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What happened to
CAMPUS CONCERTS? THE UNIVERSITY OF OREGON EMU BALLROOM
used to hold concerts from legendary acts such as Bob Dylan and Public Enemy. As time went on, a musical void grew on campus as concerts moved to other venues in town. ‘WHITE PRIDE’ FOUND WRITTEN OUTSIDE LIBRARY
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REVIEW: ‘BIG LITTLE LIES’ NOVEL
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Graphic Ideology: Cultural Revolution Propaganda from China Conversations in the Round House: Roots, Roads, and Remembrances The Barberini Tapestries: Woven Monuments of Baroque Rome Barbara MacCallum: Appropriating Science
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đ&#x;”Ś NEWS Knight Library located on the University of Oregon Campus. (Emerald Archives)
WHITE PRIDE GRAFFITI FOUND
ON CAMPUS
➥ MICHAEL
TOBIN, @TOBIN_TWEETS
Monday morning, three students found and tried to erase white nationalist graffiti, reading “white pride,� written in chalk between the Knight Library and Gerlinger Hall. The graffiti was later removed by university groundskeepers. “It was spotted, reported and removed by the grounds folks,� said UO spokesperson Tobin Klinger. “This is a pretty standard practice when dealing with any kind of hate speech graffiti.� According to a tip received by the Daily Emerald, the Bias Education and Response Team (BERT) received notice of the graffiti. The purpose of BERT, a subset of the Dean of Students office, is “to respond to situations that affect the larger University of Oregon community through education about current and historical issues surrounding bias.� The Emerald could not reach BERT for a comment. This act is just the latest incident of racist graffiti in Eugene. On Sept. 15, anti-semitic graffiti was discovered at North Eugene High School. Police are currently looking into the incident.
The 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.
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The phrase “White Pride� written outside Knight Library on Monday morning. (Courtesy of University of Oregon)
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đ&#x;”Ś NEWS
PROPOSED PIPELINE ON NATIVE LANDS IN OREGON: UO STUDENTS DISCUSS POSSIBLE SOLUTIONS ➥ ANDY
FIELD, @ANDYTSUBASAF
Students and community members networked and discussed how to get involved in advocacy efforts to oppose a proposed pipeline which would run through Southern Oregon. UO student Ada Ball hosted the event Tuesday, Sept. 26 at the Many Nations Longhouse. She updated the public on news regarding the Jordan Cove Energy Project, a proposed project by Versen, a Calgary-based energy company, to transport liquefied natural gas along a pipeline running through Coos, Klamath, Jackson and Douglas counties. A 22-person audience, including members of the UO Native American Student Union and Oregon Student Public Interest Research Group, discussed upcoming events to organize to oppose the project. Ball set up the event after learning that the pipeline, named the Pacific Connector Gas Pipeline, would run through tribal lands and sacred sites. “This pipeline is going through a couple of my traditional territories,� said Ball. “For the past couple of months, I have been trying to figure out how to protect some sacred sites that this pipeline threatens, but we don’t have a lot to bargain with legally. We don’t have reservations, at least with the tribes where I’m from.� Ball encouraged members of the audience to take action, by sending a comment
to the Federal Energy Regulatory Commission. “Submitting comments to FERC is participating in their process of consultation,� said Ball. “And what that does is create a documented case of people opposing the project and FERC has to be neutral and make decisions based on those comments.� Two UO OSPIRG members were present at the event. The student advocacy group, which runs campaigns every year, has made opposing the pipeline one of their primary campaigns. According to Kyra Solis, a co-director for the campaign, the university chapter is part of a statewide effort to collect 5,000 statewide signatures. She also said the group plans to attend Oregon Governor Kate Brown’s events because she believes it was public pressure that influenced Brown to vote down a proposal to sell the Elliot Forest. “We plan to go on trips to all of Governor Brown’s events in order to keep being a defender of the environment,� said Solis. Ball is also gearing up to fight against the pipeline. “Locally what we can do is put pressure on Oregon representatives,� said Ball. “A lot of [advocacy organizations] are communicating. After statewide meetings, connections have been made, Facebook friends requests have sent, people are talking and gearing up for action.�
UO student Ada Bell hosted the event at the Many Nations Longhouse, providing resources on how community members can get involved. (Andy Field)
Audience members listen to Erin Grady, an organizer with the Eugene-based Civil Liberties Defense Center, announce an upcoming know-your-rights event. (Andy Field)
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đ&#x;“– COVER
MUSIC IN THE EMU BALLROOM ➥ CRAIG
W R I G H T, @ WG WC R A I G Poster advertising record release party for the Crazy 8’s from Corvallis . (Courtesy of Mike Kraiman)
O
Mike Kraiman, the campus scheduling technical administrator, acts as the unofficial historian of the EMU thanks to his status as the most senior employee at the EMU. (Adam Eberhardt) PA G E 6
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ne day after performing for over 20,000 at the Gorge Amphitheater in Quincy, Washington, Bob Dylan announced a surprise performance at the 976 capacity EMU Ballroom on the UO campus for an intimate 16-song concert. The June 14, 1999 show sold out before anyone could print posters to advertise the event, and it’s rumored that some who were unable to grab tickets cried outside the ballroom. As surprising as Bob Dylan’s drop-by may seem, the EMU Ballroom used to be the prime destination for music in Eugene, and as a noted college town, some may argue it was the destination for touring bands to play in Oregon. Artists including The Grateful Dead, The Ramones, Talking Heads, B.B. King, R.E.M., Iggy Pop, Public Enemy, Tom Waits, Dave Brubeck and many more have performed at the venue. But throughout the years, the Ballroom has been downsized from a capacity of 1400 to 976. Concert venues downtown now offer to pay performers more, and the idea of “college rock� has largely vanished. Logistical issues such as parking have driven national touring acts to move their concerts to established venues such as WOW Hall, the McDonald Theater and Hult Center, or even Portland. Aside from a 2015 Homecoming concert by “Animal House� band Otis Day and The Knights, the majority of events the EMU Ballroom hosts today
are student group performances, speeches, community-oriented gatherings or job fairs. Many of these feature music, but seeing a touring band in the EMU Ballroom today is about as rare as Dylan’s surprise show on campus. “Finding a concert is a bit like finding a unicorn sometimes,� said Mandy Chong, the Center for Student Involvement program director. “There’s a lot in town that has opened up and changed the landscape for where students are going to get their music. It also means that there is a lot of competition to get people to come to this space.� Today, some of the loudest music in the EMU beckons from Mike Kraiman’s third floor office near the storage closets for EMU Ballroom lighting, sound and stage equipment. Although Mike Kraiman calls himself “historian of the EMU,� he is officially known as the campus scheduling technical administrator and most senior employee of the EMU. His interest in stage lighting began when he joined his high school’s theater department as a light operator. Later, he applied for the student lighting manager position. In his 39 years at the EMU, Kraiman has provided lighting for concerts in the Ballroom and at Macarthur Court. Three years after graduating with a telecommunications and film degree, he joined the building’s professional staff during the 1985-86 school year. “Back then there were fewer professional staff, so facilitation of
A poster for Iggy Pop when they performed at the EMU Ballroom. (Courtesy of Mike Kraiman)
“IF A BAND WAS GOING TO COME TO EUGENE, IT WAS PRETTY MUCH THE BALLROOM OR MAC COURT,” KRAIMAN SAID. “ONCE THE HULT CENTER OPENED UP, THEY TOOK A LOT OF THAT BUSINESS.” MIKE KRAIMAN
events and support fell to student crews,” Kraiman said. As the technical services manager, Kraiman was in charge of ensuring that the contractual specifications were met. Often the Ballroom could not fill all the accommodations bands demanded and Kraiman would have to compromise with road managers on specifications that worked for the groups. Despite having technical limitations, the Ballroom was still a prime destination when college rock was a thriving genre in the ’80s and early ’90s as many campus radio stations played music that the major stations would not. Bands like R.E.M., The Replacements, Husker Du and the Pixies, all of whom performed at the Ballroom, found receptive audiences on the national college circuit. “If a band was going to come to Eugene, it was pretty much the Ballroom or Mac Court,” Kraiman said. “Once the Hult Center opened up, they took a lot of that business. We still did do a fair amount of programming, but that was part of the equation, not necessarily the whole thing.” The Cultural Forum, today known as the Center for Student Involvement, had a general idea of which performers could draw a sizeable enough crowd to justify booking a show. The forum served as an active force in drawing bands onto campus. “There’s a lot of factors playing out right now that have been changing the landscape of music generally,” Chong said. “For the last 15-20 years, music has kind of changed, especially here in Eugene.” With evolving tastes and musical genres, promoters are faced with the challenge of anticipating what shows will draw a sizable enough audience. “When concert promoters are looking for dollar signs and things they can sell, the ballroom now doesn’t seem as attractive because you can’t put as many people in there,” Kraiman said. Access to parking is another major factor preventing large-scale events in the ballroom. Campus has become more bike and pedestrian friendly through the years, but there are only 60 parking spaces available at the EMU with more metered parking available on campus. The ballroom was remodeled in 1986, four years after the Hult Center opened. Once the EMU Ballroom reopened, conscious efforts to preserve the newly remodeled
ballroom took priority over landing a known band. When the potential cleanup of a rock show versus a speech was taken into account, the speech would likely win the booking battle. This led to fewer available days for concerts. As promoters were unable to lock in dates, they took their acts elsewhere. “There were more people looking in on things going, ‘If you bring this group, this is a high risk and more money that has to be spent for insurance,’” Kraiman said. “There were more hoops to jump through and apparently it wasn’t worth people’s time, or they said, ‘We can go over here and there’s less of a concern.’” Legendary bassist of the Minutemen and The Stooges, Mike Watt spent many of his years with the Minutemen on the college circuit as a leader of the DIY punk rock scene. He questions why schools are cutting back on the arts and increasing spending elsewhere on campuses. “You’d think on a campus where there’s experimenting in the chemistry lab, there’s experimenting in the physics lab, the business people are talking about different kinds of ways of trying things out, why can’t it be there in the expression things too?” Watt asked. “That means you’ve got to bring on some wild-ass music that maybe is kind of out there.” Watt recalled how the Minutemen used to perform on campuses across the country, sometimes on quads at lunchtime. Years later, fans have approached him at concerts and told him they first discovered his music at a campus concert. “There’s something about some wild music at college,” he said. “When people are at college, a lot of them, their pumps are prime. Expose them to stuff. They might come up with the solution we need — the next shift.” Ultimately, the EMU Ballroom might not remain dormant as a concert venue. Both Kraiman and Chong said that if students want to experience music in the EMU Ballroom, it us up to them to bring bands back to campus. “Those were good times. Some of it was a little bit crazy,” Kraiman said. “People went away happy and they were exposed to music and it was a good thing. I think I’m not the only one who would like to see more [concerts] come back in here if we can do it.” W E D N E S D AY, S E P T E M B E R 2 7 , 2 0 1 7
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đ&#x;‘? ENTERTAINMENT Review: BIG LITTLE LIES
Cover of Big Little Lies. (Sarah Urban)
➥ SARAH In any elementary school, the over-involved, clingy parents are easy to spot. They’re signing up for the PTA, organizing a bake sale to raise money for a new computer lab or notifying everyone of their child’s serious nut allergy. Pirriwee Public School is a land mine of such parents; however, amid affluence, entitlement and tightly-held secrets, what was once typical schoolyard drama has turned into a devastating murder. “Big Little Lies,â€? written by Australian author Liane Moriarty, is a tragic story from the very beginning, revealing that just about everyone in Pirriwee Beach is somehow tangled up in a crime. Jane and 5-year-old Ziggy are new to town and brought their mysterious past with them. Jane is a single mom trying to juggle her freelance bookkeeping job and be an involved presence at her son’s school. When she is at the school, she’s the target of insensitive comments from snooty parents — all of whom assume she’s a nanny because of her young age. Madeline is type-A, queen of gossip and bold with her backtalk. She’s fierce, but has a total soft side, and has taken Jane under her wing. Madeline ruthlessly prods into Jane’s past and delights in making sure she’s up to speed on the happenings in their quaint beach town. Of course she does all of this while trying to avoid her exhusband and his new, all-natural, yogi wife, Bonnie; they have a daughter in the same class as her daughter Chloe. Celeste is envied more than anyone else in Pirriwee Beach. Her husband is the kind of handsome that is only seen in movies, and his wallet holds more PA G E 8
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URBAN power than the queen. Celeste herself is as beautiful as they get, even as she wrangles two twin boys. The other parents know that Celeste often seems a little distracted and absent in social situations, but what they don’t know is that she is a victim of domestic abuse — her pictureperfect life isn’t as glamorous as it seems. These three women are best friends and each other’s support system. Unfortunately, they are at the center of the twisted tragedy: the murder. At the end of every chapter Moriarty includes interview-style excerpts from interrogations that the police department conducted while attempting to get to the bottom of the situation. They are ridiculous and hilarious and infuriating all at the same time; major and minor characters alike disclose information that is over-dramatized and completely irrelevant to the closure of the case, leaving readers greatly entertained, yet increasingly unsure of the real events . Moriarty keeps readers in the dark for most of the book — it isn’t until the very end that what happened on that fateful night, and who was directly affected, is revealed. Some might find it annoying, but for those who can appreciate the vague tone, it is brilliantly written. Tackling big issues and leaving readers laughing along the way is no easy task; however, Moriarty found a way to strike a chord with readers across the board. Whether readers are parents of young children or at the least were once a young child, “Big Little Lies� is relatable. Witty, scary and unpredictable, “Big Little Lies� is a book that won’t disappoint.
đ&#x;”Š MUSIC
Review::
GODSPEED YOU! BLACK EMPEROR FINDS HOPE IN A BROKEN WORLD ON ‘LUCIFERIAN TOWERS’
Godspeed! You Black Emperor released “Luciferian Towers� on Sept. 22, 2017. (Kmeron/Flickr)
➥ NIC
CASTILLON
Godspeed You! Black Emperor has been crafting long, challenging and often thoughtprovoking post-rock music since the late 1990s. The Montreal band has become known for its drawn out crescendos and cacophonous orchestrations, usually resulting in strong emotional responses from those patient enough to listen. Due to the band’s experimental nature, Godspeed has become a cult favorite. A number of the band’s albums, such as 2000’s “Lift Your Skinny Fists Like Antennas To Heaven,� are now considered classics. Given that Godspeed’s music is mainly instrumental –– only a few spoken word bits are thrown in here and there –– it can be surprising to find out that the group is often considered to be political. This characteristic is only evident upon noting various liner notes, as well as the group’s consistent refusal to play along with what its members perceive as a capitalistic music industry. The band gave a statement that made certain beliefs more explicit in response to winning a Polaris Music Prize in 2013 for their album “Allelujah! Don’t Bend! Ascend!� Among other things, Godspeed criticized the absurdity of “holding a gala during
a time of austerity and normalized decline.� Out of this same insurgent energy comes Godspeed’s latest full-length project, “Luciferian Towers.� Prior to this LP’s release, the band issued a note explaining that the album is informed by a list of “grand demands,� which concluded with an insistence that “the expert fuckers who broke this world never get to speak again.� And “Luciferian Towers� is certainly fitting of a broken world. The album’s dirge-like opening track, “Undoing A Luciferian Towers,� begins with a dissonant string section that holds off on any kind of tonal shift until about two minutes in. At nearly eight minutes long, the composition functions well as an apocalyptic storm, leveling the landscape for the rest of the album still to come. “Bosses Hang� immediately follows this. At nearly fifteen minutes, it stands out as one of the two longer movements featured on the album. This track is the closest Godspeed has ever come to creating stadium rock. It opens with a calming electric guitar riff that soon finds itself backed by a crowd of uplifting instrumentation. Despite the dismal world Godspeed often places itself in, this track feels hopeful. By the composition’s latter half, it feels like a call to action. An increased tempo and energetic string
section carry it into a satisfying conclusion. “Fam/Famine� works well as an interlude. With bouncing strings and a lack of any discernable melody towards the beginning, it is both lively and clouded. The song then shifts into a familiar musical phrase that was first introduced toward the beginning of the album on “Undoing a Luciferian Towers.� This moment is brilliantly executed and helps tie the two halves of the record together. The album concludes with the massive “Anthem for No State.� Its beginning is pastoral, but the song eventually builds into an intensity that would not feel out of place on a lateera Swans record. Moments of this track are definitely dizzying, but as a whole it encompasses a synergetic mix of vigor, reflection, and perhaps a sense of responsibility. On “Luciferian Towers,� the world has gone to shit, but Godspeed has left room for renewal. If previous Godspeed releases could be compared to dense, philosophical tomes, “Luciferian Towers� is a DIY political pamphlet –– easily digestible, yet greatly impactful. It is worth finding the moments of beauty buried in the discord. With this latest project, Godspeed has created nothing short of an inspiration. W E D N E S D AY, S E P T E M B E R 2 7 , 2 0 1 7
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⚡ SPORTS
Ducks ‘locked in’ during Sunday practice following ASU loss ➡ KYLEE
O’CONNOR, @KYLEETHEMIGHTEE
The Oregon football team “responded well” during Sunday’s practice following the 37-35 loss to Arizona State on Saturday. Oregon rallied against the Sun Devils after a bad first half to lead by one point with 6:41 to go, but Arizona State drove downfield and made a 41-yard field goal to seal the victory in Tempe, AZ. This is the Sun Devils’ first win over the Ducks since 2004 and Willie Taggart’s first loss as coach of the Ducks. During practice Sunday, Taggart was watching to see how his players would perform following the game. “I thought our guys responded really well,” Taggart said. “I thought we were sharp at practice yesterday and had energy out there. I was looking to see how our guys were going to respond, and they were locked in. Execution was big time, which we needed it to be…
They’ve got the right mind frame and they understand what it’s going to take for us to move forward.” The Ducks were described as a “first half team” throughout the beginning of the season, scoring 126 points in the first half alone through the first three games. On Saturday, that wasn’t the case. “We had a lot of mistakes in that game, especially on third downs where we couldn’t convert,” Taggart said. “In games before, we were converting on third downs. We had penalties. We had dropped balls, early snaps — we had a lot of things that killed us… We can’t have that many penalties or dropped balls and expect to win those games.” In the Ducks’ previous three games, they had nearly a 54 percent third down conversion rating. Against the Sun Devils, they were 1-for-11 on third downs and
added 14 penalties for 99 yards. Taggart also attributed the lack of energy on the sideline to the loss. It “wasn’t what it has been in the past,” he said. “I put that on me. I didn’t put as much emphasis on that in the week like I have been in prior weeks. Our football team is not to the stage when they do it all the time. We have to continue to stress the message and we need to have energy on the sideline the entire game.” Despite the loss, Taggart thinks that it will motivate his players going forward. “Everyone takes credit when we win and I think when we lose, we all should take credit for that loss,” Taggart said. “Our guys showed that the other night. Losing sucks and when the guys feel that way, you get excited because you know they’re going to go out and work and see to it that those things don’t happen again.”
Cornerbacks coach Charles Clark pictured at practice.(Adam Eberhardt)
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⚡ SPORTS
Ducks’ offense focused on fixing penalties, third down conversions
The Oregon Ducks host the Nebraska Cornhuskers at Autzen Stadium in Eugene, Ore. on Saturday, Sept. 9, 2017. (Adam Eberhardt)
➡ JACK
BUTLER, @BUTLER917
The Oregon Ducks’ self-inflicted wounds were a large reason why they lost to the Arizona State Sun Devils 37-35 on Saturday. The Ducks amassed 14 penalties for 99 yards, and they went 1-for-11 on third down. Those two stats are correlated, and as Oregon heads into its game against California, the impact of the penalties lingers. “I think the most important thing is eliminating the penalties,” offensive line coach Mario Cristobal said. “With that, a little bit is communication, a little bit out of sync, and, you know, we’ve got to fix it. There is no other way to it.” Oregon needs to clean up the offense if it wishes to be competitive in the Pac-12. The defense, although improved from a season ago, was not able to shut down ASU when Oregon’s offense was sputtering. Oregon was officially flagged for 17 penalties, but ASU declined some for various reasons. “It has its domino effect,” Cristobal said of the penalties. “It’s key to staying on course as an offense — staying on schedule — and that’s the way we operate.”
Additionally, the running game was not as impactful as it usually is. The Ducks finished with only 120 yards rushing, a mark well below their average. “You know we’ve been rushing for about 300 (yards) a game. That’s kind of the standard for what we have,” Cristobal said. “[Last game was] certainly not up to par to what we want. ... We got in a hole as an offense, so it changed the way we had to approach the rest of the way. So that affects it even more.” As for a reason why Oregon’s running game was less effective: “I see a safety down, pressure and movement,” Cristobal said. “I see a lot of different things that contribute to a 20-yard gain. Now it’s three or four yards.” Some say football and sports in general have no moral victories, but the Ducks do have a silver lining from the loss against ASU. “To think about all the things that we did do and still have a chance to win is, I think, an awesome thing to go out today and work towards, but we can’t have those things happen,” quarterbacks coach Marcus Arroyo said.
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126
W. 11 W. 13 W. 18
(clothes, furniture, books, beds, appliances, & housewares)
1
6. 1175 Highway 99 N, 607-4541
7 High St.
Washington St.
126
Hilyard St.
(our huge car lot)
7. 100 East 11th Avenue 868--0200 (name brand clothing and accessories)
Present this
ad at our Boutique on Broadway for
50% OFF one item.
Expires 10/31/2017 Cash value 1/20th of 1 cent.
Our Mission: To provide vocational opportunities to individuals with barriers to employment. PA G E 1 2
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EMERALD
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W E D N E S D AY, S E P T E M B E R 2 7 , 2 0 1 7
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