U.S., because there’s a lot of Spanish speaking people here. I think it’s growing a lot and they’re seeing that there’s a lot more or demand for that,” he explained.
Juan Verela, CEO of Prisma Media and Director of LOS40 USA says, Latin music connects people across gender, age and background. “It is becoming a cultural bridge between Hispanic and many North American communities and many North American communities with shared roots and stories… it belongs to everyone who feels its emotion, rhythms and stories as their own,” he explains.
Local music artists who write their stories through songs show a glimpse of what is happening in their countries, Porter added. “We can see, through their music what’s going on in that country. In a way it connects us with them and we learn about them,” he explained.
Sharing an entire album that resonated with him, Porter said Bad Bunny’s new album not only raised awareness for what was happening to Puerto Rico but also highlighted Hawaii’s story. “The album is called ‘DeBÍ TiRAR MáS FOToS’ and he has a song about Hawaii in there where he mentions that he does not want the same thing that happened to Hawaii, happen to Puerto Rico.”
According to the NPR website, Bad Bunny’s album impacts Puerto Rico in numerous ways. “Bad Bunny makes a strong declaration in favor of independence over statehood while unfurling a warning about a future in which Puerto Rico no longer belongs to Puerto Ricans. He acknowledges the exodus of young people from the island in search for better opportunities and the resulting tragedies,” the site explains.
The whole Bad Bunny album is a wakeup call to focus on what is present in our lives and everything around us, Porter explained. “It is being more in tune or being more connected to what is going on in the moment or what is happening around us. We should be in the now, we should be enjoying the time we have with people and we should be aware of what’s going on around the world and its countries,” he continues.
Students weave moods and memories into one collaborative playlist
BY JOHN ANDREW QUIZANA AND SAMANTHA FAITH SATORRE
From upbeat anthems to soothing lullabies, BYU–Hawaii students have been curating a collaborative playlist that matches every mood imaginable, pooling song suggestions from students like sophomore Ayu Ningtyas Kartika Sari from Indonesia, who believes playlists are more than convenience—they can be a source of comfort, storytelling and self-expression.
For Sari, a computer science major, playlists are more than just organized song collections. “Having everything in one place just makes life more convenient,” she said. “For me, playlists can also help with
tough times. I once had a lullaby playlist that helped me fall asleep. It was comforting to have those calming tracks ready in one place when I needed them.”
Ayu said she sees playlists as a way to tell stories and set emotional tones. She shared she doesn’t overthink her song choices—if a track resonates, it makes the cut. While she hasn’t shared playlists as a way to express her feelings to others, she said she knows many people do.
Show me the heart unfettered by foolish dreams
Songs that feel like soft sunlight on your skin. Think road trips, slow mornings, coastal walks, and that gentle peace that makes you smile for no reason.
Featured tracks:
1. Atmosphere by Joy Division
2. Ribs by Lorde
3. Thoroughfare by Ethel Cain
4. Here Comes the Sun by The Beatles
5. Ride Home by Ben&Ben
And in this moment, I swear, we are infinite
Music for when your mind drifts and your heart feels still. Songs that make you pause, think, and feel more connected to yourself and the world.
Featured tracks:
1. Change by Big Thief
2. Unknown / Nth by Hozier
3. Forget About Life by Alvvays
4. Beige by Yoke Lore
5. Daylily by Movements
I sound my barbaric yawp over the rooftops of the world
Songs that make you feel unstoppable—like the lead in your own movie walking into a big moment. A little dramatic, a lot empowering.
Featured tracks:
1. Drag Me Down by One Direction
2. Ignorance by Paramore
3. Flowers by Miley Cyrus
4. I Don’t Care by Fall Out Boy
5. Choke by I Don’t Know How But They Found Me
Seize the day, boys. Make your lives extraordinary
Music that grabs your shoulders and says, “Dance. Now.” Songs to shake off the stress, clean your room to, or bring to a spontaneous karaoke night.
Featured tracks:
1. HOT TO GO! By Chappell Roan
2. party 4 u by Charli xcx
3. After Hours by Kehlani
4. Ransom by Lil Tecca feat. Juice WRLD
5. Rhythm of the Night by DeBarge
We rip out so much of ourselves to be cured of things faster
A collection of songs for the nights you fall back into old feelings — heartbreak, regret, and the ache of what once was.
Featured tracks:
1. Oceans & Engines by NIKI
2. Moon Song by Phoebe Bridgers
3. About You by The 1975
4. Film Credits by Club Kuru
5. Someone New by BANKS
Photos from Adobe stocks. Page design by Cyrelle Briz.
Hooked on the stream
Streaming and social trends are rewriting how songs are written—and who gets heard
BY JESSIKA SANTOSO
Music is love in search of a word, said Sidney Lanier, an American musician and poet in the 1800s. Though the sentiment of music as an expression of emotion remains, its journey from heart to harmony has evolved constantly, said music journalist John Harris in The Guardian. Beneath the surface of popular music today, Harris said, the pursuit of virality is reshaping songwriting, chasing the dopamine machine’s demand for immediate thrill. Now, the creative process could sometimes be a hop between artistic integrity and commercial viability, he said.
For Danu Sasongko, an Indonesian musician and a freshman in communication, media and culture, songwriting began as an emotional release. Now, he said, it’s shaped by algorithms, shorter runtimes and hook-drive structures. Sasongko’s experience mirrors a broader shift in the industry. A well-known songwriter behind Justin Bieber’s “Sorry” and Imagine Dragon’s “Believer”, Justin Tranter echoed the same idea on Daniel Wall Podcast, focusing on the music industry: what goes viral can be as powerful as radio hits or label support.
A story that takes a song
Performing under the name D. Song, Sasongko began writing music in 2014, he said. He described the process as therapeutic to express his unspoken feelings. “However, with others’ expectations and requests for my music, it now feels like a demand—not a therapy. There is a fear within me to express what I truly feel.” Even with his upcoming album set for release in October 2025, Sasongko expressed his worry whether fans of his rap and R&B style will enjoy his shift toward pop-influenced tracks.
Sasongko began producing his own music in 2017, he said. His process starts with writing down feelings drawn from personal experiences and humming melodies that come to him spontaneously. He said he could catch the melody randomly as he’s in church or strolling around.
“Sometimes, as I write the lyrics, the melody comes into my head. So, I take it as how it is supposed to sound.” he continued.
Tranter, a multi-platinum and awardwinning songwriter, said he began writing music at 15, about a decade before forming the glam rock band Semi Precious Weapons in 2005. Ten years later, he started writing for other artists. “My favorite way to find the song is through conversations with the artists. They are going to feel like the song is theirs and only theirs,” he said.
Growing up in the ‘90s listening to female songwriters like Tori Amos and Kate Bush, Tranter said he always dreamed of writing songs. After years in the industry, his first cut came at age 34 or 35 with “Nostalgic”, a track for Kelly Clarkson released in 2015. It was one of his favorite songs because “it was much more specific, as if you’re listening to the ’80s dream alternative pop rock,” he said. It stood apart from his earlier work in the 2010s, where he often wrote more generic songs for thentrending DJ hits.
Photos by Justin Venotti. Page Design by Ice Cesario.
Photos by Justin Venotti. Page Design by Ice Cesario.
“‘Game Plan’ and ‘Cloud 9’ are my best work, but they’re not in the popular list just because more people streamed other songs. It doesn’t show what I want to be represented as an artist.”
Danu Sasongko
When algorithm listens in
In over a decade of songwriting, Sasongko said his process has shifted in two ways: he collaborated more frequently with his producer friends, and he now writes with digital algorithms in mind. “I’m not sure with the people out there if the template is the same, but I now try to hit the hook earlier and keep the song under three minutes,” he said.
According to Republic Network, a global music technology company, “Algorithms analyze data to make personalized recommendations.” The website states platforms such as Instagram, TikTok, Apple Music and Spotify suggest content based on users’ behavior patterns.
Following the algorithm is challenging in the long term, especially with ever-changing trends, Sasongko said. “Maybe right now the trend fits with my style perfectly, but the next trend might not,” he said. “I’ll keep creating my own music and being viral is just a bonus.”
Sasongko shared his concern about how Apple Music and Spotify’s algorithm highlights an artist’s most-streamed songs. “‘Game Plan’ and ‘Cloud 9’ are my best work, but they’re not in the popular list just because more people streamed other songs. It doesn’t show what I want to be represented as an artist.”
Still, Sasongko said, writing music is about connecting with others—even if that means adjusting his approach. “You make music for people,” he said. “No one asked you to make music. So, if there’s specific music they like, you can try to follow it as long as you can keep your soul and color intact.”
Market-made songs
Tranter confirms the industry reality where social media now plays the role that radio once did in launching music careers. He added even artists with strong streaming numbers can struggle to monetize their work without radio play or industry deals. “Radio used to be one of the most important ways for artists to break through,” he said. “Now, it’s all about what’s viral on TikTok or in a playlist.”
Even though Sasongko makes music as a hobby, he said “I’m not going to lie. As a musician, I still hope to make a living [through my music].” His take on the saying “virality kills artistry” is that it depends on the artists if they can still put their colors amidst the algorithmcentered music industry. “[The musicians] can’t be fully idealists [by neglecting the social media impact] if it means they can’t provide and survive for ourselves.”
“A label can have the best song they’ve ever had. But if the artist isn’t good at TikTok or if the gods of algorithm don’t lift it up, … it is not going to be heard [even though] that has the record deal, the budget and everything,”Tranter said.
In the past,Tranter said, musicians could earn a living through a mix of radio hits, licensing for film and TV, and holding 5000-capacity concerts— all often supported through publishing deals.Today, TikTok can offer similar success without those structures, he stated. “Some artists don’t want to make TikToks. Some of them have a blast,” he said. “For some who are new and don’t have a record deal, [social media] is their only option.”
Tranter said this tension between artistry and commercial visibility is not new. He recalled a panel during the MTV era in which male rockstars and Madonna debated whether artists had to become performers on camera just to be heard. “Musicians didn’t sign up to be like actors,” Tranter quoted one of the rockstars. As a songwriter and performer, Sasongko views short-form video as a marketing strategy. “If the song is easy to enjoy, people will play it on repeat,” he said. Tranter also agreed social media can give artists more control “if they enjoy it”.
For the heart with something to say
For future songwriters who are trying to stay visible without losing their voice, Sasongko recommended finding their own voice and keep refining it through constructive feedback. “There are a lot of ‘yes man’ people nowadays. They’ll just say your work is good and you’ll leave with no improvement. So, it’s important to really know what your heart aims for.”
From his experience running a label, Tranter advised aspiring songwriters to release music consistently and seek out collaborators. “But don’t just message everyone,” he said. “Message [a publisher or songwriter] who you think would really like what you’re doing”—in terms of their interest, genre, history and personal beliefs. “Co-writing will teach you who you are as a writer,” he added. “You’ll learn your strengths and your weaknesses.”•
Students reveal the songs and films that strike a chord and steal the spotlight.
BY JOHN ANDREW
QUIZANA, FRANCE VALERIE LUCILLO AND MYCO CHILLAN MARCAIDA
Ke Alaka‘i News team took to campus this week to ask students about the songs and films that mean the most to them. From famous hits to hidden musical gems, and from timeless cinematic classics to modern-day films, students shared not only their favorites but also the whys behind them—whether tied to cherished memories, life-changing moments or the simple joy these works of art bring to their everyday lives.
two
My Heart Will Go On by Celine Dion Kanika Um, an accounting and finance junior from Cambodia, said her favorite song is My Heart Will Go On by Celine Dion because it shows pure love. “I want to have that kind of love where
people will do whatever it takes to love, care and be with their beloved,” she said.
I Don’t Care by Ed Sheeran Isshin Kishi, a computer science junior from Japan, said his favorite song is I Don’t Care by Ed Sheeran because it makes him reminisce on his memories with his long-distance girlfriend. “It encourages me to move forward [through those memories], as if telling me I can overcome anything,” he said.
Motanak Peap Cheat Khmer by RockStars Vanny Sok, a graphic design junior from Cambodia, said her favorite song is Motanak Peap Cheat Khmer by RockStars because it showcases how Cambodians love their own traditions and culture. “It makes me feel proud to be Cambodian,” she said.
Control by Frank
a health and human science freshman from Australia, said Self Control by Frank Ocean has a deep meaning for her: people come and go. “Listening to it makes me emotional,” she said.
You’re Not Your Mistake, (EFY) by The Church of Jesus Christ of Latter-day Saints
Benjamin Cayton, a hospitality and tourism management sophomore from the Philippines, said his favorite song is You’re Not Your Mistake, an Especially For Youth (EFY) song by The Church of Jesus Christ of Latter-day Saints, because individuals tend to be hard on themselves. “This song reminds me that we are not our mistakes and that we can always learn from it,” he said.
Amarain by Amr Diab
Michael Al-Hijazin, an accounting freshman from Jordan, said his favorite song is Amarain by Amr Diab because it fills him with nostalgia. “It’s a traditional song that I listen to every single time,” he said.
On My Way by Ryan Mack
Laiza Leigh Dongito, a social work junior from the Philippines, said her favorite song is On My Way by Ryan Mack because it sounds tropical—a music genre she said she likes. “It’s about a couple, but the song does not give off romantic vibes. Instead, it gives tropical upbeats,” Dongito said.
Tekem Yu Lo Makira by Sean Rii
Damien Gatteville, an accounting sophomore from Vanuatu, said his favorite song is Tekem Yu Lo Makira by Sean Rii because it is a Pacific song sung by his favorite artist. “Listening to it makes me feel like I’m in paradise,” he said.
Repeat by Al James Ice Cesario, a graphic designer junior from the Philippines, said his favorite song is Repeat by Al James because it always reminds him to take things easy and make sure to always be true to himself and to the people around him.
and message about infatuation and admiration.
Beautiful Scars by Maximillian Cyrelle Briz, a graphic designer senior from the Philippines, said her favorite song is Beautiful Scars by Maximillian because it reminds her to be grateful for all the lessons and challenges she faced; without them, she said she wouldn’t be the person she is today. She also said it strengthens her not to give up, but to keep going.
Self
Ocean Shanique Pati,
Butterflies by Trev Smooth feat. Fiji Tori Evans, an English and education senior from Oahu, said her favorite song is Butterflies by Trev Smooth and Fiji because of its catchy beat
Name: Emily Springer
Major: Psychology
Year: Sophomore
From: Kapolei, Hawaii
Favorite Movie: Gladiator
“I like Gladiator—the old one. It’s packed with so much action. The plotline was so cool, and it left me with many memorable quotes. Also, the actors did a phenomenal job.”
Name: Jason Ila
Major: Social Work Year: Sophomore
From: Papua New Guinea
Favorite Movie: Ice Age
“I like Ice Age because it talks about a time in history when the world was covered in ice. It has always been a mystery to me. Also, sometimes, we only see the surface of an event or a person even when there is way more underneath— that’s one of the important lessons I learned from the Ice Age movies.”
“I like La La Land because of all the dance scenes and their outstanding choreography. It’s a fun and insightful movie to watch about dreams, reality and love.”
Name: Dinda Sadiyono
Major: Music
Year: Freshman
From: Indonesia
Favorite Movie: Inside Out
“As someone who resonates deeply with movies that tackle family issues, I particularly loved the first Inside Out movie. I loved how it conveyed that there are always ways to figure out the differences and challenges that may come in a family’s way.”
“I like the movie for its interesting concept: the existence of technology that allows people to extract information from dreams. As someone who dreams a lot and doesn’t have the ability to interpret those dreams, the movie resonates with me. At some point, I think the dreams I have are connected to my subconscious, and I think that’s very interesting.”
“It’s the first movie I remember watching that depicted family challenges. I have two older brothers I’m very close with—maybe that’s why I relate to it. On top of that, it’s just a very funny movie.”
Name: Victoria Amistad
Majors: Marine Biology, Anthropology and Cultural Sustainability
Year: Senior
From: Provo, Utah
Favorite Movie: Knives Out
“It’s my favorite movie because of how intricate the plot is. It’s a type of movie that messes with your head and makes you feel smart.”
Name: Dallin Orr
Major: Fine Arts
Year: Junior
From: Philippines
Favorite Movie: Secret
“Secret is a Taiwanese film. In terms of plot, I like it because it doesn’t follow the typical fluffy romance genre. It offers something the viewers can look forward to, especially the ending. It will make you question every opinion you had of the movie, making you want to rewatch it because you want to experience the same feeling again.”
Photos by Caleb Galotera and Hiroki Konno. Illustrations and page design by Cyrelle Briz.
Beyond the screen
BY FRANCE VALERIE LUCILLO
Through art and critical thinking, BYUH’s film forums invite students and faculties to watch, reflect and grow as they learn to love films, says BYUH ohana
At BYU—Hawaii, film is more than just entertainment, it is a way to provoke feelings and thoughts to inspire people, said BYUH members. Through film forums, said by a student and faculty members, they can talk about what they think about certain films and how it could incite change for them as they learn skills such as critical thinking, whether inside or outside a classroom setting.
Mason Allred, an associate professor in the Faculty of Arts & Letters said, film forums can help individuals to appreciate art as it meets critical thinking. “Watching a movie with more critical thought is helpful because you realize some issues in the films, which leads you to become more logical and able to notice how things work," he said. Allred said it is a good skill to have because it also helps in real life. “You can notice things about people, recognize their personalities and what they say or do. You appreciate life and little details better. So keep watching and thinking,” he continued.
What are film forums?
According to the Film Forum website, film forums began in the 70’s as an alternative screening space for independent films. The Film Forum, according to the website, is the only autonomous nonprofit cinema in New York City and a few U.S. states including Los Angeles. The organization’s aim is to present an international array of films that treat diverse social, political, historical and cultural realities, says the website. As mentioned by the website, they focus on unique cinematic qualities, historical importance of an individual and within a genre to today’s relevance in the world.
As for Brigham Young University—Hawaii, film forums have been done for quite a time, said Allred. “When I was still a student here back in 2003, film forums were already happening,” Allred shared. He said the idea of film forums is to provide a space primarily for students, faculties and community to gather and enjoy movies and talk about them. “It is for fun but it is one step above [from learning], a little bit educational to try and see movies that individuals might not normally see,” he shared.
Allred said through a forum, whether it might be in an architectural space or a space to gather and talk about films, individuals can discuss and exchange ideas about movies that will inspire them.
Nicholas Johnson, a vocal performance senior from Idaho said, he did not know that there was a film forum in the university until two years into his attendance in the school. “I love talking about movies so I started attending them,” he said.
Jim Tueller, a professor under the Faculty of Culture, Language & Performing Arts said, he decided to attend film forums as it shows good films. “[Besides], it's free and I like to support my colleagues as my wife and I enjoy time [to watch] together,” he said.
Boundaries in film forums
On one hand, film forums here at BYUH consider what the university code of conduct entails, said Allred, which is to build disciples of Jesus Christ by maintaining the highest standards in [personal] conduct regarding honor, integrity, morality, etc. “We want to show movies that would make sense in the campus, either with what’s going on right now in the world or just a really interesting movie that recently came out,” Allred said.
In terms of movie content, Allred said the main driving filter that helped him and other faculties involved in curating film forums was showing extreme content. “We don’t want to show anything that is too extreme in terms of vio lence, language or sex. So within those boundaries, we really think about films that can be shown,” he explained. Allred added, they also try to show movies from Pacific and Asia aside from Hollywood in the U.S.
On the other hand, topics that are usually hard to talk about are usually important such as racism, gender equality and more, said Allred. “We don’t want to pretend it’s not and we don’t want to ignore it. But a lot of films that usually addressed such topics may show or do too much to be shown in this campus,” he said. Allred said some audience members may have different opinions on different topics. “Some may see [certain] films as excellent movies and some may be triggered by it,” he explained. He said curating films to show in film forums should educate, inform, uplift and entertain. “It’s kind of a tight rope we walk and figuring it out as we don’t want to provoke people. We want to be considerate but we want to make it a bit challenging too— to think new thoughts and provoke ideas and feelings that are helpful,” he explained.
Enhancing real life aspect through film forum
Regarding thought-provoking ideas, film forums can help in teaching concepts like critical thinking and media analysis, said Allred. He said it is called a film forum for a reason. “It’s not just ‘Hey, [let’s] watch a movie, eat some popcorn and go home. We are trying to teach, model and encourage these skills of being attentive in how a movie works, how a story is told that evoke feelings in the audience, without making it feel like a class,” Allred explained.
As some people may feel like they do not belong in film forums, Allred said, they open up discussion that encourages dialogue around social, cultural and ethical issues which can be relatable to people. “Sometimes, the movie’s supposed to do that but sometimes we directly discuss some things in terms of identity, gender or race,” he said. Allred said once an individual participates in the forum by asking questions or commenting, then they are getting a little more critical. “Once you have an idea, a hunch, you push it another step or two [to answer more],” he said.
Attending one of the film forums, Johnson said, it was interesting to hear what the other students had to say. “We were watching the Japanese dubbed film called The Boy and the Heron and the students pointed out things that I hadn’t personally caught like the [said] film has previous motifs from Studio Ghibli,” he said.
Allred said, aside from being critical thinkers, film can shape our understanding of the world, through cultivation theory. “In communications,
a cultivation theory is, if you watch a lot of something, it tends to shape your perception of reality— what you expect and hope in terms of how humans think and function,” he explained. He said it is helpful if you watch [films] with a critical mind because individuals learn to be a better human without falling for some bad or even straight up evil representations. “It is important to represent bad things but you don’t want your audience to identify with that. So, by watching movies, you should learn how to better discern these kinds of things in the real world,” Allred continued.
perception of reality— what you expect and hope in terms of how humans think and function,” he explained. He said it is helpful if you watch [films] with a critical mind because individuals learn to be a better human without falling for some bad or even straight up evil representations. “It is im portant to represent bad things but you don’t want your audience to identify with that. So, by watching movies, you should learn how to better discern these kinds of things in the real world,” Allred continued.
For Johnson, he said, he believed that by watching and discussing films, it can be a tool for building empathy and intercultural peace building. “I think it's important that when you watch certain films or listen to certain music, those can help you to feel the spirit and that spirit is what incite change within us,” he said.
Looking back at one of the films he watched in the forum called “Night of the Living Dead”, Johnson said, it made him think of one scene of Duane Jones, one of the characters in the film, where he got shot because everyone thought he was a zombie. “The film was shown after Martin Luther King Jr. had been assassinated and [for me], it was a big political statement without be ing overtly political,” he said. Johnson compared the realization to the gospel of Jesus Christ. “We don’t have to try to force [the gospel] on the people. But through simple, subtle acts of service, we can incite change in their hearts and character to have them come closer to Christ,” he explained.
In addition, Johnson said he learned to know when to listen and when to talk during the film forums. “I am pretty confident when I talk about things or when I’m in discussions but sometimes I don’t need to be the one talking. Oftentimes, I need to be the one listening,” he said. He explained it is an important skill in life, not just in film forums. “I think film not only influences us but we influence film also—for good and for bad,” he said.
Words for viewers
Ithinkit'simportantthat whenyouwatchcertainfilms orlistentocertainmusic, thosecanhelpyoutofeelthe spiritandthatspiritiswhat incitechangewithinus, Nicholas Johnson
One purpose of the film forum is to walk out loving movies a little bit more, Allred said. “They’re not just some kind of short form videos that we see on TikTok. Films are something where a lot of people put so much work in — from writing the story, revising it, getting the right actors and funding, shooting and more,” he explained. Allred said their hope is to see in dividuals learn to love movies a little bit more by sitting down for an hour and a half or two to watch these movies with them.
Allred encouraged individuals to come to film forums and learn how to break from the algorithms of movies that can be found solely on the internet, and not following what everyone is watching. “[Because]we don’t want that. In film forums, we're trying to help break through all that noise and show you some movies that we think are really good or at least worth watching that don't fit in those algorithms,” he explained. Allred said in a world where there are too many movies, film forums at BYUH can help individuals choose what is worth-watching. “We'll help you watch things that you should be watching even if they're not showing up on TikTok,” he shared.
Through moving images and sound, Tuller said, art in general gives in dividual models and stories to think about life. “We live life always in the present, so art gives us a chance to process lived experiences, remember the past and prepare for the future,” he said.•
algosaid.
Illustrations by Guen Ramirez-Platon. Page design by Cho Yong Fei.
REELS OF REAL LIFE
Films echoing stories students have lived
BY JESSIKA SANTOSO
When asked to name their favorite true-story films, three students didn’t just give titles—they told why those stories refused to leave them. For Chaoboran Oroum, Rachel Garside, and Sono Fifita, the films that stayed were the ones bound to their own histories and relationships. Those are stories they could see themselves in, and lessons that pushed them to act long after the credits rolled.
Real life stories connect in ways fiction can’t, said Oroum, a junior in business management from Cambodia. Whether the story echoes their own experiences or those of family members, he added, “it then becomes a movie that helps you understand the feeling even more.”
From zero
Oroum said he saw his family’s story reelected in “First, They Killed My Father,” a movie Angeline Jolie directed based on the devastating Cambodian Civil War in the 1970s. Though he’d learned about that tragic history in high school, “It was first just like a story because I wasn’t there,” he said. “After I watched this movie, it helped me understand what my parents, then minors, and my grandparents experienced.”
“This war should never have happened,” expressed Oroum explaining how Cambodia’s once-strong economy was destroyed during the conflict. “It took us 30 to 40 years to build back our economy,” he continued. Elderly Cambodians now teach the younger generation that education is the greatest investment to escape poverty, he said. This advice strengthened his determination to study hard, not just for himself but also for his next generations. “No one knows when we might have to start from zero again,” he said.
This lesson on the value of education wasn’t just rooted in history; it mirrored Oroum’s own life. He recalled his “wasted” teenager time, failing high school twice, living without purpose or a vision for the future. But with his mother’s care and reminders about the value of learning, he turned his life around. “This could be my based-on-true story,” he said, “about how I changed my life 180 degrees to realize that only education can prepare me for the future.”
With a pause followed by a shaky voice, Oroum recounted one of the most emotional scenes in the film: the last moment between father and daughter, when the father knew his death was near. His mother, he noted, also lost a younger brother during the war emphasizing his deep connection to this scene.
If it were fiction, he said, “it wouldn’t really connect to my feelings.” Watching a true story, Oroum said, has helped him to be “more human”. Taking both a gospel and secular view, he said being human means having the empathy to treat others as you would want to be treated. “That emotion,” he added, “is what differentiates us from artificial intelligence and robots.”
Surrounds you
Business management and marketing junior from Texas Garside shared “The Blind Side” (2009), a movie about football offensive lineman Michael Oher, saying it mirrored the sports-centered dynamic of her own family. She identified with the female lead—the mom who “pulled over and reached out” to the then-loner male lead. “It just reminds me how there’s always that one person who’ll always reach out and be relied on. I really see myself in that movie … with just what I did to my family.”
Growing up, both Garside and her brother competed in sports, which made it “almost impossible” for the family to spend time together amid overlapping practices, games, and tournaments. Still, they made a point to share at least one meal together.
Although she doesn’t watch true story movies specifically, Garside enjoys documentaries. “I like watching the serial killer ones. I can’t relate to those, but I like learning about other people’s brains, behavior and others.” As a psychology minor, she finds it fascinating to analyze and understand motives.
Crime-scene documentaries have also made her be more alert and attentive to her surroundings. “It makes me think about the people around me or someone sitting next to me. There might be someone who’s actually going through this without me knowing—what happened in their life, what they’ve experienced.”
On one hand, her media communications class has taught her to be cautious about films labeled ‘based on a true story.’ “Because it’s also a film, I never know if it’s 100% true. It could be true, but there could be a lot of fakes and exaggerations in it.”
Still, Garside said real people’s stories show that “literally anything can happen to someone’s life,” even to those close to her. Calling them “eye-openers,” she said they push her to check in with friends she hasn’t spoken to in a while. “I want to do it because it could change their lives— like how it all happened in the movies I watched.” While she notices that people on social media have become more open about personal matters, she knows it’s still possible to miss what’s really going on.
Cinematic compass
The “Titanic” (1997) stirred emotions similar to those felt during a real-life tragedy in Tonga, said Sono Fifita, a junior from Tonga majoring in finance. She compared the film’s sinking ship to the 2010s disaster of an inter-island ferry in her home country, which claimed the lives of several distant relatives. Having watched the movie more than five times, she said it still moves her to tears and the emotions lingered for an entire day.
Fifita said she turns to true story movies expecting a meaningful message. “I expect them to teach me something because they’re based on real stories. That’s why I should watch them,” she said. Such films, she found, inspire her to be more loving and charitable toward others.
She was especially touched by Titanic’s message to “love and care about the people more today because you don’t know what might happen tomorrow.” One scene remains vivid in her mind: when the female lead realizes the male lead will die before releasing his grip on a piece of debris in the ocean. Fifita could feel the love they had for each other— the kind of love not anyone can have, she shared.
The movie’s impact goes beyond emotion for Fifita—it motivates her to act. After watching, she tries to be more attentive toward her loved ones, though she admits she sometimes forgets. “That’s why I go back to those movies. They remind me how to love better,” she said.
While most true story films she’s watched are sad, Fifita said she’s drawn to them because they keep her grounded. “It reminds me that life is so hard. This happens to some people and what I’m struggling with is nothing compared to what they’re going through,” she explained.
Reflecting on her life, Fifita said her cancer journey in 2024 could be a powerful true story movie with the theme of trusting Heavenly Father confidently. During that time, she said she still showed up for her responsibility at school, work and church. “The lesson I want everyone to know is that I don’t want to focus on myself. I never even cared about my family and all I did was just to trust Heavenly Father so much,” she shared. “I want to make it a movie in Tongan style,” she added with a laugh.
Fifita’s connection to films extends beyond true stories. “I’m so crazy about taking action from a movie,” she said, explaining how a film’s genre can influence her mood and appearance. “If it’s a girly movie, my friends notice me wearing a dress to work or taking better care of my hair. If it’s a gangster movie, I’d dress up likewise.” Whether true story or fiction, she said she brings the emotions of the screen into her everyday life.•
Movies posters by The Movie Database. Photos provided by Chaoboran Oroum, Rachel Garside and Sono Fifita. Layout by Ice Cesario.
BYUH students and alumnae say they are drawn to moral ambiguity in films because it’s the true reflection of the human experience
BY SAMANTHA FAITH SATORRE
Although storytelling once thrived on clear black-and-white distinctions— good versus evil, hero versus villain, heaven versus hell—two BYU–Hawaii students and an alumnae say today’s narratives are seeing the rise of a concept that emerges from the shadows of these dichotomies: the morally grey character. “It’s the character that brings humanity to the story because committing mistakes makes us human. At the end of the day, we’re all morally grey characters,” said Jared Wong, a junior from Malaysia studying computer science and intercultural peacebuilding.
Morality, according to The Ghostwriting Services, is a nuanced and often subjective concept shaped by varied perspectives across individuals and cultures. This complexity, the website says, is now often portrayed in works of fiction through characters who are neither entirely good nor bad. “Instead, they occupy a space in between, with shades of both light and darkness,” it states. This morally ambiguous character, the website continues, urges audiences to face the complexities of the human experience.
Heroes do not wear halos Prince Zuko from “Avatar: The Last Airbender”; Cassian Andor and Han Solo from “Star Wars”; Severus Snape from “Harry Potter”; and Chris Gardner from “The Pursuit of Happyness”—these are just some of the characters who are beloved not for their perfection, but for their humanity, said Wong, Hazel Bird and Jared Kumar. “I think the world is complicated. So these characters are portraying more of what the world is, instead of trying to create another reality,” shared Bird, a political science graduate from Hauula. Heroes wear white, villains wear black and good always triumphs in the end—this version of reality, for Bird, feels outdated and simplistic. Instead, she said she finds herself drawn to characters that blur the line between right and wrong, reflecting a world that cannot be neatly boxed into good or evil. One example she noted is her love for Cassian Andor from “Rogue One: A Star Wars Story.” “At first it didn’t seem like he was fighting for the greater good,” she said. “He was doing it for himself, and he didn’t care who he hurt along the way.”
That level of honesty was something Bird said she considered refreshing, especially in a franchise built on tales of light versus dark. “He’s just very calculated and he’s not trying to spare anyone’s feelings, which I think is so cool to see. It’s reality, you know?” she expressed. Andor is a survivor, a spy and a fighter whose story is marked by loss and hardship, and Bird said he didn’t have to be a hero for everyone—he just had to be a hero for himself.
Bird’s inclination for morally complex characters is a feeling echoed by others. For Jared Kumar, a junior from Fiji studying health and human science, Chris Gardner from “The Pursuit of Happyness” left a lasting mark. “When I was young, I really didn’t understand much about it,” he expressed. “But watching it again as a teen, I saw what it was really about.”
Although Kumar admired Gardner’s struggle to survive and succeed in the face of adversity, he said he eventually learned to recognize the character’s choices that others may consider morally questionable: lying, running from a cab fare and hiding the truth to maintain dignity. This character, Kumar
M ore of What the world is,
Another Reali ty .”
Hazel Bird
said, challenged his binary thinking—Gardner is not a saint, but he is not irredeemable either. “Everybody has their own way of handling things. We cannot be quick to judge. We need to understand their point of view,” Kumar stated.
For Kumar, Gardner’s morally complex decisions did not make him a less inspiring figure. “In his circumstance, it makes sense. He’s doing what he has to do to survive. That’s real life,” Kumar explained.
In the same vein, Wong said morally grey characters are not only compelling—they’re relatable. “I think we gravitate towards them because we see ourselves in them,” he expressed. Citing Prince Zuko, the exiled prince from “Avatar: The Last Airbender,” he said morally complex characters are often both driven and shackled by their circumstances and the principles they hold dear. “He’s always in conflict with himself,” he explained. “That’s what makes a character human.”
Zuko, according to Wong, begins the show as a villain, hunting the Avatar to regain his honor. Eventually, Wong continued, Zuko experiences one of the most celebrated redemption arcs in modern animation—a
story he said he deeply resonates with. “We also aren’t amazing people; yet we’re not terrible at the same time. We’re all in between. So that’s why we root for them,” he shared. This humanity, he said, explains the popularity of morally grey characters.
Breaking the mold
Bird said she believes the rise of morally ambiguous characters is shaped by a broad cultural shift. “Movies from back in the day were very cut and dried,” she said. “But now, it’s more complex. I think it’s more progressive and realistic.” Citing a scene in the recent Superman film where Lois Lane confronts Clark Kent about doing the right thing for the wrong reasons, Bird said today’s films have grown better at challenging traditional ideas of heroism.
“I think anyone can do heroic acts,” Bird said, “but that doesn’t make them a hero. A hero is passionate, driven and optimistic.” She contrasted characters like Star Wars’ Luke Skywalker, whom she considers a true hero, with others like Han Solo, who “did heroic things” but is not a hero in her eyes.
On the contrary, Kumar said everybody is a hero of their own story. “Even if they did something awful, they’re still a hero in their own eyes. It’s about perspective,” he explained. This grey area, Wong stressed, is precisely what keeps people hooked, the uncertainty putting them on the edge of their seats. In contrast, he said clear-cut heroism or villainy is too simple and predictable. “Watching a hero’s straightforward journey is fun, but not knowing what the character is going to do next is more interesting,” he expressed. Ultimately, what unites their views is the acknowledgment that morality is complicated. For Bird, inspiration is not found only in characters who always do what’s right, but also in those who stumble and wrestle with difficult choices. Understanding their complex behavior, she continued, rewards her with something comforting: permission to be flawed. “It’s relieving. You don’t have to feel guilty for not always doing the right thing,” she expressed.•
“Cassian kills many people out of necessity but he is fighting against tyranny,” writes John Swihart on Medium. Cassian Andor, a prominent character from “Rogue One: A Star Wars Story” was an accomplished spy and assassin—a human male operative of the Alliance to Restore the Republic who was remembered as a hero after his sacrifice to secure the Galactic Empire’s Death Star plans. According to the Superneox website, Andor is willing to compromise ethics for the greater good. His actions, the website continues, can be described as morally questionable yet emotionally justifiable.
Chris Gardner
“The Pursuit of Happyness” is a 2006 American biographical film about Chris Gardner, a homeless salesman. According to The Quota, Gardner is “a self-made salesman-turned-stockbroker-turned- philanthropist who went through untold hard times before finally scraping his way to success.” Despite his overall positive portrayal, he also had to make questionable choices in moments of desperation. For instance, he gets into a taxi without the means to pay and makes a run for it, and lies to save face in front of his colleagues and clients.
Illustrations by Guen Ramirez-Platon. Page design by Cyrelle Briz.
Becoming:
The cinematic language of growing up
Coming of age films work as mirrors for who we are and who we are becoming, says Brent Cowley, an assistant professor in the Faculty of Arts & Letters
BY MYCO MARCAIDA
Coming-of-age films are more than just about youth; it’s also about reflections of time, identity and movement, said Cowley. He said they often define the era and generation in which they are made, offering snapshots of cultural norms, adolescent anxieties and the music that framed our lives. Cowley said the reception to coming-of-age films can and should change as we learn and grow. “Music and other elements certainly may recall elements of nostalgia, but hopefully in a way that demonstrates some sort of growth, demonstrating eternal progression,” he explained.
What is a coming-of-age film?
describes coming-of-age film as a genre focused on a central character arc with themes centered around youth, growing up and maturation. “These films follow a singular protagonist as they ‘come of age,’ meaning thvey progress into the next stage of their life. Protagonists are typically young and facing the first major dilemma, ordeal or awakening of their life,” says the site.
According to Jazmin Kopotsha, a writer for Refinery29, comingof-age films are stories of people living through a transformative period.
“Watching a couple of 18-year-olds falling in love, graduating high school and going through the all-consuming turmoil of teendom allows us to sit back and enjoy without having to think much. We can sit back and watch in the comfort that now, we’re the ones who know better,” she explains.
Connecting with a character
Jaycob Char, a junior majoring in business management from Laie, said he thinks of coming-of-age films as ones that inspire and help people understand a character. “A good one is Forrest Gump. I learned a lot about the character and his story and felt very inspired after watching,” he shared. When rewatching coming-of age films, Char said one relives the feeling of depth and lessons received from the first watch. “It’s like going on a rollercoaster ride for the first time where it’s exciting and scary, and you get the exact feelings when you do it another time,” he explained.
In an interview conducted by Refinery29, TV psychologist Honey Langcaster-James said people gain mastery over potentially difficult emotions through entertainment.
“Some people wonder why anybody would ever want to watch a horror movie or a thriller… but there is an element of reassurance in being able to experience those emotions from a removed perspective,” she explains.
The site says as people mature, they gain the opportunity to master emotions they once felt consumed by and now have a more detached and bemused look on life.
For “Forrest Gump,” a movie about a man who defies all odds despite his weaknesses, Char said he feels connected to Gump—the titular character—as his story is a reminder that anything is possible in this life. “Gump was a mentally challenged character, but he was able to accomplish a lot of things,” Char explained.
An important scene from the movie was when Gump was running away from his bullies, said Char. “Everyone knows that scene where Jenny says ‘Run, Forrest! Run!’ and even when Gump’s leg braces came off, he was able to continue running. That surprised him as someone who used to be immobile,” he explained. He said it gave him motivation and understanding that even though there are things in life that keep us down, we can overcome them.
Another movie character Char said he relates to was the mother from the movie “The Blind Side” played by Sandra Bullock. He said he identifies with the mother more since she showed a pivotal change throughout the movie. “She’s an influential person in the community who was at first a little skeptical with Michael, the main character, but eventually ended up letting herself in his life and so did Michael in hers,” he explained.
Char said the whole movie reflects the reality of meeting people for the first time. He said when we decide to let people into our lives, we build a better community and end up becoming happier. “When the family was celebrating Thanksgiving, they invited Michael, and it
Coming-ofage films
aren’t just there to speak to our younger selves. It speaks differently to us as ourselves change.
Brent Cowley
Photos of Jaycob Char watching movies “Forrest Gump” and “The Blindsight” on his laptop.
Photos by Hiroki Konno.
felt like a foreign experience to him because it wasn’t something he was used to,” he explained. He said this scene reminded him of feeling isolated as a missionary, especially during the holidays. “It’s just you and your companion. So, I felt welcomed when families would invite us in their homes, like the mother in the movie who welcomed Michael.”
Steady growth
Cowley said coming-of-age films aren’t just there to speak to our younger selves. He said it speaks differently to us as we ourselves change. “An example of this is when I recently rewatched Ferris Bueller’s Day Off (1986) with my kids. Where I once wholeheartedly rooted for Ferris Bueller for his cleverness and carefree spirit, I found myself sympathizing more with the principal. It was not just a shift in my allegiance; it was a sign that I had changed,” he explained.
Char said he thinks he will continue to have coming-of-age moments in the future. “One example I can think of was last year when I went to Philadelphia and did summer sales knocking on doors and selling things every day. It was just very hard because you’re by yourself,” he explained.
Char said what he thought was going to be as easy as missionary work turned out to be much more challenging—he was alone and oftentimes rejected. “There’s this moment where I felt very unmotivated, depressed, and I didn’t want to be there,” he expressed.
He said he learned to lean more on God through the experience. “That coming-of-age moment helped me to do my best despite my doubts, and that’s all that matters, whether I see progress or not,” he explained.
Char said he feels “coming-of-age” is never over. “It’s in the name: ‘coming of age,’ right? You’re going through life, and you’re not there yet,” he explained.
He said it tells a person’s journey of learning, understanding and developing who they are. “More so with us students, that’s what we’re doing right now. We’re developing our knowledge, our skills and our experiences,” he continued.
Coming-of-age films as a movement
Cowley said we all have films that speak to us. “Stories assist in forming our identities. The best coming-of-age films do not just show us who we were. They should also whisper who we are becoming,” he shared.
Cowley said each generation has coming-of-age films that appeal to an audience. “The Breakfast Club” (1985) and the work of John Hughes are inseparable from the Gen X experience. For Millennials, it may be “Juno” (2007) or “The Perks of Being a Wallflower” (2012). Today, it might be “Turning Red” (2022), “CODA” (2021) or even “Cobra Kai,” a Netflix series based on the nostalgia of “The Karate Kid” (1984),” he listed.
Cowley said “Cobra Kai” captures the pain and confusion of adulthood when people have never truly graduated emotionally from high school, and this can be true at any stage in life. “There is a temptation to dwell on what was, especially when the present feels more complicated than it used to. But we are not meant to stay there,” he continued.
“As ‘Cobra Kai’ masterfully shows, Johnny, the main character, is at his worst when stuck in the past. The moment he starts to care for others, to mentor and to listen, he begins to grow again not because he reclaims his youth, but because he finally moves beyond it,” Cowley explained.
Cowley said there is sometimes magic and pain in nostalgia. “These films allow us to revisit moments that formed us, but they also confront us with who we are now. They can stir longing, but they should also stir reflection,” he added.•
Photos by Hiroki Konno.
Illustrations and page design by Cyrelle Briz.
Dr. Cowley’s top coming-of-age films
International
• Whale Rider (2002) – New Zealand
• Spirited Away (2001) - Japan
• Mon Oncle (1958) - France
Steven Spielberg-produced films
• The Goonies (1985)
• Back to the Future (1985)
• E.T. the Extra-Terrestrial (1982)
John Hughes
• Home Alone (1990)
• Ferris Bueller’s Day Off (1986)
• The Breakfast Club (1985)
Family films
• How to Train Your Dragon (2010)
• A Goofy Movie (1995)
• The Sandlot (1993) (filmed in Utah!)
Childhood friends
• Stand by Me (1986)
• My Girl (1991)
• Big (1988)
Wes Anderson
• Moonrise Kingdom (2012)
• Rushmore (1998)
• Fantastic Mr. Fox (2009)
Mentorship & generational growth
• The Karate Kid – Cobra Kai (Series (2018–present)
• Dead Poets Society (1989)
• Boyhood (2014)
Jaycob’s top coming-of-age films
• Pursuit of Happyness (2006)
• The Blind Side (2009)
• Forrest Gump (1994)
• Mcfarland (2015)
• Spare Parts (2015)
• Hidden Figures (2016)
• Freedom Writers (2007)
• A Silent Voice (2016)
• Barbie (2023)
• Inside Out (2015)
Film’s role in social change
Films transcend entertainment to mobilize individuals, said Brent Cowley, an assistant professor in BYU–Hawaii’s Faculty of Arts & Letters. Beyond business, entertainment and education, film is also a call to action; a mirror of society; and an instrument for change, according to him. From stories that confront social issues to narratives tackling environmental crises, he emphasized how films have long shaped minds and stirred social movements. He and other scholars said it is through genuine representation that films could transform individuals.
Echoing Cowley’s perspective, Yifen Beus, associate academic vice president for the Faculty of Arts & Letters, said films
Through genuine representation and careful craftsmanship, films could spark change, scholars say
BY FRANCE VALERIE LUCILLO
can simultaneously entertain and mobilize. “These two aspects do not preclude the other,” she said. A talented and skilled filmmaker, she said, can entertain the audience while inspiring action through effective storytelling techniques. She said films raise awareness just as newspapers, television and other forms of mass communication do. “It has the capacity to reach a broad audience, as social and political issues are often embedded in film narratives and strategies,” she explained.
According to Cowley, movements such as Black Lives Matter, #MeToo, feminism and climate activism are recognized today because they feel modern. But he said looking back at the beginning of cinema will reveal the origins of these same movements.
“There were particular studios committed to social issues. Warner Bros. in the ‘30s dealt with race and minority groups through their films, namely ‘I’m a Member of a Chain Gang’ and ‘Grapes of Wrath,’” he shared. Cowley also cited 20th Century Fox under the leadership of Daryl F. Zanuck during the ‘50s as an example, with films such as “Gentleman’s Agreement.” “These themes are constant, and we can trace them through film’s history. What we see now is not new,” he said.
Cowley said films that highlight social movements are powerful because audiences tend to feel deeply connected with films that speak to their experiences. However, he added that the current generation tends
“Social movements come in waves, and I think audiences engage with these causes based on what they already know and care about.”
Brent Cowley
to approach social issues differently than those in the past. “Social movements come in waves, and I think audiences engage with these causes based on what they already know and care about,” Cowley explained. Despite the shift in generational values, he said he believes audiences today can connect with older films just as much as they do with contemporary ones.
To cultivate that connection, Cowley said representation is needed. “If a story doesn’t come off as genuine, people are going to catch on, which could cause some backlash,” he stated. When films closely reflect the realities of topics like race, gender and sexuality, he said viewers are more likely to respond. “It might inspire them to avoid a film entirely or even boycott an entire studio,” he shared. Representation, he added, goes beyond just entertainment because it fosters empathy.
Meanwhile, Beus said representation can vary in meaning, depending on the genre, filmmaking style and how effectively a film’s elements work together. “These factors can affect how successfully a film represents people and ideas,” she explained.
Filmmakers, for her, are communicators as much as they’re artists and storytellers. “Filmmakers need to be conscious of the impact their work will have on audiences. This is where ethics and responsibilities come in,” she explained. She said raising awareness while avoiding harmful stereotypes depends on a filmmaker’s background, training, sensitivity and storytelling skills.
Cowley said he understands filmmakers can often feel a sense of responsibility to address pressing issues through their work.
“Responsibility is a strong word,” he said, “but if a filmmaker feels the drive to tell a story, they should go for it.” Still, he warned that films lacking in authenticity could come off as overly political and divisive.
“Sometimes, even with the best intentions, it’s possible to achieve an opposite effect, making it worse,” he explained.
Addressing this grey area, Cowley noted the risks involved in depicting reallife issues on screen. “There are risks in casting, storytelling and representation— it’s a sensitive matter,” he shared. Cowley said “not everyone will understand the urgency of social issues in the same way.”
Although he acknowledges the importance of understanding films that address these issues, he said “it’s just as important to understand that just because you feel strongly about a message doesn’t mean everyone else will.”
He also cautioned against the cognitive bias that may result in pushing urgent topics. “If you push too hard, even with a message people normally agree with, it can backfire,” he explained. For him, not all forms of activism should be given equal weight. He said careful thought must be given in deciding which causes to amplify.
Additionally, Beus said it is the director’s choice and responsibility to balance creativity and risk. “They have to measure how far they are willing to go and gauge the strategies to use in achieving their goals,” she explained.
Ultimately, Cowley said films can always make a difference, especially with its presence across different platforms such as theaters, online streaming or social media. “It’s the combination of all these platforms that gives film the power to connect with viewers and move them to action,” he shared.•
black lives matter
According to the Landmark School website, Black Lives Matter means Black people’s lives matter just as much as any other—not more, not less. The phrase draws attention to systemic ways Black lives have been denied respect and equality throughout U.S. history, says the website. The movement, it continues, highlights racism, discrimination and racial injustice.
#metoo
The #MeToo movement was founded by Tarana Burke in 2006. According to the Me Too website, it was trending on most social media platforms in 2017, especially Twitter (now known as X), to expose the scale of sexual violence, particularly against women in workplaces and everyday life.
Movie that portrays the movement: Promising Young Woman (2020)
According to Northern Light website, “Promising Young Woman” tackles the aftermath of sexual assault and the challenges victims go through when not taken seriously. As heavy as the topic is, according to the website, it stylistically addresses rape culture and internalized misogyny without directly naming them. “Promising Young Woman” is written and directed by Emerald Fennell.
Movie that portrays the movement: Just Mercy (2019)
According to the Equal Justice Initiative website, “Just Mercy” is a film that tackles America’s broken criminal justice system, especially towards people of color. The film talks about racism, inequality, injustice and redemption. As Bryan Stevenson, the protagonist played by Michael B. Jordan, combats systemic inequality in the nation, he learns how to defend people who deserve freedom. “Just Mercy” was directed by Destin Cretton.
Photos from The Movie Database (TMDB). Page design by Ice Cesario.
feminism
According to Study.com, feminism is the belief in equality between sexes. It aims to create equal opportunities and outcomes for women and men in all aspects of life. It is often divided into three waves: First wave tackles women’s suffrage and right to vote, second wave deals with women’s liberation and sexual freedom, and third wave addresses diversity and the intersectionality of identity.
Climate Activism
According to EcoWatch, climate activism unites people from all over the world to pressure national and business leaders to protect the world and safeguard a liveable future. It addresses and mitigates the effects of climate change through global efforts.
Movie that portrays the movement: The Day After Tomorrow (2004)
Movie that portrays the movement: Six Triple Eight (2024)
According to the Netflix website, “Six Triple Eight” tells the true story of an all-Black women’s battalion in the Army during World War II. These women served the country despite facing racism, sexism and grueling work conditions. The film portrays both second and third wave feminism by highlighting liberation and diversity. “Six Triple Eight” was directed by Tyler Perry.
According to Yale Climate Connections, “The Day After Tomorrow” is a film that tackles the consequences of climate change and impact of activism. When the protagonist, a paleoclimatologist named Jack Hall, was dismissed by the United Nations (U.N.), the nation was brought to its knees by a catastrophic natural disaster. The film emphasizes the importance of promptly addressing environmental issues. “The Day After Tomorrow” was written and directed by Roland Emmerich.
MOVIE
aestro
Three directors who revolutionized the film industry
BY GENE CYMMER RAMIREZ
Pablo Picasso, one of the greatest and most-influential artists of the 20th century according to Britannica, once said, “Learn the rules like a pro, so you can break them like an artist.” In the cinematic industry, three directors went beyond the standard of their time to pioneer new techniques in cinematography, storytelling and directing.
Christopher Nolan
By redefining the superhero genre, introducing non-linear narratives and tackling complex themes all while mastering practical effects, British-American film director Christopher Nolan quickly became one of the most influential filmmakers of his generation, as per EBSCO. According to IMDb, Nolan has won two Oscars for his recent film “Oppenheimer,” among his 200 wins and 300 nominations for films such as “Inception,” “Dunkirk” and “The Dark Knight.”
As per EBSCO, Nolan’s impact in the film industry stems from his distinctive style of building tension through the use of his characters’ psychology and personality, the reorganizing of timelines in a story, and the preference of using handheld cameras and realistic settings. In an interview with Nolan by Los Angeles Times, he said he always finds himself “gravitating” to the analogy of a maze when making films. He said watching characters from above the maze, knowing which choices are right and wrong, makes a story frustrating.
“You actually want to be in the maze with them, making the turns at their side, that keeps it more exciting… I quite like to be in that maze,”
Nolan said.
According to IMDb, on challenging the audience to view elements with a different perspective, Nolan said a director must establish something familiar for the audience first. “But you have to be very aware that the audience is extremely ruthless in its demand for newness, novelty and freshness,” he said.
Akira Kurosawa
Japanese writer and director Akira Kurosawa revolutionized the film industry with the cinematic artistry in his movies that tackled intense storytelling, refined characters and profound themes, says EBSCO. He was praised and revered by American and European filmmakers like George Lucas, who created “Star Wars” as a spiritual remake to Kurosawa’s “The Hidden Fortress,” according to IMDb. As a pioneering Japanese filmmaker and one of the greatest directors in the history of cinema, says EBSCO, Kurosawa received an Academy Award for Lifetime Achievement in 1990.
Throughout his career, Kurosawa was known for his ability to portray raw and intense human expressions, realistic unreserved struggles and exceptional action shots, according to IMDb. When he accepted his honorary Oscar in 1990, Kurosawa addressed the audience on themes like courage, conflict and emotion with the words: “To be an artist means never to avert one’s eyes,” as per the Lexington Herald Leader.
In an interview by director Maani Petgar, Kurosawa said, “If we are not honest to ourselves, we will never be able to make decent films.” He said a film is not supposed to be a lecture and should instead depict human problems and lives in a natural way.
Steven Spielberg
Recognized as one of the most financially successful directors in the film industry according to EBSCO, renowned American filmmaker Steven Spielberg is a pioneer in cinematic techniques and responsible for culturally significant films like “Jaws,” “E.T.: The Extra-Terrestrial,” “Indiana Jones” and “Jurassic Park.” As per EBSCO, Spielberg’s “Jaws” was what first solidified his legacy as a master of special effects, but it was his ability to explore various genres that shaped modern filmmaking. According to IMDb, Spielberg won three Oscars for “Saving Private Ryan” and “Schindler’s List” among his 217 wins and 350 nominations. On filmmaking and his creative process, Spielberg once said, “I dream for a living.”
In an interview with Newsweek on what keeps driving him to make movies, Spielberg said he loves to make movies because he gets to live many lifetimes. In an interview with the American Film Institute on filmmaking, Spielberg said, “It is truly the greatest art form ever invented.” He said being a filmmaker encompasses being a painter, a musician and a writer. It is the only technology that has ever brought every art form into one arena, he shared.•
Photos from Creative Commons. Page design by Cho Yong Fei.
BYUH students share how Studio Ghibli influenced their day-to-day lives
BY GENE CYMMER RAMIREZ
In the essay, “The Decay of Living,” notable English writer Oscar Wilde wrote, “Life imitates art far more than art imitates life.” To three BYUH students, this quote resonated in the form of Studio Ghibli, an acclaimed Japanese animation studio. They shared the studio’s works positively influenced how they see the world and how they live their lives.
It’s good to be alive
Studio Ghibli co-founder and internationally acclaimed Japanese filmmaker Hayao Miyazaki once said, according to Goodreads, “I would like to make a film to tell children it’s good to be alive.” He said, as per the website, he believed stories are crucial in the “formation of human beings” because of their ability to amaze and inspire.
For sophomore Abish Casilen from Utah majoring in communication, media and culture, Miyazaki’s goal to inspire has already succeeded. On Studio Ghibli’s influence in her day-to-day life, Casilen said, “It reminds me to appreciate the little, mundane things in my life.” She said even though she doesn’t watch the films as frequently as before, she still thought about them as they have continued to be an inspiration for her when she draws and writes in her free time.
Hanna Akari Rogers, a senior from Japan majoring in graphic design, said, “The way certain characters live their lives has inspired my own.” Characters like Kiki from “Kiki’s Delivery Service” or Chihiro
from “Spirited Away” resonated with her at different points of her life as her age and experiences align with theirs, Rogers shared. She said learning from their courage and determination inspired her to bravely take the next steps forward in life.
“If we are able to imagine it, we can make it happen,” said Kahealani Sharma, a junior from Oregon majoring in communication, media and culture, on how Studio Ghibli taught her that there is no limit to creativity. She said Studio Ghibli taught her to have confidence in her own creative journey, sparking and strengthening her own interests and ideas.
Influencing a generation
“Studio Ghibli has significantly influenced this generation, notably in media, aesthetics and cultural values,” Sharma shared. She said animation is the powerhouse of expression because its art style can be understood at any age. Studio Ghibli has used that medium masterfully with their profound storytelling, she shared. She said its influence as a studio can be seen through today’s media and its presence in pop culture in the form of memes, short-form videos or merchandise like plushies.
From what Casilen witnessed in herself and in others around her, she said Studio Ghibli has influenced this generation by teaching them to find beauty in the little things. “Many of the movies provided a great comfort to us as children, and as adults we can examine the movie once more and listen to what the movies teach us,” she shared. She said the
Photos from Hanna Akari Rogers. Illustrations by Guen Ramirez-Platon.
studio has also become a great pathway to Japanese media, introducing audiences to films from another culture which gives them greater appreciation for art as a whole.
Rogers sees many posts on social media from young people trying to match their lifestyles to the aesthetics of a Studio Ghibli film, she shared. She said the studio helped younger generations have more appreciation for interiors and food. However, Rogers wishes people will also find the appeal in the films’ themes and cautionary messages.
A special recommendation
“My parents showed me many Studio Ghibli movies when I was young, so I suppose you could say I’ve been a fan for life,” Casilen shared. She said the animation, music and pacing of the story are so calming that even when the stakes are high, it still feels like a comfort movie. She said what makes the studio’s art style beautiful is its attention to detail, such as the way people move or how the wind blows in their films. Casilen said though the storylines are simple, they will
always leave its audience contemplating at the end of the movie.
“My favorite Studio Ghibli films are ‘Howl’s Moving Castle,’ ‘Spirited Away,’ ‘Ocean Waves’ and ‘Arrietty.’ There’s too many to choose from,” said Sharma. She shared one of the best things about Studio Ghibli is the music and how well it integrates with the story, whatever the storyline is and whoever the characters are.
“If you’ve never seen them, I highly recommend giving them a try,” said Rogers on watching Studio Ghibli films. She said whenever she feels stuck in life, wants to cry or be kinder to others, she finds herself watching a Studio Ghibli film, with many of the characters becoming role models for her. No matter where you are in life, there is always a lesson to be learned from a Studio Ghibli film, she said.•
Photos from Kahealani Sharma and Abish Casilen. Page deisgn by Cyrelle Briz.
MirrorMirror
On The Wall
From a villain to princesses, students share which Disney character is a reflection of who they are. Some said they see themselves in the characters, others said they see the characters as an example of what kind of person they want to become.
BY CJ SHINIHAH NOTARTE
Ioselani
Taren
Moehani
Poevai
Valentine
Maleficent
Ioselani Ioselani, a junior from Samoa, majoring in political science and Pacific Island studies, said he would be Maleficent because she is a mixture of both good and evil and she represents a lot of his personality. “I’m kind and I’m evil in a way, when I get pissed I get mean so fast,” he explained.
Rapunzel
Taren Parmley, a senior from California, majoring in computer science said she’d like to be Rapunzel. “She’s always trying to do what she thinks is right. She is also creative, fun and chooses to see the best in everyone,” she shared. Parmley also said she loves Rapunzel’s ability to connect with people which is an attribute she is working on refining herself.
Illustration by Guen Ramirez-Platon. Page deisgn by Cho Yong Fei.
Mulan
Valentine Elisara, a senior from Samoa, majoring in business management said she would be Mulan. Mulan is courageous unlike other Disney princesses who were born to be royals, she said. “She broke gender stereotypes defending her community and her family,” she continued.
Tiana
Moehani Hamblin, a junior from Tahiti, majoring in health and human science said she would like to be Princess Tiana because Tiana works hard to reach her dream. “She doesn’t rely on luck or even on [Prince Naveen], she relies on her [own] capabilities,” she shared. Hamblin said she loves a quote from Tiana saying, “the only way to get what you want in this world is through hard work.”
Merida
Poevai Ienfa, a senior from Tahiti, majoring in English education said she would be Merida from the movie Brave. “It’s mainly because of her adventurous spirit,” she explained. She said Merida is someone who does things on her own and loves it. “Merida is also underestimated because she’s someone who doesn’t necessarily speak out loud to everyone. She’s in her bubble doing her own things that’s why I relate a lot to her,” Ienfa shared.
