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OCTOBER 30, 2023
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LOCAL ARTISTS TALK
EUGENE SCENE Four local musical acts elaborate on their experiences as artists in Eugene
NEWS: ASUO sees massive surplus PG 3 • OPINION: The epidemic of filming strangers in public PG 7• SPORTS: Coach Ulmer leads volleyball PG 14 M O N D AY, O C T O B E R 3 0 , 2 0 2 3
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NEWS
INSIDE ASUO’S $1.7 MILLION SURPLUS Daily Emerald
ASUO has a current $1.7 million surplus for UO student clubs or organizations. That’s down from the $2.2 million it started this school year with. BY JOHNNY MEDIA • DESIGNED BY RYAN EHRHART
VOL. 125, ISSUE NO. 13
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ASUO started this academic year with a surplus of funds in the amount of $2.2 million. The surplus of cash is the most in UO history. While some of that money has already been approved to go to different student clubs and organizations as well as events for all students, there still remains $1.7 million in surplus up for grabs.
(Grace Turchetto/Daily Emerald)
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ON THE COVER
Local Eugene band Common Koi consists of three members: Skyler Coy, Stephen Strong and Kira Gelbaugh. (Lulu Devoulin/Emerald)
THE DAILY EMERALD
The Daily Emerald is published by Emerald Media Group, Inc., the independent nonprofit media company at the University of Oregon. Formerly the Oregon Daily Emerald, the news organization was founded in 1900.
The surplus funds can be requested by any student club or organization recognized by ASUO and new ones not yet recognized. A surplus is the amount of money that remains once all requirements have been paid for a budget year. One large reason for the record amount of surplus money ASUO sees today is COVID-19. “What we saw during the pandemic is that a lot of student organizations didn’t use their funding because they weren’t putting on events and they couldn’t put on events,” ASUO President Chloe Webster said. The lack of programming allowed for a copious amount of funds to head into the ASUO’s surplus budget. “That spiked the surplus and we’ve had issues getting it down ever since then,” Webster said. “Having a surplus this large is very unusual.” Webster, who was a senator with ASUO last year, said a surplus this high means that ASUO has been “fiscally irresponsible.” “Just like all the money we deal with, the surplus is student money and we want to use it responsibly to help benefit the students here,” ASUO Vice President Finn Jacobson said. The point of the Incidental Fee, which is the fee that all students are required to pay and is the fee that is funneled into ASUO’s budget, is to go toward events and programming during the years students attend UO. With little to no programming during the 2020-21 academic year, many students have missed out on seeing their dollars used while on campus, likely being used for students in future years instead. For the class of 2024, whose first year was marred by COVID-19, this year marks their last chance to see that money go into events they can potentially benefit from. “A lot of students who weren’t able to see the funds that they used to go towards surplus, so we need to spend as much as possible. We have a lot of different ideas around spending but we’re really also trying to get student input as well,” Webster said. Last year, ASUO used some of those surplus dollars to fund the Downpour concert, which was headlined by Aminé. That event used $252,000 in surplus funds. A similar event has already been approved again this year. The concert this year will have two headline acts and be held at Cuthbert Amphitheater. It will have a budget of $350,000. The Downpour concert was the first of what Jacobson and ASUO hopes will become an annual tradition at UO. “The concert was successful in that it brought in students from all around campus,” Jacobson said. “Making the
(Eliott Coda/Emerald)
concert a sustainable annual event would be ideal.” ASUO wants to do more than just put on large concerts for students. The goal is to have many clubs and organizations use the money on events and programming that have substance and a lasting impact on UO students. “We want to hear from students to see what they want to see on campus,” Jacobson said. Yanling Joslin is a third-year student and a UO senator on the Program Finance Committee. They want students at UO to have more input about how ASUO spends money. “We look at our mission, we are committed to distributing the funds equitably,” Joslin said. “We want students to be seeing things that they want on campus. Whether that’s through departments we finance or through contracts with companies like Lyft or Peacehealth Bikes and working with student organizations.” So far, many of the requests have been fairly expected. “The most common requests are for merchandise, shirts, jackets [and] sweaters for clubs. The second most would be for travel, going to conferences or big events,” Joslin said. Putting on events that benefit the students of UO is the main mission ASUO has for using these funds. “The Bollywood Ball, put on by the South Asian Cultural Alliance, was a great use of surplus funds last year,” Joslin said. “The SACA requested about $10,000 for that event. Those are the types of community events we’d like to see more of this year.” ASUO is hoping that the requests for funds this year will be aimed at having an impact on as many students as possible. “We want to really encourage student organizations to utilize this resource. Even organizations that may not be recognized by ASUO yet can work with an ASUO executive through our co-sponsorship program,” Webster said. “We’re telling groups and organizations that this is the year of dreams,” Jacobson said. “The goal is always to have the biggest impact possible on the students here and this rare opportunity of having a large surplus to take advantage of will help make that impact even larger.”
UO student workers overwhelmingly voted to form a union in the election that ended on Oct. 24. It is expected to be the largest undergraduate student workers’ union in the country.
(Ian Proctor/Emerald)
On Oct. 21, a man armed with a splatter ball gun fired into a crowd marching in support of Palestinians in front of the Wayne L. Morse Federal Courthouse. We want to hear from you: Email editor@ dailyemerald.com to submit a tip or a letter to the editor. The ideal length for a letter is 200-500 words, but we publish letters of various lengths online.
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PHOTO STORY
A medic sits in the back of a golf cart and goes through their gear bag, making sure everything is stocked before the game kicks off. Hundreds of workers flock to and around Autzen Stadium on gamedays; their work is often overlooked by the thousands of fans who attend the game. (Molly McPherson/Emerald)
PHOTOS: GAMEDAY BEHIND THE SCENES
A parking attendant directs oncoming cars toward the proper parking lot based on their parking pass. (Molly McPherson/Emerald) PA G E 4
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PHOTO STORY
Concession volunteers smile and laugh after they worked together to figure out how to apply a discount to an order. (Molly McPherson/Emerald)
A police K-9 stands with a ball in her mouth on the concourse of Autzen Stadium. (Molly McPherson/Emerald)
A concession stand worker grabs a pretzel from the case and begins to deliver it to a customer. (Molly McPherson/Emerald)
A concession stand worker opens the gates to their stand. (Molly McPherson/Emerald) M O N D AY, O C T O B E R 3 0 , 2 0 2 3
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CALENDAR OF EVENTS This week’s editor’s picks...
TUESDAY, OCTOBER 31 Halloween at WOW WOW! It’s Halloween already?! Halloweekend has come to a close, and Halloween itself is unfortunately on a Tuesday. However, some don’t want the spooky party to stop. WOW Hall Community Center for the Performing Arts will host five bands to celebrate Halloween: Taleen Kali, Rest Without Relaxation, Bliss Foxx, Titsweat, and Only Only. Many of the artists have a punk vibe, so come ready to rock out and maybe use extra glue on your Halloween costume. Tickets are $8 when purchased in advance, $13 when purchased at the door and $10 when purchased while wearing a costume. Doors open at 7 p.m. and the music starts pumping at 8 p.m.
(Jack Hunter/Emerald)
FRIDAY, NOVEMBER 3 The Spongebob Musical
We don’t need television as long as we have our imagination! Pegasus Playhouse will be showing a youth production of “The Spongebob Musical,” the musical performance directed by Tina Landau that made its Broadway debut in 2017. The musical features songs from a variety of artists and even makes use of songs from the television series. Be sure to “watch the junior company rock their way through this crazy show.” The production runs from Nov. 3 – 11 and costs $15 per ticket. It opens on Friday at 7 p.m. Take your kids or revisit your own childhood and experience the “Best Day Ever”! PA G E 6
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THURSDAY, NOVEMBER 2 Gabriel Iglesias: Don’t Worry Be Fluffy It’s time for Eugene to laugh!
Well-known comedian Gabriel “Fluffy” Iglesias is coming to Matthew Knight Arena as a part of his “Don’t Worry Be Fluffy” tour. There are currently three of Iglesias’ stand-up comedy specials available on Netflix, as well as his television show “Mr. Iglesias,” for you to watch and familiarize yourself with his humor. According to his website. Iglesias’ “stand-up comedy is a mixture of storytelling, parodies, characters and sound effects that bring his personal experiences to life.” Ticket prices range from $59.50 to $89.50 and are limited to eight tickets per customer. The event begins at 8 p.m., but the door time is 7 p.m.
OPINION
KAVANAGH: THE EPIDEMIC OF FILMING STRANGERS IN PUBLIC Opinion: Videos filmed of people without their knowledge are now ubiquitous on the internet BY EMILY KAVANAGH • DESIGNED BY RYAN EHRHART
In the past, I’ve seen these videos and barely batted an eye. Though, the more I think about it, the more disturbing it is. Someone walking along the street, reading a book in a park or having a rough day that caused them to cry doesn’t deserve to be exposed to a vast internet audience. However, seeing videos of these situations and others like it has become commonplace. They rack up millions of views, with most commenters on board with whatever narrative the creator tries to portray. “I think it’s a jerk move to put a camera right into someone’s face,” UO freshman Sage Gassert said. In the modern age, the power of a cell phone camera is significant. It can be used for incredible good, like when the abuses and murders perpetrated by police are filmed. However, it can also have more sinister uses, such as stalking or bullying. Even if the person being filmed isn’t Ellyce Whiteman/Daily Emerald
doing anything they might be judged for, knowing that so many people have seen you without your knowledge or permission is terrifying to imagine. “There’s someone in my dorm that went around taking selfies with random people and then ran away. I think people got upset with that,” Paige Van Nyhuis, a UO freshman, said. While doxxing began in the 1990s, filming people in public isn’t a completely new phenomenon. Man-on-the-street interviews, or even just filming a street and seeing what one might capture, have been common for a long time. The reach and algorithm of apps like TikTok means that videos, no matter how concerning, can travel to millions of people’s screens in hours. The legality of how people can consent to filming in public is an incredibly blurry subject. Laws vary widely around the U.S. and the world. Oregon is considered to be a two-party state, meaning that both people involved in an interaction have to give consent to be recorded. However, when filming a public gathering, the lines blur as there is no “reasonable expectation of privacy” when being on the street or in a park. Despite these gray areas, asking someone for consent to record them is always ethically the right thing to do.
“As long as you ask, I feel like it’s not a big deal,” Van Nyhuis said. “If someone doesn’t like it they can easily say ‘Don’t record me, can you delete that?’” People crave these candid and raw glimpses into others’ lives because everyone is expected to keep up a curated appearance on social media and in life in general. While I agree with wanting to change this status quo, recording people without their knowledge is the wrong approach. For all the concern about living in a surveillance state, it’s ironic to see the public perpetuating it. And on a more concerning note, there are people whose safety can be threatened by this epidemic of random filming. They could be trying to stay hidden from an abuser or cut off contact with a toxic family. Is putting music to people just trying to get through their lives worth potentially upending them? “I’d compare this to petting random dogs. You don’t know how they’re going to react,” Gassert said. In the age of smartphones and addictive social media algorithms, people are living in a self-imposed panopticon, with a camera always near them. To navigate this highly visible world, respecting people’s boundaries and staying aware of the harm a short clip could potentially cause is important.
EDITORIAL CARTOON:
Across TikTok and other social media platforms, it’s common to see videos of interviews or other scenes in public where someone approaches strangers or films them for entertainment value. Maybe it’s critiquing their outfits, looking at their interactions with each other or noting how sad it is that they’re eating at a restaurant alone.
BY GRIFFIN BAILEY In all seriousness, I probably would pay $60 for that shirt. (Griffin Bailey/ Emerald) M O N D AY, O C T O B E R 3 0 , 2 0 2 3
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COVER Musician MUNYAA (Munya Mambira) produces Afro-pop, but more specifically Amapiano music. Mambira posed for a photo on June 9, 2023. (Kemper Flood/Emerald)
Four local acts from vastly different backgrounds give a deeper understanding of what makes the Eugene music scene so vibrant
EUGENE’S MUSIC SCENE IS ECLECTIC, TIGHT-KNIT Music plays a vital role in Eugene’s culture. Ever since I stepped foot in Eugene, it became clear that a large portion of the people here highly value the power and community of music. As someone who is living his fourth year here, I’ve had plenty of time to witness the impacts that the music scene here has had on the people in it. However, my primary source of knowledge and observation has come from a spectator’s perspective rather than that of the bands and artists. In PA G E 8
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order to fully understand the impact of Eugene’s music scene, talking to musicians from a multitude of different sides became paramount.
MOMMY Ever since its arrival, Mommy has been a staple in the Eugene indie scene. Seemingly featured or headlining on almost every bill, this rock band has certainly left a mark. I sat down with co-guitarists Patrick Walker and Sam Galyen, drummer Asher Loewenstern and lead
vocalist Martina Hemstreet to talk about their influence on the Eugene music scene as well as the mark it has left on them. Mommy is comprised of UO students all in their final year. “Being seniors this year, it’s way different,” Galyen said. “As you get older, you become more of a controlling force, but it’s like, now we’re playing these big shows and all of our friends have seen us like 1,000 times. So we’re playing to these big crowds and it feels like I barely know anyone there anymore.”
Mommy, like most other collegeaged indie rock bands here, got its start by meeting at the university and making inroads with more tenured bands. Walker said that getting a good start in the indie scene comes with putting yourself out there and attending lots of shows of already established bands, and a lot of that comes from a strong social media presence. “Basically the dynamic was like, ‘We’re the new band, we’re meeting them for the first time’ and that these bands are the people we
COVER found on social media,” Walker said. “And now that we’re one of the established bands, the people that are coming to our shows are doing what we did freshman year.” While Mommy has become quite popular with the younger, college-aged crowd, the band said that performing at venues on the west side of Eugene can be more challenging because its music doesn’t cater as much to an older audience. “If you wanna get somewhere as a band here, you have to cater to a specific vibe,” Walker said. Hemstreet and Loewenstern both mentioned that a huge part of becoming successful not only in the UO scene but Eugene as a whole is going to different bands’ concerts and seeing how the audience reacts to specific sounds. “We’ve always been very calculated about that,” Loewenstern said. “Why mess around with a bunch of stuff that doesn’t get a reaction out of people when we could play stuff that people like?”
MUNYAA Munya Mambira, otherwise known as MUNYAA, is pioneering a new wave of Afropop music in Eugene. Having grown up in Zimbabwe, MUNYAA brings a unique perspective to the experience of an artist in Eugene. When asked about the differences between performing in front of crowds in Zimbabwe versus here in Eugene, Mambira cites energy as a primary source. “When I’m performing at home, they understand what I’m saying and sometimes sing the lyrics mindlessly,” Mambira said. “But here in Eugene, they don’t understand what I’m saying but they can feel the energy. The people here have shown me and my music nothing but love from day one.” Mambira grew up in a musical family, with both of his parents having played in traveling bands to share their music with the world. Growing up in an environment like that naturally inspired Mambira to become a musician. Becoming a successful musician means being surrounded by people who challenge you, he said. “I like when people challenge me to be better,” Mambira said. “That’s how I’ve felt performing at venues here.” Even though the Afropop scene in Eugene is still quite small, Mambira has been welcomed with open arms when playing with artists from
other genres. While rock and folk dominate Eugene’s music scene, MUNYAA has been on bills with some R&B and hip-hop artists. Mambira said certain venues have been inclusive toward a variety of genres. “Most of the time I perform with artists from other genres,” he said. “For me, it’s an opportunity to show what Afropop is. I haven’t gotten any bad energy from any of the venues I’ve performed at.” It is clear that since MUNYAA started playing in Eugene, Mambira has felt enormous support from its music community, despite being initially unsure. “Eugene, it’s a cool place, you know? But I didn’t get it at first,” he said. “It’s such a great place to
Jason Bube, Brandon Foley and Austin Ota to talk about On the Rocks’ experience and role in the Eugene music scene. Something that On the Rocks has that most artists can’t offer is the range to perform in front of an allages demographic. Hosting everything from alumni events to Chi Omega senior banquets, On the Rocks can get requests for songs from completely different eras. “We did a gig two years ago that was for alumni of the university that had graduated like 50 years ago,” Abdulhayoglu said. “Some of the songs they requested were ‘Take it Easy’ by the Eagles and ‘Take On Me.’” Conversely, Abdulhayoglu
If you wanna get somewhere as a band here, you have to cater to a specific vibe,” PATRICK WALKER Co-Guitarist for Mommy
do music, especially when you’re starting out. The people here help you establish that base to really take off once you leave.”
ON THE ROCKS On the Rocks is the only all-male a cappella group on UO’s campus, and they sure do know how to put on a show. Performing at a wide range of venues and for a wide range of audiences, On the Rocks’ theatrical performances and smooth harmonies make for a must-see spectacle. I sat down with Adem Abdulhayoglu, Justin Mouledous,
said that the people in Chi Omega typically request more modern songs, and since On the Rocks has the versatility for both, they are easy to coordinate with to build a set list that checks every box. Another potential hurdle for On the Rocks to jump over is fundraising and outreach for their shows. While the UO technically recognizes them as a club, On the Rocks is fully independent from the university and has to rely entirely on their own methods for fundraising and outreach. “Everything that we do is funded by streaming numbers on Spotify and gigs, so it
can sometimes be a bit of a hump to get over for outreach when you’re not funded by the university, but we kind of like the financial independence too,” Mouledous said.
COMMON KOI Like Mommy, Common Koi has been an indie rock titan in the Eugene music scene for years now. The members met in the basement of Hamilton Hall and have since dominated the house show scene. I sat down with bassist Kira Gelbaugh, drummer Stephen Strong and lead vocalist Skylar Coy to discuss the Eugene music scene and its impacts on them. Common Koi said networking is the easiest part of Eugene’s music scene. “There’s definitely a lot of people doing it in Eugene,” Strong said. “I think it’s still a relatively non-competitive environment here. We just want to meet each other and play shows with each other and help each other out, and help break down those barriers of the spaces in the scene,” Gelbaugh said. Advertisements for shows seem to be a mixed bag, though. Promotion for shows slightly further from the UO campus area require a lot more attention and care for promotion. But for a house show in the UO campus neighborhood, only a couple of Instagram posts will spread the word like wildfire. Another hurdle with concert promotion can be age requirements. “I learned that doing a 21+ show far from campus, no matter how much you put into promotion, it’s pretty hard to get people to come out,” Strong said. “For the bigger venues, you have to have some bands that have a solid draw for them to take the show.” Common Koi is a band that can adapt to the sounds and trends that are drawing the most people out at that time. Upon their arrival to Eugene, the softer indie sounds were the talk of the town, but recently the heavier sides of rock music have taken the forefront. “I’ve noticed recently that it’s switched away from indie rock to classic rock,” Coy said. “We rock the twang. We’re kind of letting go of our indie side, a little more twang, a little more heavy just in favor of the good times. If you’re bangin’, you’re playin’.”
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ARTISTS • VENDORS • TOOLS • DEALS • DISCOUNTS
Nov 1 & 2, 2023 • 10 am – 4 pm Flagship Campus Duck Store
The FREE artist & art tools show returns! Meet and connect with professional artists and vendors to learn more about their techniques, firsthand experiences and knowledge of art and media products. Plus, enjoy event-exclusive deals & discounts, including
25% OFF
*
ART & SCHOOL SUPPLIES!
MARGARET PLUMB
F E AT U R E D A R T I S T
895 E 13 th Ave • UODuckStore.com *Some exclusions may apply, and event discount cannot be combined with other discounts, promotions or coupons. See team member for details. Valid Nov 1 & 2, 2023 only. PA G E 1 0
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Home Flight Blankets Return To The Duck Store! Sponsored content
After selling out in a matter of weeks, the Home Flight Blankets will return on November 1st. These blankets were first released in February 2022 as a collaboration between The Duck Store, the University of Oregon Alumni Association, and the University of Oregon. A portion of the proceeds go to the Home Flight Scholars Program and the Native Duck Nation Alumni Network. These two programs work towards building a cultural community for Native students at the University of Oregon. In 2022 the University of Oregon celebrated National Indigenous Peoples Day by announcing the Home Flight Scholars Program. Crafted with the UO Native American Advisory Council, this program addresses financial, cultural, and academic challenges that Native American and Alaskan students may face during their time at University of Oregon. The Home Flight Scholars Program covers full tuition and fee costs, created a new academic advisor position, and builds mentorship opportunities and develops a culture-rich program for new students. With proceeds going to support Native ducks, the design and manufacture of the Home Flight Blankets was as thoughtful. UO alumni Kale’a Calica-Younker (Coquille/Miluk Coos/Umpqua) and her father Shirod Younker (Coquille/Miluk Coos/Umpqua) designed these blankets. The inspiration for the blanket’s design came from seasonal changes we see in the Willamette Valley and traditional basket designs. The blanket is purposefully designed to reflect ducks supporting each other through their various paths and goals. The Home Flight blankets double - sided print features UO’s traditional green and yellow colorway. Native stories, pride, and achievements are reflected in the creation of this blanket. Seattle-based art and lifestyle brand owned by the Snoqualmie Tribe, Eighth Generation manufactured the 59”x78” Home Flight Blanket on 100% aotearoa wool. These thoughtfully crafted blankets are available for purchase when ordered through The Duck Store. After last year’s strong support, the blankets sold out in only three weeks. Starting on November 1st, 300 blankets will be released. Support these wonderful programs and NIAN students by purchasing your own Home Flight Blanket at The Duck Store!
Keyen Singer, UO Miss Indigenous ‘23-’24, models the home flight M O N D AY, O C T O B E R 3 0 , 2 0 2 3
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A&C
RECUÉRDAME: HONORING LOVED ONES ON THE DAY OF THE DEAD Celebrated from Nov. 1-2, the annual holiday of El Día de los Muertos (The Day of the Dead) commences throughout Latin America to honor the lives of loved ones who have passed away BY LINDA MANZO • DESIGNED BY GABRIELA MARTINEZ CONTRERAS On Nov. 1 and 2, you may notice vibrant altars, music and skull face paintings. Ofrendas (altars of offering) are decorated in honor of loved ones who have passed away, filled with their favorite substances, to remember their lives during a joyous holiday. El Día De Los Muertos is a two day holiday, Nov. 1 being the day that honors children and Nov. 2 for adults. Decorations are vital to this holiday, as anatomical skeletons, cempaúchitil (flower of the dead) and ofrendas are prepared in the weeks prior. These ofrendas are displayed to reward souls as they travel from the afterlife back into the land of the living for their day of commemoration. Their travels are celebrated throughout Latin America, as papel picado (paper decorations) are hung for parades, with music that floods cities. Though each ofrenda is uniquely curated for the soul it honors, it always contains gifts to symbolize the four elements. Water, or the soul’s drink of choice, is offered. Papel picado is decorated to represent air, while the earthly element is either pan de muerto (bread of the dead) or the soul’s food of choice. Ofrendas dedicated to members of the community of Eugene can be found at the Maude Kerns Art Center. The center is hosting its 30th annual Día de los Muertos exhibit, from Oct. 13 to Nov. 3. The exhibit began in 1993 by Susan Dearborn Jackson, former professor of the Folklore Department at the University of Oregon, and her student Sandra Dominguez, director of the Maude Kerns Art Center. Jackson’s ofrenda can be found at the center, for though she may have passed in 2011, her legacy prevails. The ofrendas on display currently honor the lives of Marcos Tadeo Jr., Maude I. Kerns, Jóse Guadalupe Posada, Leo’s Crossing, Susan Dearborn Jackson, Francisco and Rosa Cortéz. Students at the University of Oregon have the opportunity to honor their loved ones who have passed, as the MEChA de UO organization hosts its 42nd annual Día de los Muertos celebration on Nov. 1 and 2 at the Jordan Schnitzer Museum of Art. MEChA community advisor Armando Morales began El Día de los Muertos celebrations within the city of Eugene in the PA G E 1 2
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University of Oregon’s Erb Memorial Union. “I planted the seed and look,” Morales said, “it’s a place for everybody.” The MEChA de UO celebrates not only on the day of El Día de los Muertos, but has events in preparation as well. A week before the annual commemoration, MEChA gathered to paint calaveras, a decorated skull used as a symbol of Hispanic culture. MEChA Programs Director, Ashley Pech elaborated on the unique relationship between death and culture in Latin America. Most times death is seen as a final goodbye, but Hispanic culture counteracts this norm. “There’s a way for them to visit us,” Perch said. “That’s what I like about Día de los Muertos.” El Día de los Muertos transitions the concept of death from daunting to a new beginning. Such a day of commemoration is wondrous, as Perch says, “it’s to remember the ones who I love in a beautiful way.” As the tradition continues, it becomes increasingly important. According to Morales, “Someday we will die. And if we don’t celebrate them, then who is going to do it for us?” P’urhembe, a musical group from Michoacan, Mexico performs traditional music in the Pape Lecture Hall in the JSMA on Nov. 1, 2018. (Maddie Knight/Emerald)
Dancers from Identidad y Folclor, a group from Guanajuato, Mexico perform traditional dances in the Pape Lecture Hall in the JSMA on Nov. 1, 2018. (Maddie Knight/Emerald)
A&C
SHAKESPEARE TAKES ON A NEW MEANING UO’s Shakesqueer organization is performing a queer retelling of William Shakespeare’s “Romeo and Juliet”
BY KEYRY HERNANDEZ • DESIGNED BY GABRIELA MARTINEZ CONTRERAS With powerful prose and relatable literary themes, William Shakespeare paved the way for individuals to better understand and express their humanity through literature. Although he lived 407 years ago, his work continues to inspire today. On campus, we see the motto of “to be or not to be” embraced by Shakesqueer, a student-led organization affiliated with UO’s English department that intertwines queer themes with Shakespeare’s most famous plays. This year, the Shakesqueer crew will be putting on a performance of the beloved “Romeo and Juliet.” Sure, you might’ve come across the theatrical piece many times, but the students of Shakesqueer promise an interpretation of the play you probably haven’t seen before. In 2015, a group of students established Shakesqueer to build the queer community at UO through the arts. Ever since, queer productions of Shakespeare have allowed students an outlet to play with themes of gender and sexuality. “The process of creating art and getting to engage in queerness is really liberating,” former director and current producer of Shakesqueer Rachel Peri said. “Especially in college if you’re away from where you’ve grown up for the first time. This is a new context for creating art in collaboration with queer people.” What’s so contemporary about Shakespeare? Well, everything. According to The University of Melbourne, “his characters and the situations they find themselves in are complex; complex enough to warrant continued investigation four centuries later.” Part of the reason his legacy lives on is because his work reflects the overall human condition and thus, students today are able to mold their intersectional identities into a play that was written generations ago. “One of the things that I love so much about Romeo and Juliet is that there are plenty of interpretations of it. To me, it’s this incredible story about two people who fall in love under really difficult circumstances and who are ultimately punished through no fault of their own by a society that doesn’t recognize them,” Peri said. “I think that has really powerful resonances with the queer experience. The play also has moments of real joy and levity even though it is a tragedy.” Shakesqueer aims to create an environment where queer individuals and allies feel represented, accepted and liberated, Peri said.
For students looking for acting roles, auditions This looks like exploring queer themes through for Shakesqueer’s “Romeo and Juliet” production Shakespeare’s plays. For example, Shakesqueer took place on Saturday, Oct. 28 from 5-7 p.m. in centers queer romances with actors that identify Carson Hall. as queer and gives them the opportunity to “This is a place where people are always sort choose and switch their pronouns throughout of discovering themselves and going through the the play. Students are able to make Shakespeare journey of putting on this play, but also connecting characters their own without having to conform to with the LGBTQIA+ community around them,” heteronormative social standards. Peri said. “I feel like one of the biggest things This freedom is especially important when that people can get out of it is having a really considering the lack of LGBTQIA+ representation supportive community filled with people who are in entertainment. dedicated to respecting one another. “A lot of queer and trans individuals don’t feel as if they can be cast in leading roles. I know that was my experience in high school theater departments. I was very visibly queer and I continue to be and a lot of theater doesn’t necessarily support that. Or at least doesn’t have space for that queerness to be centered and celebrated,” Peri said. “Here that is a goal. We are trying to showcase diverse queer narratives which means that students have opportunities that they wouldn’t have otherwise.” GLAAD’s latest research shows a slight increase in LGBTQIA+ representation in Hollywood. Out of the 350 films released in 2022, 100 of them contain an LGBTQIA+ character, which is the highest number recorded in 11 years. The number of films with transgender representation is even smaller, peaking at just 12 out of the 350 films. Clearly, LGTBQIA+ representation in entertainment is a work in progress that Shakesqueer is aiming towards. Shakesqueer encourages students interested in getting involved with any aspects of theater to reach out to them Rachel Peri is currently a producer for UOE Shakesqueer, a student-lead organization that puts at euoshakesqueer@gmail. on queer adaptations of Shakespeare plays. (Molly McPherson/Emerald) com or on Facebook at “EUO’s Shakesqueer.” M O N D AY, O C T O B E R 3 0 , 2 0 2 3
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BIG TAKEAWAYS FROM LITTLE MOMENTS With Oregon volleyball head coach Matt Ulmer’s day-to-day, big picture coaching approach, the Ducks are only focused on December
A lot of coaches have short-sighted mentalities. They only want to focus on the game ahead of them, take the result and make changes. They don’t want to think about next week’s opponent or their game plan for big matchups throughout the season. They want to win the game ahead of them and focus on the rest later.
BY NINA-GRACE MONTES DESIGNED BY LIZ BLODGETT
“We’ve been playing too cautious and too safe,” Ulmer said. “With the way we’ve been serving, teams are able to get in a rhythm. I feel like we missed the most serves in the first set and that was also the set where we held them to a 0.000 hitting percentage. They couldn’t establish a good offense because we didn’t give them an opportunity to.” Since playing Marquette on Sept. 17, Ulmer has felt like they haven’t had a strong offense. While they were high in errors against Cal, he felt like his aggressive team is starting to show at the right time and that’s the type of mindset that will take them far in the tournament. It’s that type of unique coaching mindset that makes Ulmer stand out. His players love him and it shows. Ulmer has brought in top recruiting and transfer classes the past few years and once they settle in Eugene, the results are clear. Under Ulmer, the Ducks have qualified for the NCAA tournament every year except for 2019. For the first time in over 10 years, Oregon made it all the way to the Regional Final last season and continues to see top rankings nationally. For a program that had players who were verbally abused and placed in an environment of fear before Ulmer took over, the change has been positive. Change can be scary, but the focus on growth over immediate results has created a new standard of Oregon volleyball.
Not Matt Ulmer. The head coach of the UO volleyball team doesn’t talk about winning at all. During practice, they talk about the process and the things that they need to do. “If we do that, wins will take care of themselves,” Ulmer said. It’s always the big picture mindset with Ulmer. There’s no tunnel vision. The team is always thinking about where they need to be at the end of the season so they can achieve their goal — a Pac-12 and National Championship. As the head coach of one of the top teams in one of the hardest volleyball conferences in the nation, you can take each game, no matter the result, and learn from it. “This conference does a really good job of showing you what you need to work on,” Ulmer said after beating California in three straight sets at home. Oregon volleyball turns the entire season into a ladder. After each game, they find takeaways and work on it. Those improvements show in the following matches, and then they switch their focus onto something else. Each step of the ladder is one step closer to the top. While perfection is impossible, it takes that type of mindset to perform well in December when all eyes are on you. “If you show up everyday in practice, you’re going to show up everyday in games,” Ulmer said. The Washington home weekend was a perfect example. In the 3-1 win against the Huskies, Oregon lacked competitive energy. The Ducks lacked their typical spirit that shows on the court. Even though it was another game added to the win column, the style of play was not shown. That same style of play makes them hard to beat. Two days later in their first home loss against Washington State, that energy came back. Each team battled for every point. Yes, the stat sheet speaks differently, especially when the Cougars opened the match with a 10-0 run, but Ulmer was happier with the performance in the loss than he was with the win. “We were doing everything we needed to do, we just didn’t execute correctly,” Ulmer said. “As a coach, I was much more pleased with Sunday’s [Washington State] loss than I was with Friday’s [Washington] win.” It was the same thing in the sweep against Cal during Homecoming weekend. On the scoreboard, the game was a lot closer than it felt because the only time the Golden Bears would score is when the Ducks made mistakes. During that match, the Ducks had 11 service errors, one of their worst performances behind the line this Head Coach Matt Ulmer speaks to his players. The University of Oregon Ducks volleyball team defeated the Oregon State season. But Ulmer was happy with it. He loved the Beavers in a home match at Matthew Knight Arena in Eugene, Ore., on Sept. 22, 2023. (Eric Becker/Emerald) aggressiveness and the confidence behind the swings. PA G E 1 4
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