Volume 16 Issue 2
Erik Beserra
Lockdowniversary

A year ago I stared at the numbers rising on the New York Times website. Every day I found myself feeling more inept as 10,000 became 20,000 became 40,000 became 80,000. I stared at the numbers like a moth at lights. Inept and discouraged. I still feel inept. I now have a tab with the New York Times vaccine distribution map. It is weird staring at this good news. Some part of me doesn’t feel hopeful since this is just what needs to be done. We failed and are now picking up the pieces.

Lockdowniversary
Volume 15 Issue 3
Lauren Mondroski
Dying to Get Outside? A Grave History of Hiking ...

This was before the establishment of large public parks, meaning that if you were a Victorian-era urban American, you most likely spent your time outdoors strolling and picnicking with family, friends, and lovers, all amidst the dead.

Dying to Get Outside? A Grave History of Hiking and Cemeteries
Volume 15 Issue 2
Allison Wallace
A list of good: a good list to make

· Arriving
· The first song you listen to through headphones
· When a good bakery has good tea (the complete experience)
· The crisp, blue outlines of the hills here in Western Oregon

A list of good: a good list to make
Volume 15 Issue 2
Nerissa Wright
Seek Discomfort

Portland is a peculiar white haven, and I come from a melting pot that smells like urine year-round. Both are good, but very different.

Seek Discomfort
Volume 14 Issue 1
Lauren Mondroski
Spoiler Alert: There Is No Coming of Age

Released on August 25, 2020, Haley Blais’ Below the Salt is an album I wish I had during my first year of college. Coincidentally, that’s when I first started listening to Blais, a Vancouver-based singer-songwriter and vlogger whose wacky sense of humor and DIY bedroom-pop bangers resonated with me, a freshman living on her own for the very first time and trying to make sense of the world and herself. That unsure first-year is a senior now, but no less unsure, and I think that’s the point of Blais’ debut album: her label writes, “Below the Salt is a coming of age story that recognizes that there is no real ‘coming of age.’”

Spoiler Alert: There Is No Coming of Age

Volume 5 Issue 2

The Complete History of Renn Fayre Part 1: 1967-77 "High Medieval to Huge Party"

The Complete History of Renn Fayre Part 1: 1967-77 "High Medieval to Huge Party"

Sure, it makes sense for us to end the year with a brilliant celebration of our hard work and our mutual love that also serves as an ultimate expression of the freedom we have created for ourselves through our diligence and honor. But cataclysmic catharses don’t just happen because they make sense.

    Any of you who have put in time working for the student body will recognize the way Reed traditions grow and survive; original flashes of inspiration are brought to reality by collective effort and then passed down to the next generation; who expand upon them and toil to keep them alive in a sort of simultaneous preservation, resuscitation and evolution.

    This article, the first in a series, explores the beginning of that process. During its first decade, Linda Howard’s wholesome Renaissance Faire was built upon (and gradually diluted) by more and more of the recognizable components of today’s Renn Fayre. We’ve chosen 1977, the year of the first Renn Fayre Quest and the first softball tournament, as a cutoff for this edition, but that’s somewhat arbitrary. Like everything at Reed, Renn Fayre has been cumulative;  each year, everyone builds upon last year’s efforts. That means what you do this year might just shape its next forty-eight iterations.

Five Thesis Shows

Five Thesis Shows

Through Sunday the Festival of New Works is presenting five performance theses created by Reed seniors. Brianna Walker’s piece, “Looking for Leon”, opens the Festival by leading audience members from the second floor of the Performing Arts Building to the first. This floor-to-floor movement occurs throughout the festival as most of the performances are split up by their acts, the first act of one play being followed by the first act of another play before a return to the second act of the first play. This shifting back and forth between plays keeps up the pace of the festival. Five productions in one sitting might be too much to handle if there weren’t these moments of moving between floors and cliffhangers between acts of the productions.