04/08/19 Emerald Media - Monday Edition by Emerald Media Group

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MONDAY

POSSIBLE CHANGES FOR OREGON TRANSFER CREDITS NEWS PG 5

UNTIL THE NEXT DANCE

A CHANGING CULTURE FOR DRUGS AND HIP-HOP A&C PG 6

OREGON LOST BY FIVE POINTS

to Baylor in its first Final Four, but with plenty of talent returning next season — including Sabrina Ionescu — the Ducks aim to be back.

US WOMEN’S SOCCER TEAM FIGHTS FOR EQUALITY OPINION PG 12

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NEWS WINTER TERM CAMPUS CRIME ROUND UP

According to the University of Oregon Police Department clery log, UOPD responded to 700 crimes during winter term. (Sarah Northrop)

BY GINA SCALPONE • TWITTER @GINASCALPONE e University of Oregon Police Department responded to 700 crimes during winter term, according to the UOPD clery log. at’s up from 678 reported crimes during fall term, but 56 were reported to the Office of the Dean of Students at the end of fall term. Another 17 of the crimes reported during winter term were reports by the Title IX coordinator that took place during fall term and over the summer. UOPD didn’t identify any new trends in crime over the course of winter term, UOPD spokesperson Kelly McIver said. e majority of the clery log entries, 462 of them, were low-level alcohol and drug violations that were reported but otherwise handled by the Office of the Dean of Students, McIver said. More than 100 of the reports were closed after taking a report because there were no suspects. “Unfortunately, especially with property cases, there’s often no more information that can drive a case,” McIver said. He said there’s not much UOPD can do in those cases, but they take a report that the victim can use for insurance purposes, and the UOPD can include it in their statistics for crime prevention. Total theft decreased by 45 percent from fall term to winter term, from 123 total instances of theft listed during fall term to 63 instances in winter term, e 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. VO L . 1 2 0 , I S S U E N O. 4 0

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according to the clery log. e decrease came mostly from bike and bike part thefts, which decreased 72 percent, from 53 incidents of bike or bike part theft in fall term to just 15 in winter term. “ ere is a greater utilization of bikes during fall and spring,” said McIver. “ at translates into fewer thefts [in winter term].” McIver added that there’s a learning curve to bike theft prevention for students. “ ey absorb it more over the course of fall term,” he said. DUII arrests and tickets increased 150 percent, from six in fall term to 15 in winter term. Ten of those DUIIs led to arrests in winter term, up from five in the fall. UOPD uses federal grant money for dedicated DUII arrests every month, McIver said. UOPD ended the term by bringing back the Vacation Watch program. McIver said 104 residents signed up to have their residence patrolled during spring break. e vacation watch ended without any burglaries or other incidents. McIver said two registered residences were unlocked when checked, so officers contacted the residents and secured the homes. e program was first introduced during winter break and nearly 300 students registered, according to Around the O. McIver attributed the NEWS EDITORS EMILY GOODYKOONTZ MICHAEL TOBIN BECCA ROBBINS A&C EDITORS JORDAN MONTERO SARAH URBAN SPORTS EDITORS JACK BUTLER SHAWN MEDOW MAVERICK PALLACK OPINION EDITORS JASON BIBEAU SAMUEL ANTHONY

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drop in registration to fewer people going out of town for spring break than for winter break and a lower level of concern. For spring break, UOPD partnered with the Campus Geographic Information System and Mapping Program to build an intake system to improve communication between students and officers. is is meant to help students and their roommates remember and use the vacation watch program. “People who signed up wouldn’t always remember,” said McIver. McIver said the program is a deterrent to property crime. “I think it’s something the chief will want to bring back,” he said.

Correction: e article “From Emeryville to Eugene: e History of Espresso Roma and the closure of Cafe Siena” misstated the amount of back taxes that the owner of the Espresso Roma Corporation currently owes. e owner paid back just over $219,000 to the state of California and says he paid $2 million back in other taxes. e Emerald is working to confirm the amount he paid back. e story has been updated online.

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Oregon women’s basketball ended its historic season with a loss to No. 1-seeded Baylor in the Final Four on Friday, April 5 in Tampa, Fla. (Courtesy of Eric Evans/ Oregon Athletics)

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A NEWS

LEGISLATORS TO CONSIDER ADJUSTMENTS TO TRANSFER PROCESS BY ZACK DEMARS • TWITTER @ZACK_DEMARS e state of Oregon is home to 24 different universities and community colleges, and a new bill in the state’s legislature proposes improvements to the process of transferring credits and courses between them. e bill, S.B. 730 (and its identical partner in the house, H.B. 2028), would make several changes to the state’s “Transfer Student Bill of Rights and Responsibilities,” originally passed in 2011 and modified in 2017, according to state information on the bill. Proposed changes include the expansion of an advisory group and a new online system for transfer students to visualize their transition between universities and degrees in the state. An amendment to the bill, adopted by the senate education committee, adds a section to “minimize the complexity” of the processes. “ e philosophical underpinning of our transfer work is that we were essentially [going] to build straighter roads for students,” said Kyle ompson, director of legislative and policy affairs for the Higher Education Coordinating Commission, which oversees colleges and universities in Oregon. e proposal builds on the legislature’s work in 2017 with H.B. 2998, which established a system of “core transfer maps” and “major transfer maps.” ose maps set foundational curriculum

that could transfer to any Oregon community college or public university and set major-specific curriculum for the same purpose, according to background on that bill. e goal of those transfer maps was to simplify the process of transferring between any of Oregon’s higher education institutions, omas said. Previously, students had to transfer between colleges and universities that already had agreements between them, which means risking losing credit for classes students already took. In 2017, by approving H.B. 2998, the legislature sought to reduce a growing trend of credit loss among students who transferred between community colleges and universities in Oregon. According to the HECC, more than 60 percent of transfer students lost some credits when they changed schools, and 35 percent lost more than one term’s worth of coursework. e 2017 changes have shown state leaders that the process still has room to improve, omas said. at includes the plan for a “student portal,” an online resource where students interested in transferring between institutions would be able to input their intended college and major and receive a personalized course plan. “It turns out that getting all of the institutions’ systems that the registrars use to be able to interpret all of the information in the correct

way is a really complicated technical challenge,” omas said. “ at’s part of the reason we need a student portal.” All told, the bill to create that portal and continue the process of creating the major transfer maps would cost the state about $1 million over the next two years, according to the most recent fiscal impact statement for the bill. at new funding, omas said, would have to come from the legislature and, therefore, state taxpayers. Aside from the cost to the state, the University of Oregon may also face increased costs associated with faculty traveling to participate in coordination meetings as new “major transfer maps” are discussed and agreed on by the state’s 24 community colleges and universities. e cost to the university, according to the impact statement, would be about $10,000 per year. While Portland Community College, the Oregon Community College Association and the Oregon Student Association each submitted statements in support of the bill, no public universities submitted a similar statement in support of or against the bill. Molly Blancett, the UO’s spokesperson, said UO supports the “underlying intent of smooth pathways to college for all students” and appreciated the opportunity to contribute to amendments to the bill.

A new bill in the state’s legislature proposes improvements to the process of transferring credits and courses between universities and community colleges in Oregon. (Sarah Northrop)

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ARTS & CULTURE

THE ACCIDENTAL OVERDOSE: HIP-HOP’S RELATIONSHIP WITH DRUGS THAT MAKE YOU SLEEP BY DONNY MORRISON

I’ll never forget the moment I found out my best friend died of a Fentanyl overdose. I awoke to a bright and vibrating phone at 8:30 a.m. It was an oddly early time for a young person to be receiving a phone call. My social circle slept until noon, and I still lived with my parents, who would rather scream from two stories above me than call. e voice on the other end, an acquaintance from high school who I could tell just loved the idea of knowing someone who died, told me they’d found him in the bathroom of his girlfriend’s apartment. At the time of his death, she was newly pregnant with their first child, who would be born in 8 months. A week before he died, we sat in his dark green Honda Civic and listened to Mac Miller’s debut album, “Blue Slide Park.” It was 2011. Over seven years later, on Sept. 7, 2018, Mac Miller was found unresponsive in his home. He was dead by the time authorities arrived, with traces of white powder found on his living room table. It was to be three months before the cause of his death was released to the public. He overdosed on Fentanyl that was more than likely mixed into cocaine without his knowledge. e national opioid epidemic, which encompasses the large uptick in opiate-related deaths in America beginning in the late ’90s, took a turn for the worse when synthetic opiates, such as Fentanyl, became cheap enough to use as a cutting agent for already dangerously impure street drugs.

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Although Mac’s music often dealt with themes of substance abuse and depression, his death came as a shock to fans and artists alike. It wasn’t a suicide. It wasn’t an unanswered cry for help. It was an accident — one that feels all too familiar. At the end of 2017, beloved emo rap star Lil Peep died of an overdose in Tucson, Arizona. It wasn’t until the next day that I found out his death had been recorded on the Snapchat story of his friend, who had thought he was only sleeping. Even before the autopsy report was released, fans on social media had already played judge, jury and executioner to the 20-year-old Mariah Bons, who bragged about selling Peep the Fentanyl-laced Xanax that killed him. Within a day of his death, text messages sent by Bons began circulating online. “GBC [Lil Peep] high af because of me and my friend lol,” one message read. Another says: “He passed the fuck out my brother called and I tried to get him to say hi to my brother but he wouldn’t wake up.” Lil Peep’s death being unwittingly broadcast through social media is the logical conclusion of a culture built off the accessibility of the internet and the glorification of the kinds of drugs he was taking. In a career built off soundcloud raps and black-market solutions to clinical depression, his passing on Snapchat is almost poetic. Mac Miller and Lil Peep are both descendants of the internet era. Artists like Kanye West and Kid Cudi had enough

self-awareness to realize that sometimes what starts out as fun can quickly become a dangerous coping mechanism that adds to their image and artistry, while subtracting from their peace of mind. In this era, drug use became more than just a lifestyle choice for rappers. It became a crutch used to soften the sorrow associated with being young, successful and famous. Fentanyl has been killing people for years. My friend’s death was nearly five years before the death of Prince, who’s perhaps the most famous person to have overdosed and died on Fentanyl. But the deaths of Lil Peep and Mac Miller have one large difference than that of Prince or Tom Petty: ey both ingested the fentanyl on accident. I’m beginning to see the deaths of both Lil Peep and Mac Miller as a bookend to a generation of hip-hop artists who fell victim to the trappings of pharmaceutical stupors. e same highs that rendered Lil Peep lifeless on a tour bus are now all-time lows for fans who witnessed the overdose on Snapchat in real time. Rappers are beginning to denounce the type of excess that was championed only a year ago. It seems like once a month, rapper Lil Pump brags about having quit drinking “lean,” a pattern that shouldn’t surprise anybody who’s experienced, or known someone who’s experienced, active addiction. In 2018, J. Cole released an entire album of cleverly woven anti-drug messages that placed an emphasis on telling this new

wave of rappers to grow up. e era of Soundcloud rap has opened doors for younger artists and given a megaphone to kids who aren’t prepared to deal with the trappings of fame. I’d imagine it takes a certain amount of maturity and guidance to tour at the age of 17. It must take incredible restraint to live your life as a young person under the microscope of American culture — where every mistake is broadcast to millions of judgemental eyes and angry parents. It’s no wonder that the same drugs that helped artists lean into the isolation of misanthropy, somehow making it relatable, now have an added layer of risk. When something unadulterated becomes mainstream, it loses its purity. It’s true for music, film, fashion, etc. It’s even true for drugs, as dealers seek to maximize profits by lowering purity in times of high demand. I’m not predicting a complete end to drug rap. Hip-hop is intrinsically tied to youth culture, which is intrinsically tied to experimentation with drugs and alcohol. What I am predicting is a change in the way young people and hip-hop fans glorify the use of drugs like Xanax and opiates. It’s no longer cool to overdose on Xanax and steal your parents’ car. It’s scary. e deaths of Mac Miller and Lil Peep threaten to end nearly 20 years of doomed marriage between hip-hop artists and pharmaceuticals. Because, at the end of the day, loving drugs that make you sleep is only fun if you actually wake up in the morning.

HOPES[25] DESTRUCTIVE W O N

G N I HIR

S E V I T U C E X E T N U ACCO rking o w t e n and g n i n i a nal tr o i s s e f Pro nce e i r e p x ork e w e l b ses a s e n i s u Invalu ocal b l h t i w irectly d k tial r n o e t W o p sion s i m m o ed c Unlimit nce e i r e p x ng e i k r o w t Ne ule d e h c s ork ent w m e n l o b i r i x v e Fl rk en o w m a e te v i t a r o b Colla

Destructive Idealism is both an attack on complacency and a pledge to resilience. The destructive idealist dares to face the consequences of idealized landscapes and vows to take local action to change them. In response to climate-related disasters, the destructive idealist continually redefines the path to environmental equity. And when our political leaders move backwards, the destructive idealist steps forward to uphold more resilient ideals. In its 25th year, HOPES revisits the visions of past generations. We call for resilient thinking that transcends scales, anticipates challenges, and unrelentingly pursues a dynamic and equitable future.

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7 ARTS & CULTURE

Franz Rogowski (left) plays a refugee trying to leave France in “Transit.” (Courtesy of Music Box Films)

Review: ‘TRANSIT’ IS A POLITICAL THRILLER

AND MELANCHOLIC CALLBACK TO 1940s NOIR BY ILANA SLAVIT

From shape-shifting aliens in “Captain Marvel” to magic horse-blobs in “Now Apocalypse,” 2019 has been a year of extreme science fiction magic. “Transit,” a subtle dystopian inspired by 1940s noir, proves that the intersection between reality and the unknown can be much more terrifying than any special effect. Based on the World War II-era book of the same name by Anna Seghers, director Christian Petzold combines the two timelines (current and 1940s) by placing the film in a present-day France occupied by fascist German forces. e film stars Franz Rogowski as Georg, a German struggling to escape France as German police round up groups of people for an unknown reason. is allows the audience to make assumptions about who is being targeted from both a 1940s and presentday context. roughout the film, an emphasis is placed on characters having citizenship papers. is highlights France’s current immigration crisis, as well as racist and islamophobic rhetoric, as

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refugees from certain countries are banned from entering the United States and other places. On a mission in Paris to bring letters to a writer named Weidel, Georg finds the man dead from suicide. He flees with a man named Heinz to Marseilles with Weidel’s’ citizenship papers. ese two events drive the rest of the film, in which Georg is conflicted by his roles as a lover to Weidel’s wife, Marie (Paula Beer), and an adoptive father to Heinz’s son. e film is narrated by a bartender, who listens to Georg’s woeful rants about a life he could have had. Petzold is a known perfectionist, and his subtle imagining of a Fascist reality could have been easily over-dramatized by a less accomplished director. “Transit” exists in an imaginary world and Petzold knows this, as he teases what could have been for Georg and the rest of the undocumented civilians throughout the film. Even the lack of characterization for Marie drives home the dreamlike quality of “Transit,” as the perfect Marie

is more of an illusion to Georg than a real person. e interaction between her ghost and Georg at the end of the film solidifies this idea. Both Franz Rogowski and Paula Beer are brilliant in their melancholic roles. “Transit” is a much-improved vehicle for Beer, who starred as a soulless love interest in the Oscar-nominated film “Never Look Away.” Rogowski calls to mind a young Joaquin Phoenix in his appearance, mournful eyes and slow, wistful body language and movements. “Transit” exists in the French art genre and may be confounding to some mainstream audiences who are unfamiliar with open endings and a lack of narrative clarity. From both an aesthetic and political vantage point, however, “Transit” tugs at your heartstrings. Perhaps one of the most desolate, relatable themes of the film is “the one who got away.” Not only is “Transit” a stereotypical love story in its response to this idea, but a call to audiences to be aware of their surroundings before it’s too late.

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. COVER e Ducks will lose seniors Maite Cazorla (5) and Oti Gildon. (Courtesy of Eric Evans/Oregon Athletics)

DUCKS ASPIRE TO BUILD FROM SEASON OF FIRSTS BY SHAWN MEDOW TWITTER @SHAWNMEDOW TAMPA, Fla. — Pack the bags. Roll up the carpet. e party is over. After a historic run to its first-ever Final Four, Oregon women’s basketball is coming home. No. 1-seeded Baylor bested the second-seeded Ducks, but head coach Kelly Graves’ team has plenty to be proud of. “We made the most out of what we had this year,” Graves said. “You saw eight players, not very often you have eight players in a uniform at a Final Four game. But they gave us everything they had. I applaud them for it. I’m really proud of them. I love each and every one of them.” ese eight women who played the 2018-19 season have helped elevate the program into a national title contender for next season after knocking on the door of the championship game. In a season of firsts, the back-to-back Pac-12 regular season champions were led by junior Sabrina Ionescu. e back-to-back national point guard of the year, who became the first Duck to be named the

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national player of the year, has become a household name, not just in Eugene, but nationwide. And she’s going to be back for more in her senior year, putting off the WNBA one more year. Ionescu will be back. ese Ducks want to be back. Graves had a plan to get Oregon to the Final Four in four years. “Four in four,” as he called it. Five years later, he did it and earned a contract extension through the 2025-26 season in the process. “We’re going to look back on this as a tremendous season and another step. It always hurts. It does and it should,” Graves said. “But this was a tremendous season. I think what we’ve done for basketball in the state of Oregon is incredible. Again, you see all three (Ionescu, Erin Boley and Satou Sabally) of these players up here ... this is a program that’s not going anywhere. It’s only a program that’s going to get better.” Oregon defeated No. 4 Mississippi State in December and beat the Bulldogs again to get into the Final Four. is team ran a No. 11-ranked Stanford off its home court in a 40-point thrashing, the worst loss of Cardinal head coach Tara VanDerveer’s career. e Ducks hung with the eventual national champions Baylor until the very end.

But the season came to an end in the semifinal: 33 wins, five losses. e last one of the five hurts the most. With puffy, red eyes and faces riddled with heartbreak, Oregon players spoke with cracked voices after their national semifinal loss to Baylor. ere was no blame. ere was some sorrow. ere was a lot of promise. “We continue to learn,” Ionescu said. “We were put in positions we haven’t been put before. But I think this is just going to make us more hungry. We got to this stage that our program has never got to. So I think learning through this game and learning through the previous years — it’s just going to get us ready to want to come back.” Ionescu wrote in the Players’ Tribune to announce her plans to stay with the program for one more season. For one more shot at it all. “My teammates and I, our coaches, our fans, this program — we’re not going on a ‘run,’ you know what I mean??” she wrote. “We’re not doing one of those things where, like, a team appears out of the blue, on the backs of a few good players, and then makes some noise for a season or two before heading back underground. Nah. is isn’t that.

“We’re building something here in Eugene.” With Ionescu back, competing for the national title becomes expected. Oregon played with a small squad and might be in the same situation next year. With a roster of just 10 players, the Ducks got used to a short bench. Next year, the Ducks will bring in at least British wing Holly Winterburn, Australian point guard Jazmin Shelley and Australian 6-foot-5 post Lucy Cochrane to fill out the roster at 11 players. German forward Nyara Sabally, the younger sister of Satou Sabally, will make her debut for the Ducks after sitting out her freshman year as she recovered from an ACL injury. e Ducks have strong additions, but they do lose seniors Maite Cazorla and Oti Gildon. “ ey helped me so much this year as people off the field but also as people on the field,” Nyara said. “Just watching how hard they work every day in practice and on the field and how they’re dialed in. It’s just amazing to see that. I’ve never been around such good players in my whole life. ey’re just great role models.” e two seniors saw the program in its infancy of greatness, when crowds of fewer than 3,000 fans attended Matthew Knight Arena. ey’ve seen the program grow and the fanbase grow with it. From those quiet home games four years ago to crowds averaging more than 7,000 fans, highlighted by a 12,000-plus attended Civil War, the Ducks have become a local and national sensation.

I THINK THIS IS JUST GOING TO MAKE US MORE HUNGRY.

Seniors Oti Gildon (32) and Maite Cazorla are regarded as “role models” by freshman guard Nyara Sabally. (Courtesy of Eric Evans/Oregon Athletics)

SABRINA IONESCU

Whether it’s tweets from Duck women’s basketball superfan Shea Serrano or from LeBron James or Steph Curry, people are keeping tabs on this team. It’s evident when players get stopped by fans on the street and students on campus. “You can’t go anywhere,” forward Lydia Giomi said. “You can’t go to the grocery store [or] a restaurant without being recognized.” at recognition is paying off as the program looks to become more than a flash in the pan. It’s in the making of becoming a dynasty, starting with the teams that have made these deep NCAA Tournament runs over three seasons. “A lot of people didn’t believe that we could come here and give them a game. but we were able to hang with them and give them a game to the end,” Gildon said. “So that’ll definitely put Oregon on the map for women’s basketball if nothing else in the past two years hasn’t.” It clicked for this team two seasons ago as the underdog 10seed taking down No. 7 Temple, No. 2 Duke and No. 3 Maryland before falling to No. 1 UConn. e Ducks shocked the women’s basketball world back then, but now it’s no surprise to see them on the biggest stage. “ e sisterhood we’ve built here — I think we’ve paved the way for a lot of recruits, a lot of players trying to find a college to play for,” Ionescu said. “ ere’s nowhere better to be than here. I’m blessed to play with these players and these coaches with this administration here. “I would not advise anyone to go anywhere else than here.” Half of the team flew back to Eugene on the charter flight two days earlier than they might have had in mind. e other half stayed with family who traveled to Tampa. Ionescu watched from the stands last year at the Final Four. Now, she got a taste of it. She said it best in her “letter to Duck Nation.” “We have unfinished business.”

Ducks guard Sabrina Ionescu (20) will forgo the WNBA to return for her senior year. (Courtesy of Eric Evans/Oregon Athletics)

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OPINION

THE US WOMEN’S SOCCER TEAM IS AN INSPIRATION TO FEMALE ATHLETES WORLDWIDE BY EMMA SPAETH All 28 members of the United States women’s soccer team filed a gender discrimination lawsuit against United States Soccer for “institutionalized gender discrimination” on Friday, March 8. e women claim to have been experiencing discrimination for years and are taking their fight over pay equity and working conditions to a new level. ey are not alone in their fight and should serve as an example for female athletes worldwide to fight for equality in sports. e United States Soccer Federation manages both the women’s and men’s teams and controls everything from deciding their pay to how they will be traveling to their games. e women claim in the lawsuit that “this centralized management and control has permitted the USSF to perpetuate gender-based discrimination.” e women of the U.S. Women’s National Team are ranked No. 1 in the world and have held that position for 10 of the last 11 years. is team has won three World Cup titles and four Olympic gold medals, resulting in substantial profits for the USSF. e team has been significantly more successful in competition than the U.S. Men’s National Team, yet is paid less. ey play the same game, put in the same effort and are much more successful, resulting in more generated revenue than the men, yet they are paid less. According to the lawsuit, in 2016, USSF budgeted for a combined net loss for both teams of $429,929, but largely because of the successes of the women’s team, the USSF revised its projections to a $17.7 million profit. e women state in the lawsuit that “the net profit for the WNT outstripped net profit for the MNT because the female players on the WNT were more successful in competition than the male players on the MNT — while being paid substantially less.” e inequality is not limited to paychecks. e women are also fighting for equal playing and travel conditions. e MNT rarely plays on artificial turf. In 2017, only 2 percent of their games were played on artificial turf, while 21 percent of the WNT games were played on artificial surfaces. e USSF arranged for natural grass to be put over the artificial grass for eight of the MNT matches, three of those venues being the same venue the WNT played at but did not install temporary grass for the WNT. e interim president of the players’ union said, “Moving forward, we expect that U.S. Soccer will take into account our input on venue selection in addition to being more respectful of our players’ health and safety.” e women also complain of travel conditions because while they often fly charter, the men fly coach. In 2017, the USSF chartered flights for the MNT 17 times without doing so even once for the WNT. is is not the first time that female athletes have stood up and protested gender discrimination.

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All 28 members of United States women’s national soccer team filed a gender discrimination lawsuit against United States Soccer for “institutionalized gender discrimination.” (Creative Commons)

In 2007, Venus Williams, along with other female tennis stars, put pressure on Wimbledon to give female winners the same amount of prize money as men. More recently, in 2017, the women’s national hockey team threatened to boycott the world championship if USA Hockey didn’t increase the women’s wages. USA Hockey and the women’s team settled on a deal providing larger bonuses for winning medals and equal travel accommodations as the men’s team. On the U.S. women’s soccer lawsuit, forward Christen Press said, “I think right now there’s really a women’s coming-together movement, and it’s happening in sport and outside of sport, and I think people all around the world are realizing how important it is to make these connections with people on the same journey as you.” ese women are standing up for themselves and, in turn, inspiring other women. e players of the women’s team made a huge stride for equality when, on Tuesday, March 26,

Luna Bar announced a donation of $718,750, making the women’s World Cup bonuses equal to those of the men’s team. Before this donation, the women on the World Cup team were making $31,250 less per player than the men. Also, in early March, Adidas said it would pay its sponsored players on the Women’s World Cup winning team the same bonus as the members of the men’s team. e members of the U.S. women’s soccer team are not the first to take drastic measures in a fight against unequal conditions, nor should they be the last. e members of the women’s national team, along with the other women who have pioneered the fight against gender inequality in athletics, should serve as an example to women and athletes everywhere. e road to equality is long and rough but can be overcome when women around the world find their voice and speak out against gender discrimination. Women deserve equal pay and working conditions and these women on the U.S. women’s soccer team have set a powerful example.

PODCAST: KNOT ANOTHER SNEAKER PODCAST “Knot Another Sneaker Podcast” is a series from the Emerald Podcast Network that breaks down the latest news, releases and hype in the world of sneakers. New episodes come out on Fridays. You can listen to this podcast and more on the Emerald’s SoundCloud page at www.soundcloud.com/emeraldmedia

Do you know an exceptional student worthy of an award? PODCAST: HOW IT’S REPORTED

Help celebrate the 7th annual 25 Ducks and nominate students at 25Ducks.com until Sunday, April 21st.

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You can listen to this podcast and more on the Emerald’s SoundCloud page at www.soundcloud.com/emeraldmedia M O N D AY, A P R I L 8 , 2 0 1 9

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memorabilia and more for your big day!

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7 ARTS & CULTURE

EMERALD

Recommends Welcome to the swing of things in the new term; we have arrived. Spring term means that the weather should be blossoming, right? I guess we could think of last week’s climate as Oregon’s April Fools’ joke on all of us — the same prank pulled last year and the year before. Good one, Oregon. Watch the droplets race down your window to these soundtracks:

TY SEGALL’S ‘DEFORMING LOBES’

Ty Segall released his most recent live-album addition “Deforming Lobes” on March 29. (Creative Commons)

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rough sheer force, Ty Garrett Segall has elevated himself to the status of garage rock legend — or at least something close to that. “Deforming Lobes,” the most recent live-album addition to his prolific discography, documents a concert at the Teragram Ballroom in Los Angeles, California. Segall plays with his most recent backing band, e Freedom Band, showcasing some of his most cohesive and focused work to date. Drawing on his most recent studio albums, from “Manipulator” to “Freedom’s Goblin” — along with a few classics thrown in for good measure — Segall explodes his music beyond the confines of the studio recordings. A performance of the monolithic “Warm Hands” pushes past the studio arrangement with a threatening and chaotic guitar solo. “Finger,” which has become a standard in the artist’s live set, makes its way into the tracklist as well, beginning with an unrecognizable intro before morphing into an overblown madness. Segall’s music is perhaps best experienced live. is most recent LP stands as a testament to that.

JENNY LEWIS’ ‘ON THE LINE’

BETTER OBLIVION COMMUNITY CENTER

Jenny Lewis is back with a vengeance with “On the Line,” her fourth solo album. Reminiscent of Fleetwood Mac and other 1960s and ‘70s folk, “On the Line” mixes soulful ballads with catchy anthems of life in the limelight. In a conversation with Vanity Fair, Lewis originally positioned her album as a breakup effort, due to her separation from frequent musical collaborator Johnathan Rice after 12 years. But when her mother died shortly after from liver cancer, and sexual and emotional abuse allegations came out against musical collaborator Ryan Adams, the album took a more complex turn. Lewis’s music has always been self-reflective, and “On the Line” exemplifies her ponderous melodies, from tales of drug and alcohol abuse in “Wasted Youth” to past relationships in “Heads Gonna Roll.” e standout ballad, “Dogwood,” is a culmination of Lewis’s past losses and a reflection on the inevitability of endings. It’s a beautiful, emotional album worth savoring.

Singer/songwriters Phoebe Bridgers and Conor Oberst joined forces to release an album that came out near the end of January, teaming up under the moniker Better Oblivion Community Center. Bridgers is known for her painfully beautiful debut album “Stranger in the Alps,” that many outlets such as NPR and Consequence of Sound gave high praise, as well as her supergroup Boygenius with Julien Baker and Lucy Dacus. Oberst is widely known for his band Bright Eyes as well as his solo work. On the duo’s eponymous debut album, some standout tracks are “Dylan omas” and “Chesapeake.” BOCC will be playing at Outside Lands in August. Bridgers and Oberst come together in an exciting way that sounds not like a cheesy duet, but rather a cohesive unit that sounds great.

SPORTS HEBARD’S POOR OFFENSIVE NIGHT ADDS TO OREGON’S DOWNFALL IN FINAL FOUR BY MAGGIE VANONI • TWITTER @MAGGIE_VANONI

Ducks guard Sabrina Ionescu announced that she will stay with the Oregon women’s basketball team for her senior season. (Devin Roux)

SABRINA IONESCU

ANNOUNCES SHE WILL RETURN FOR SENIOR SEASON BY SHAWN MEDOW • TWITTER @SHAWNMEDOW

Sabrina Ionescu announced on the Players’ Tribune on Saturday that she will stay with the Oregon women’s basketball team for her senior season, forgoing the WNBA Draft. Ionescu stated she had not decided when asked about her future periodically in the postseason. It is a rare occurrence for a junior to declare for the WNBA Draft. Some mock drafts have Ionescu going first in the WNBA Draft by the Las Vegas Aces. “I didn’t know I was even eligible to leave until I saw it on social media,” Ionescu said prior to Oregon’s Elite Eight game against Mississippi State. “I had absolutely no idea that I was even going to be given that opportunity besides a few months ago.” Ionescu’s been most known for her triple-doubles, holding not just the overall record of 18, but the most for a freshman (4), the most for a single-season (8)

and has tied the most in NCAA Tournament games (2). Ionescu has led the Ducks to the Elite Eight three straight seasons and holds the NCAA triple-double record with 18. Her 31 points, seven rebounds and eight assists in Oregon’s Elite Eight win over Mississippi State secured Oregon’s first ever Final Four appearance, where the Ducks lost to No. 1 Baylor in the national semifinal. After Oregon’s win over Mississippi State, fans at Portland’s Moda Center chanted “one more year,” which Ionescu laughed off during postgame interviews. She has also collected accolade after accolade, including backto-back Nancy Lieberman Awards for national point guard of the year, two Pac-12 Player of the Year awards, the 2016-17 Pac-12 Freshman of the Year and most recently the Wade Trophy for the national player of the year.

TAMPA, Fla. — Ruthy Hebard couldn’t catch a break. As Oregon’s most aggressive weapon in the paint, the 6-foot-4 forward has the ability to block out and rebound unlike any other. She’s the player the Ducks needed most against the Baylor Lady Bears: a team that rosters not one, but two big-woman threats in 6-foot-4 Lauren Cox and 6-foot-7 Kalani Brown. But the one thing the Ducks didn’t prepare Hebard enough for was adding just as much pressure on guarding the Lady Bears’ bigs as she should have playing against them offensively. In Hebard’s final game of her junior year, she would end the season with her lowest-scoring game in over two years. With just four points (tying her career-low set in her freshman year), nine rebounds and three steals, Hebard simply could not out-power the Baylor Lady Bears during Oregon’s loss in Friday’s national semifinal. “Ruthy gave us 100 percent of what she has,” Oregon head coach Kelly Graves said. “What she has, I don’t know. But whatever she has, I just know her. She gave all of it. It’s never just that one person. It was collective. It was the team. We just didn’t get it done tonight, bottom line.” Going into Friday’s game, Oregon knew it had to stop both Cox and Brown if the Ducks wanted a chance to continue their season. e Ducks assigned both Hebard and redshirt sophomore Lydia Giomi to the mission of defending Baylor’s bigs. Hebard, one of Oregon’s starting forwards, knew the majority of the role would be placed on her. But come Friday’s first quarter, Hebard’s game slowly fell apart. e junior got blocked, shoved and pushed inside the paint countless times by the Lady Bear bigs. She was called for traveling twice in those 10 minutes, with one call expressed loudly by players and coaches of the

Baylor bench as they jumped up to signal the referee of Hebard’s wrongdoing. “ ey have two of the best post players, obviously very tall, very athletic,” Sabrina Ionescu said. “ ey were beasts inside. But we had to adjust and we didn’t.” It wasn’t until the second quarter that she was even able to find her way to the basket in attempt of a shot. Yet, the ball was blocked by a Lady Bear and gave Hebard a stat line of just three rebounds, one steal and three caused turnovers at halftime. Hebard earned her first points of the game about five minutes into the third quarter from the Oregon-signature pick-and-roll, assisted by Ionescu. Another pick-and-roll from Ionescu in the fourth quarter gave Hebard her second, and final, bucket of the night. “I knew it was going to be tough inside,” Hebard said. “ e guards did a great job in the pick-androlls, but overall it was OK.” e Fairbanks, Alaska, native did provide strength for Oregon defense, ending with teamhigh rebounds and steals. A highlight for Hebard came with four minutes and 40 seconds left in the game. Baylor had collected an offensive rebound and the ball found its way to Brown’s hands. Hebard pressured Brown forcefully and stole the ball from her in order to bring it back down to the Oregon basket. e small crowd of Oregon fans got on its feet with the unexpected momentum, only to have to it smothered a moment later with a missed Ionescu 3-pointer. “I think in a few weeks, we’ll look back and think, ‘Gosh guys, we were in the Final Four.’ We gave Baylor a tough game and with all the stuff we accomplished this season,” Hebard said. “I know I’m so proud of everybody on this team and hopefully they are proud of themselves because we deserved to be here.”

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THE END OF THE ROAD:

OREGON 3-POINTERS NOT ENOUGH TO ADVANCE AGAINST BAYLOR’S INTERIOR DEFENSE BY SIERRA WEBSTER • TWITTER @WEBSTERSIERRAE

e Ducks lost 72-67 against Baylor during the national semifinal, despite outscoring Baylor 36-0 from the 3-point line. (Courtesy of Eric Evans/Oregon Athletics)

TAMPA, Fla. — When junior Sabrina Ionescu realized the game was over, she hid her face in her jersey, pulling it up to cover the tears that were surely begging to fall. After a missed Oregon 3-pointer, Erin Boley had just fouled Baylor’s Kalani Brown with three seconds left. Both teams headed to the free throw line. e game was over. By the time Ionescu arrived in the press room, she was composed, jaw-locked and eyes set, but the tell-tale signs of tears were showing in the redness around her swollen eyes. Boley wouldn’t meet the eyes of media asking her questions. In Oregon’s 72-67 loss in the national semifinal, it was Baylor’s post game versus Oregon’s 3-point shooting, resulting in the end of the Ducks’ historic season. From the perimeter, Oregon’s 12 made 3-pointers tied the national semifinal record, and with all four of Oregon’s guards getting in on the action, the Ducks outscored Baylor 36-0 from the 3-point line. But behind a near Ruthy Hebard shutdown by Baylor’s posts, Kalani Brown and Lauren Cox, the Ducks’ 3-game came up just short of a national championship appearance. Hebard, usually Oregon’s biggest offensive threat in the paint, was outmatched by not one but two All-

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American posts, scoring just four points, off four attempted shots. “Unfortunately for us, we couldn’t get Ruthy involved as much as we wanted to. at hurt us,” head coach Kelly Graves said. “I just thought we shot a few too many [3-pointers], a couple not so good ones.” Ultimately, Oregon fell apart down the stretch, missing 12 of its last 13 attempted shots, including a missed pull-up jumper from Sabally with 30 seconds on the clock and the team down just two points. e sophomore had an open 3-point shot, hesitated on the release and dribbled in for the mid-range pull-up jumper and missed. Despite scoreless first and fourth quarters, Ionescu led the Ducks with 18 points, 12 in the second quarter alone, but just 6-of-24 from the field. Sabally shot 42.8 percent from the 3-point line for 16 points. Boley showed up big for Oregon with 14 points, with 12 beyond the arc. “I thought Erin Boley hurt us,” Baylor head coach Kim Mulkey said. “I thought she really hit some shots. ey would set some flair screens for her, and we would be ball watching. at’s a very good basketball team. ey’re very difficult to defend.” Across the stat line, the Lady Bears and Ducks were evenly matched. Behind 12 ties and 12 lead changes,

Baylor outrebounded Oregon by just five boards and out-assisted the Ducks by just four. Each team committed 13 turnovers, and Oregon had seven steals to Baylor’s five. But, Cox and Brown dominated down low on both ends of the floor, scoring 43 of Baylor’s 48 points in the paint and holding the Ducks to just 20. “ ey have two of the best post players, obviously very tall, very athletic,” Ionescu said. “ ey were beasts inside. But we had to adjust and we didn’t.” Baylor and Oregon tugged back-and-forth for the whole 40 minutes in parity Ducks’ fans may have grown familiar with after the Ducks’ Elite Eight game against Mississippi State. With 3:48 left on the clock, Baylor took its final lead and went on a 9-3 run for the remainder of the game to claim the five-point Final Four victory. e Ducks held Baylor, which was averaging a 38-point margin of victory in the tournament, to just a five-point victory in the Ducks’ historic, firstever Final Four. “We’re going to look back on this as a tremendous season and another step. It always hurts. It does and it should. But this was a tremendous season,” Graves said. “I think what we’ve done for basketball in the state of Oregon is incredible.”

AlumnI TAKE FLIGHT

UO Alumni share career lessons they’ve learned

Erin Watkinson

Job Title: Vice President of Client Success at Adpearance Major: International Business, Spanish Graduated: Bachelor of Arts degree, 2000 Erin Watkinson has enjoyed success at six different companies and explored many different professional positions since graduating from the University of Oregon in 2000. Today, she is the vice president of client success at Adpearance, a digital marketing and sales intelligence company located in Portland, and is doing exactly what she is passionate about: interacting with clients and ultimately building strong relationships with people. What are your thoughts on networking? Are there any wrong ways to network? I think networking is powerful. There are a lot of people who want. I just met with a former coworker who asked for advice because she’s just now exploring a change in her career, and I said absolutely! The challenge to networking is not to come across as selfish. But anytime I’ve networked with anyone from either direction, either as advice giver, or advice seeker, it has been such a positive experience. If you have the confidence to make that first step of reaching out to someone, I can almost guarantee that the person you work with is going to respond in kind. Does networking get easier? Absolutely it gets easier, and the fear starts to go away a little bit. If the contact doesn’t have time to talk to you, it’s is not a reflection on you; don’t take it personally. When you network and have a conversation, it benefits both you and the person you are talking to, as well. A reminder for students is that your network is a reflection of the energy you put out there. It does take hard work. There’s the work ethic component, integrity and how you show up. If you work hard, and if you present yourself as a strong candidate, you’ll be fine. But you can’t expect to build a strong network just because you think you deserve one.

Written By: Cadaxa Chapman Ball

Read the full interview at www.uoalumni.org

Alumni Spotlight is a collaboration between UOAA and Emerald Media Group.

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40 Allele, e.g. 41 Stylized Tesla logo 42 Electrical units 43 All-around Canadian put-down 44 *Air passenger’s request, maybe 48 Spanish dramatist ___ de Vega 49 Stephen Colbert and Conan O’Brien 53 Tons of, informally 55 Silk dress, maybe 57 “Sharknado’s” Reid 58 “Ended, ___ it begun” (Emily Dickinson poem) 59 See 38-Across 62 Starbucks units: Abbr. 63 The Jetsons’ boy 64 Successfully brings around 65 “As if!” 66 Woodworkers’ tools 67 On edge

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