The wine community gathered together to question a wine writer from the Oregonian. The tables were turned May 1 in T.J. Day 222.

Brick House Vineyard’s owner Doug Tunnell brought the opportunity to question Oregonian wine columnist, Katherine Cole, to Linfield. Opened to the community, the room was packed with many who are in the wine industry.

Tunnell is a former CBS newsman who switched to wine making in 1990. Today, he owns Brick House Vineyard in Newberg, Ore.

Cole is a mother of two and writes about wine for the Oregonian and MIX Magazine. Cole believes that wine is subjective.

“There is no gold standard,” Cole said. “One person could this is oxidized, I can’t drink it, but another could say, this is so old world, I love it.”

Tunnell then raised the question of “why have wine scoring?”

“There’s a scoring range from one to 100, and I just want a 96, how do I get a 96?” Tunnell said, earning laughter from the audience.

Cole responded with saying that she didn’t agree with scoring.

“Wine critiques, whether it comes from newspapers or the blogosphere, stems from wine appreciation,” Cole said.

When writing about wine, Cole said that she doesn’t always get it right.

“Sometimes I don’t get it right, and then I want to cry, Cole said.

“If you start to follow a certain wine publication, make sure they also get their facts straight.”

Tunnell also raised a question about Cole’s thoughts and practices surrounding free sample giveaways to critics and creating relationships with the wine makers.

“There are some distinct advantages that those who develop relationships [with the wine makers] have that I don’t, Cole said.

“There are two ways to think about it. There’s those of us who don’t engage in the industry, and we are imbeciles, we are morons. How could we possibly write about what [wine makers] are doing? Getting you’re hands dirty… There is no way we can understand what you guys are doing without being apart of it.”

Cole goes on to explain that there is the other side, which is the newspaper side, where journalists know not to cross the line.

After Tunnell finished his list of questions, the audience was allowed to ask Cole additional questions.

Cole also visited with students, faculty and administrators during lunch and dinner. She also talked in various mass communication classes.

Kaylyn Peterson

Copy chief

Kaylyn Peterson can be reached at linfieldreviewcopy@gmail.com.

Intimate fliers for Linfield College Theatre’s musical “Spring Awakening” have caught the eye of many Wildcats. But the actual performance captured the audiences’ full attention during its opening weekend May 2 through May 5 in the Marshall Theatre.

“Spring Awakening” is set in late 19th century Germany. It accounts the lives of a group of 15-year-olds, who are forced to uphold the harsh moral and religious standards of the time period.

The play focuses on the relationship between two main characters. The characters are Wendla, portrayed by sophomore Mackensie Semper. And Melchoir, played by senior Collin Morris.

Sophomore Nicholas Granato as “Mortiz,” freshman Lukasz Augustine as “Georg,” senior Chris Forrer as “Otto,” sophomore Logan Mays as “Ernst” and sophomore Jeremy Odden as “Hanschen” comprise the leading roles of school boys.

Sophomore Delaney Bullinger as “Thea,” Gabrielle Leif as “Ilse” and senior Jenaveve Linabary as “Martha” are the group of leading young ladies.

Throughout the play, these characters grapple with balancing sexual curiosity and society’s expectations of purity.

Talk of sexual content in “Spring Awakening” has circulated throughout campus. The scenes with kissing and other sexual content invoked animated responses from the audience. But the scenes contributed to the production’s messages.

“It brings up ideas about sexual abuse, homosexuality, suicide and teenage sex,” Morris said. “A lot of these ideas are still taboo today.”

The play’s heavy moments were lightened by exciting songs and synchronized dance routines. The music department joined the Linfield College Theatre to create a musical, which is a type of play not as commonly performed.

“It definitely took a lot of coordination to make this production happen,” Morris said. The band was always visible in the set’s background, which added to the concert-feel of the performance. The cast began musical rehearsals a few weeks into the spring semester. Full rehearsals commenced after spring break. The cast dedicated a great deal of time learning and practicing the dance choreography.

“I think the dance routines added another level of angst and emotions that the numbers already achieved,” said sophomore Alli Halley, the production’s choreographer. “The routines were the cherries on top of incredible songs, which couldn’t have been done without the extremely talented cast members.”

The musical will continue to run May 9 through May 12.

“I would encourage people to see it,” Morris said. “Because even though it does take place in a different time period, it brings up a lot of important issues that are still relevant today.”

Every character sang the last passionate number. Linfield College Theatre Director Janet Gupton’s two young daughters appeared on stage in the final minutes. The end will not be spoiled, but the two girls’ participation tied off the closing scene with a charming bow.

Carrie Skuzeski

Culture editor

Carrie Skuzeski can be reached at linfieldreviewculture@gmail.com.

“Haunted” varies from other Chuck Palahniuk novels because it’s a series of 23 short stories that are tied into one larger story, rather than one unbroken story. However, it shares the same feature as Palahniuk’s other novels. Once one is finished reading it, he/she experiences a weird desire to take a boiling hot shower to rinse off the filth and shame gained from reading “Haunted.”

Unfortunately, “Haunted” is so perversely twisted that it may be literally impossible to rid oneself completely of the indignity that the novel brings, and one must continue to live their life knowing that he/she is just as perversely heinous as all other Palahniuk fans.

The surrounding story of “Haunted” is of 19 individuals who sign up for a writers retreat and are then, unknowingly, locked underground with limited food and resources by their host.  They are charged with writing a great manuscript in three months before they are released.

After a moderate amount of protest, the group decides to lean into the experience under the idea that, after they are found, they can sell their story for millions.

So, like any rational group of would-be writers, they willingly resort to such activities as murder, cannibalism and self-mutilation, essentially anything to make their story even more traumatic, and therefore, sellable.

Each of the individuals takes time out of their busy schedules of making baby-soup to share their story.

One of the first stories, entitled “Guts” is probably the most well-known story from the novel, as it had been published previously in “Playboy.” The story is of a young man masturbating himself nearly to death and having his insides all but sucked out. According to Palahniuk, it is based on a true story he heard during a sex addicts anonymous meeting.

As a reader, you would think that the stories from thereon out could not get any more terrifying, or dare I say, haunting, but you would be wrong in your assumption. So ridiculously wrong.

The stories of “Haunted” are more than just gore and sex, but several, such as “Obsolete,” hits the reader psychologically and makes them look at their life and their choices, and perhaps, even send them spiraling into an existential crisis.

Palahniuk has an extraordinary ability to reach into a reader’s soul until he finds the darkest and most voyeuristic part of it before tenderly treating it to his work, which exposes full spectrum of human travesties.

Reading Palahniuk’s many works may send you to Hell, but at least you’ll know what kind of shoes to wear.

Paige Jurgensen/Staff writer

There are some pretty common myths about how women can get pregnant, whether by accident or intentionally. For example, getting pregnant by sitting on a toilet seat. While most college students probably realize the absurdity of this myth, there are others that seem legit. This may be because some are so similar.

A common myth about preventing pregnancy is if you have sex while a woman is on her period, she can’t get pregnant. While it might not be a common occurrence, this is not a practical preventative method. The egg is fertilized while it is in its descent down the fallopian tube. Sperm can live up to five days after being ejaculated into the vagina, and some women can become fertile four days after the beginning of their period.

This means that another egg has been released from one of the ovaries. This is similar to the myth of using the ovulation cycle to prevent or ensure pregnancy. Women have varying cycles on an unseen level.

Ovulation at around 14 days after the start of a period is not a rule for most women. As mentioned above, fertility can occur in as little as four days. Therefore, this is not a reliable method to predict when a couple can conceive or when it can prevent pregnancy.

The withdraw or pull-out method is when a man removes his penis from the vagina prior to ejaculation. This seems like it would work, except for that a little bit of fluid that comes out of the penis during stimulation. This fluid has a chance of carrying sperm in the urethra from a previous ejaculation. And we know how long sperm can possibly last.

It doesn’t require much sperm for a woman to become pregnant, either. In the end, only one little guy is required- or allowed- to fertilize, but because millions are in each ejaculation, there could be hundreds left in the urethra. And there is always a chance some could make it to the egg.

Positioning after or during sex does not have an effect on whether a couple gets pregnant. To improve the chances of conceiving, some people believe that if a woman inverts herself it will help the sperm find its way. Aside from lying down for a few minutes after sex, positioning will have no bearing on pregnancy chances. Additionally, positions, such as standing, will not prevent a pregnancy either.

When there is a chance of becoming pregnant in any of the above scenarios, the idea that getting pregnant can’t happen from having sex once is easily dismissed.

In fact, there is even a greater chance of getting pregnant given the amount of time that a woman is fertile during a cycle and how long sperm has to find the egg.

Kourtney Bailey can be reached at linfieldreviewbailey@gmail.com.

Students were immersed in the Spanish culture for an evening during “Taste of: Spain” on April 24 at La Rambla on Third Street in McMinnville.

La Rambla is a street mall in Barcelona, Spain. The local restaurant serves Spanish cuisine with a northwest twist.

La Rambla’s menu changes on a seasonal basis. Currently, it features dishes with diverse ingredients that combine to create fitting flavors. For example, one of the salads is made with baby spinach, apples and ham.

The meal commenced with tapas, which are not similar to American appetizers. La Rambla has cold tapas, such as salted almonds, marinated olives, roasted beets and an assortment of cheeses. Hot tapas include grilled cauliflower, stuffed mushrooms, steamed clams, sautéed garlic shrimp, spice-rubbed steak and seared duck breast. Tapas will sometimes account for an entire meal in certain bars in Spain.

A unique part of the menu is La Rambla paella. It is a large dish originating from Valencia, a state in Spain, made with rice with shrimp, clams, chorizo, green beans, peppers, onion and saffron. Patrons can order a large or small serving of paella to share with a group.

“I had learned about the Spanish dish paella in my high school Spanish class and it was fun to be able to try it,” Carey said.

For desserts, La Rambla offers churros, almond or chocolate tortes, vanilla custard, orange flan, apple bread pudding and ice cream with salted almond caramel or chocolate sauce.

Students reviewed that La Rambla’s prices are not too high, although it is a classy restaurant.

“The restaurant was pretty upscale in my opinion. The lighting was pretty dim, and there were candles on the tables,” Carey said.

Students enjoyed the decorations, although the music did not contribute to the atmosphere.

“It is pretty dark and well decorated,” senior Nora Burnfield said. “The bar is really neat looking. The music, however, doesn’t really match the Spanish theme.”

Wildcats who participate in the “Taste Of” trips say they provide new tastes and opportunities, which is always a positive experience.

“For people who are interested in learning about other countries and cultures, the “Taste of” trips give them the chance to do so in a fun and really inexpensive way,” Carey said.

Carrie Skuzeski/Culture editor

Carrie Skuzeski can be reached at linfieldreviewculture@gmail.com.

Four musicians from the Oregon Symphony joined together to form the Mousai Remix quartet that performed April 25 at Delkin Recital Hall.

Members of the quartet first met at a sight-reading party and realized that they enjoyed playing together. Their goal is to play within the community.

They often play with children, in elderly homes and with the children’s outreach program for the Oregon Symphony.

They like playing in a quartet because they like to mix it up and interpret the music how they view it, they said.

With an energetic start, Mousai Remix performed the first movement of W.C. Handy’s string quartet.

There was a sense of connection and it was evident that the performers enjoyed playing the music together.

Emily Cole is a violinist originally from Seattle and has been with the Oregon Symphony for two years.

Cole began playing the piano at 6 years old, but not by choice.

She eventually switched to the violin, where she first studied under her mother, who is a violinist in the Seattle Symphony.

Shin-young Kwon is a violinist from South Korea and studied at the Manhattan School of Music.

Kwon began playing the piano at 3 years old, then at 6 years old, learned how to play the violin. She now plays the piano but only as a hobby.

Marilyn de Oliveira is a cellist from Brazil. She came to the U.S. to go to college and has been with the Oregon Symphony for four years.

De Oliveira has been playing the cello since she was 5 years old.

Her older sister plays the violin and her father told her that she could play the same instrument as her sister or something bigger. So de Oliveira chose a larger instrument.

Jennifer Arnold, who plays viola, is from Ohio and has been with the Oregon Symphony for eight seasons.

Arnold first started playing the violin. During a summer camp in high school there were not enough violas so the violins had to switch back and forth. Arnold decided to just stick with the viola.

The members of the Mousai Remix string quartet think that the future of classical music as a popular genre is having an open mind in attracting an audience and encouraging it to look up what it’s interested in or pieces it’s heard, but also just having fun.

Linfield’s own string quartet then played “Adagio for Strings” by Samuel Barber, which is often used in film and television.

It was used in “Sicko” (2007), “Elephant Man” (1980) and has been heard in episodes of “Southpark” and “How I Met Your Mother.”

The Linfield quartet consists of sophomore violinist  Sasha Meyer, junior violinist Lauren Pak, freshman violist Richard Liang and sophomore cellist Alyssa Townsend.

Mousai Remix and Linfield then combined their quartets to play “Adagio for Strings” again.

The members of Mousai Remix advised the Linfield quartet on how it can improve playing together and gave it some examples.

Mousai Remix finished the concert by playing the second and fourth movement of Handy’s string quartet.

Kiera Downs/Copy editor

Kiera Downs can be reached at linfieldreviewculture@gmail.com.

As part of the Lacroute Art Series, three jazz artists visited Linfield to share their thoughts about how creative expression can build community April 22 in the Delkin Recital Hall. After the interactive discussion, they played an improvisation set.

“I want to talk about jazz as revolution,” said Tim DuRoche, a musician, artist, writer and activist. “Jazz can be all things to all people. It is all around us.”

DuRoche started the audience out with a basic description of jazz, its most famous players and the influences they’ve had on each other and the country.

He talked about the evolution of jazz and the public’s reception over time. People were beginning to see how this music represented the country we were becoming, and it continues to do so. There are many ways to examine the problems a community may face.

“When we look at conflict in community, it is so often about the way things have been and the way things could be. It’s also about individual versus the community, but that’s a myth,” he said. “The west was won by communities and people working together. Jazz allows us to look at the world this way.”

DuRoche talked about jazz as a metaphor with the power to change who we are, how we belong and how we move forward as a community.

“Think about what jazz does. It unites our voices and energies. It unites us. It tells a story. It allows multiple perspectives and allows us to be part of something. In many ways, it is democracy in action,” he said. “Jazz is a process of discovery. It asks questions. It is participative and inclusionary. All these things we really want to have happen as a community.”

Along with DuRoche on drums, Portland State University professor Darrell Grant played the piano. Jon Shaw, a native Portland musician, accompanied the two on the upright bass. The combo illustrated values of community by playing various improvised songs together.

The trio discussed the idea that you can bring together different personalities to accomplish anything. It’s about having shared values and common purpose.

“Jazz brings the element of freedom, composition and individual agency,” Grant said. “The performer gets to contribute to the making of the piece as a whole. For a jazz musician, it’s a constant search for something new.”

After their performance, DuRoche, Grant and Shaw all shared their thought processes as they played uncharted music they’d never seen before. DuRoche discussed harmonies, cadences and chords, painting a picture of the way that people work together using improvisation.

“Jazz is collaborative, collective leadership, in the same way that leadership should be collaborative and flexible,” DuRoche said. “While in the midst of improvisation, you must explore the outer limits to take you further into the next level. Musicians must listen deeply to each other in order to function.”

DuRoche encouraged everyone to incorporate music or creative expression into every group effort, whether it is a company or volunteer organization.

“Jazz gives us this space where questions can be asked and something new can emerge,” he said. “The questions that jazz asks are comparable to those you ask when living in a community. How much risk are you willing to take? How much do you plan to participate? How invested are you in the wellbeing of the whole?”

Afterward, audience members got to speak with the musicians at a social with refreshments provided by the music department.

Kelsey Sutton/Managing editor

Kelsey Sutton can be reached at linfieldreviewmanaging@gmail.com

What were you doing when you were 12 to 14 years old? Millions of women and children in Latin America are pulled into sex trafficking at this age.

The Linfield Chaplain’s Team hosted a viewing of “Volviendo,” a documentary  by three young filmmakers about the perpetually growing problem of sex trafficking in Latin America on April 23 in Ice Auditorium. The event also included discussion with one of the producers of the documentary and a woman who survived sex trafficking.

Artwork from survivors was on display for guests to look at before the film. Words, including hope and healing, filled paintings and poetry that were brought by organizations, such as Mending Soul and Freedom’s Breath.

Starting at 7 p.m., the documentary was introduced by Chaplain David Massey and alumna Sierra Stopper.

Stopper graduated in 2011 with a Spanish major and anthropology minor. After studying abroad during her time at Linfield, Stopper learned about the sex trafficking problem. Upon graduation, Stopper met Jes Richardson, who helped Stopper found the Volviendo organization. Stopper and Massey worked together with Portland-based organizations to make this event possible.

Volviendo originally started out as a feature film project by producer Phillip Abraham, Brittany Lefebvre and Diego Traverso.

“We didn’t want to just make a documentary about the problem,” Abraham said. “We followed them through their daily life. They didn’t hear the sad music. It was their life. We wanted to show people how they can work to fix it.”

The group traveled through Central and South America starting in Mexico. It quickly realized that creating the fictional film based off of sex trafficking would not be as powerful as showing the world the multitude of the problem across Latin America through a documentary. Many times, the filmmakers and crew put themselves in dangerous situations, including run-ins with pimps, those being trafficked and the authorities.

After the film, Abraham asked for words that would describe how the audience was feeling. Words, such as sad, hurt, ashamed and confused were suggested from different members of the audience, most expressing their lack of knowledge about sex trafficking before the film.

Richardson, a sex trafficking survivor, spoke after Abraham, talking about how she was pulled in to trafficking and also how she survived it. Coming from a broken home, Richardson ran away and began working on the street.

“The abuse can come from anyone, a family member, a significant other, a pimp,” Richardson said. “He gave me attention, and as a teenager, I ate it up. It’s all I wanted. And when he changed my name, it made me into an adult.”

Life was beginning to wear on Richard by the time she was only 18 years old, despite her driver’s license stating she was 23 years old.

“The only thing someone ever told me was ‘once a hoe always a hoe, and that’s all you’ll ever know.’ So I did the only thing I knew what to do. I stayed in that life for three more years. I didn’t know what else to do. How do you sit in front of a job application trying to fill out past job experience? It’s reality, and for three years suicide became one of the only options.”

It was at the same she was thinking about suicide that Richardson found herself at a clinic where she got the news of a positive pregnancy test.

“It wasn’t AIDs. It should have been. So many of my friends had it. I was pregnant,” Richardson said. “Today, that child is 12 years old. She’s president of her sixth grade class, and she knows my story because it’s her story. It’s the fight in her that created the fight in me.”

Kaylyn Peterson/Copy chief

Kaylyn Peterson can be reached at linfieldreviewcopy@gmail.com.