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BY ANNA MATTSON e Next Generation Storytelling project, a one-week summer camp put on by the School of Journalism and Communication, will not continue in future years due to an $11.6 million budget cut that has impacted a variety of departments on campus. UO and the Northwest Scholastic Press worked together to create an annual summer camp through the SOJC that offered an immersive experience for 200 Oregon high school students who showed an interest in pursuing a career in journalism. NextGen Storytelling has been teaching students journalistic skills through multimedia classes and giving feedback on their high school projects, such as yearbook pieces or newspaper articles, since 2016. e program also doubled as an opportunity for prospective students to experience campus life and provoke interest for UO. Vivian Rush, a student at Grant High School in Portland, had the chance to experience NextGen Storytelling this June prior to its termination. “It was a really interesting experience that told me a lot about the University of Oregon, which was really exciting,” Rush said. “I got to learn a lot about my options and what classes were like.” NextGen Media’s overall goal is to “ignite young communicators’ passion for advertising, journalism, media research, and public relations while honing their creative and critical thinking skills,” according to its mission statement. Juan-Carlos Molleda, the dean of the SOJC, said that removing the program was a difficult decision for the SOJC to make; however, he said that protecting programs and opportunities for current UO students is the priority.

Students at Fall Media Day. (Courtesy of SOJC)

“We needed to preserve the core components of the university and the SOJC; these are mainly teaching and research,” Molleda siad. “We also needed to preserve any type of program that makes contributions to current student success.” e program is permanently removed from the SOJC and will not be returning, due to the costs of faculty. “[Eighty percent] or more of our expenses are personnel expenses. Every school and college has some kind of limitation in

terms of the number of faculty members and staff that they can have,” he said. “In the case of the SOJC, we are very large already.” Although the large summer camp will no longer be active on campus, UO will continue to co-sponsor the Fall Media Day with Northwest Scholastic Press on Nov. 6. Fall Media Day is dedicated to prospective high school and middle school journalism students to engage in learning sessions with media professionals and SOJC faculty.

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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.

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Monika Rauch talks about the German wines available to taste at Oktoberfest. (Sarah Northrop/Emerald)

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BOOK REVIEW

REBECCA SOLNIT REMAINS RELEVANT IN ‘WHOSE STORY IS THIS?’ BY AUDREY KALMAN

In her most recent book, “Whose Story is is?: Old Conflicts, New Chapters,” Rebecca Solnit addresses notably current issues — topics that have been in the news as recently as the past few weeks — while simultaneously analyzing their respective histories. As someone who has been on a Rebecca Solnit bend for about a year now, “Whose Story is is,” feels as current as possible; however, the topics addressed in some of her earlier books, such as 9/11 and the Iraq War, feel significantly less relevant. Solnit’s latest essay collection utilizes the same structure as several of her prior books, including “Men Explain ings to Me” and “ e Mother of All Questions:” each of the 19 succinct essays critique American society and the world we live in. emes of gender, citizenship and naming are present throughout the book. e idea of urgency in addressing these matters is detailed repeatedly. roughout many of the essays — including “Voter Suppression Begins at Home, e Fall of Men Has Been Greatly Exaggerated”, “Dear Christine Blasey Ford: You Are a Welcome Earthquake” and “Let is Flood of Women’s Stories Never Cease” — Solnit addresses issues regarding

after men. New York City is used as gender. Solnit writes of domestic a case study, as Solnit guides the abuse, men silencing women and reader through boroughs, trains instances of women speaking out in and numerous streets all labeled in recent years. ough she has written honor of male figures. Solnit then about these and other gender-centric compares this male near-dominance issues before, “Whose Story Is is,” with the occasional instance of feels like much more of a timely, the corresponding presence (or reactionary piece. absence) of women; Solnit wonders For instance, instead of an how her formative years might have anecdote about Virginia Woolf, there been different had is an anecdote about more things in her Greta unberg; environment been it feels like you named in honor of are reading about women. the world as it is City of Women is currently unfolding. reminiscent of the e majority of essay e Monument Solnit’s canon deals Wars from Solnit’s with gender, but this previous book, latest book feels “Call em by eir more nuanced and True Names. City of analytically complex. Women was especially Solnit showcases the reminiscent of e omnipresent “museum Monument Wars’ of misogyny” that has quote, “A city is a book not gone anywhere AUDREY KALMAN we read by wandering and guides us through its streets, a text that its latest exhibits with favors one version of history and tact and fluency. suppresses others, enlarges your In City of Women, Solnit showcases identity or reduces it, makes you feel her ability to take a reality many of important or disposable depending us live in and lead us to think about on who you are and what you are.” it in newly eloquent ways. Solnit In e Monument Wars, and in this inspects the nomenclature of the quote, it feels as though Solnit is still world around us, reminding us of working through this idea. But in City how almost everything is labeled

“DESPITE THE MANY DOGMAS SOLNIT ITERATES THROUGHOUT THE BOOK, SHE ENDS ON A HOPEFUL NOTE.”

of Women, she has reached a more complete way of thinking about this concept; she has fully identified the Cities of Men most of us exist in. As a reader, it is satisfying to witness this development in Solnit’s thinking. Many, if not all of the essays, cite recent examples of the latest installments in the histories of societal situations. One of the essays that does this most effectively is the book’s final piece, Letter to the March 15, 2019 Climate Strikers. Solnit thanks the climate strikers for their work and conveys her hope for the future due to them. In addition to the climate strikers, Alexandria OcasioCortez (and the Green New Deal she supports), is mentioned as an example of this timely movement and a catalyst for dramatic yet necessary change. Reading Solnit’s writing can easily induce some morose thinking, as many topics she focuses on revolve around oppression and sometimes overt, uncensored violence. Despite the many dogmas Solnit iterates throughout the book, she ends on a hopeful note, telling the climate strikers that they “are the force of possibility that runs through the present like a river through the desert. Love, Rebecca.” Solnit tactfully crafts a hopeful book in the face of the troubles it analyzes.

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A&C

Tasty ai and Korea House are located next to each other on 14th Avenue and Hilyard Street. (Sarah Northrop/ Emerald)

ORDER UP! WHAT MAKES FOOD AUTHENTIC? BY EMILY CHAN “Authentic cuisine.” Despite being in an age where fusion and modern food are all the rage, the criteria behind what makes cuisine “authentic” is still debated by chefs, critics and consumers alike. When someone says they’re looking for authentic cuisine, what comes to mind? Spaghetti that’s made by Italians? Chinese food that’s not Panda Express? Sushi rolled by Japanese people? e question of what and who determines this unclear label is an aspect of cuisine that is still debated to this day by chefs, reviewers and people of color. Why do we question whether or not the owner of a restaurant belongs to the same culture the food is from? ere’s a few lenses through which authenticity can be examined: location, audience expectation and intention of restaurant. One of the closest places to campus where the question of authenticity applies is Tasty ai Campus. Walking into the restaurant, printed photos of foods are taped on the left and right walls, as well as along the sides of the counter and behind the door. ese photos are laminated and have their names handwritten or labeled with sticky notes. If you don’t look up, one could easily miss the red-and-gold foiled altar nailed into the beam, with various figurines of Buddhist deities on top. “ e Kitchen location has been open for over 10 years,” said Nontawat Wongsathan, owner of Tasty ai Campus. Wongsathan took over management of the location two years ago from his aunt, who still manages the Tasty ai Kitchen location on 29th Avenue.

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“We’re authentic because I haven’t changed any of my aunt’s cooking methods,” Wongsathan said. “Some ingredients can be really expensive, but just because we switch out some ingredients doesn’t make the food any less authentic.” According to the Merriam-Webster dictionary, “authentic” has a few definitions. e first is that something is “conforming to an original so as to reproduce essential features; made or done the same way as an original.” In regards to location, Oregon to ailand is a journey of over 7,500 miles. When scanning the wall menu and the dozens of food photographs, a few items may stick out. Tasty ai serves “pho,” Vietnamese beef noodle soup. Ironically, American fried rice is a ai recipe, while their Island fried rice is not. Cream cheese rolls, which are deep fried rolls of cream cheese served with sweet and sour sauce, are offered as appetizers. When asked about the cream cheese rolls, Wongsathan laughed. “Yes, that is not real. It’s more Americaninfluenced,” he said. So, does having a selection of other ethnic food take away from an ethnic restaurant’s “authenticity”? Most of the food is “real ai food,” Wongsathan explained. For example, the main foods like the pad thai, curries and all but one of the types of fried rice are authentic recipes. “Lots of people know what ai food is and having these ai-American don’t affect authenticity at all,” said Aliza Cooper, a Tasty ai Campus cashier.

Cooper has been working at the location for a little over two years and wondered about the wide selection of offerings when she was first hired. “[Wongsathan] just said having other types of dishes allows customers to have a variety of choices,” Cooper said. “ ai-American food also leans less spicy.” An additional definition of authentic provided by Merriam-Webster is “true to one’s own personality, spirit, or character.” Is it a time to shame restaurants for not following a philosophy they seem to claim and believe in so wholeheartedly? “Customers might think about authenticity but they don’t really care about it because they can’t really find any other places around here,” Cooper said. “Obviously they know that we’re not gonna use the traditional ingredients and all that stuff, but we still serve them the dish.” e debate of whether an ethnic food is authentic enough is not the type of dialogue people should be having; instead, they should be questioning the intention behind why a restaurant may have a specific menu or why a dish is made a certain way. A restaurant or chef’s authenticity must be reviewed on a case-by-case basis. It’s time people stopped taking the label of “authentic” as the end-all-be-all for ethnic food. Instead, they should contemplate food as a canvas for portraying the complicated issue of identity, culture but most of all the ethnic American experience of balancing assimilation and staying true to one’s roots.

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COVER

PASS THE MIC BY DONNY MORRISON • TWITTER @DONNYMORRISON26 More than anything, Jill Sullivan wanted to make friends. It was 2016. Sullivan had just moved from California to begin her first year at the University of Oregon. She brought with her a love of music and not much else. She rarely sang and hadn’t played an instrument in high school. Yet, her love for music never stopped at listening to it. Sullivan loved seeing artists perform. She loved the electricity felt in a large crowd, connected by live music. She loved the unity among fans and music lovers. She wondered how it all worked. Who books the bands? Who reserves the space? Who promotes the show? Who provides the water for thirsty concert goers? And who makes sure everyone is safe during a mosh pit? By the end of her first year, Sullivan had found answers — and friends — after joining UO’s Music Industry Collective, a student group meant to introduce students to the music industry. But since 2016, it’s proven to be much more, becoming a tight-knit group of music lovers dedicated to sharing their passion amongst themselves — and with the rest of the world, too. “ e MIC has opened doors for me, and I’ve found that sense of community I was looking for,” Sullivan said. “When I first got here, I was in the business school. I thought I would do marketing and eventually work for some random company. I didn’t know a group like the MIC existed.” While the UO’s School of Music and Dance doesn’t offer an official music business major, students can earn a degree with a concentration on popular music while taking either industry or music-business specific tracks. e MIC wants to pick up the slack left in the absence of specific courses related to music business and artist management. In February, in collaboration with UO’s School of Music and Dance, the MIC held UO’s first Music Industry Networking Fair, which connected students with close to 30 different local music businesses. Two months later, Sullivan helped put together the 2019 Women in Music panel, which featured guests from all facets of the music industry, from recording artist Anna Bulbrook from the band GIRLSCHOOL to independent record e Music Industry Collective is a UO group the connects “students, professionals, and opportunities.” (DL Young/Emerald). PA G E 1 0

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label president Portia Sabin. “It’s opened up opportunities for me to book artists I really love, and I get to watch them play at my school with 800 other students,” Sullivan said. “I get to meet people who I really look up to.” After serving as vice president of membership last year, Sullivan will begin this year as the MIC’s VP of external affairs, acting as a liaison between the MIC and the rest of the community. Since 2018, weekly attendance of the MIC meetings is required for students in the Pass the MIC First-year Interest Group. e idea of a FIG is to demystify the college experience for first-year students by putting them in a small group that takes subject-specific classes together. is year’s president of the MIC, David Martinez, plays the sousaphone in the UO marching band. e lack of stability in a professional orchestra dissuades Martinez from pursuing a career as an actual musician; however, his interest in music as a career remained. In his freshman year at UO, a professor told him about the MIC, but other commitments prevented him from attending more than a few meetings. “Come sophomore year, I began going more regularly,” Martinez said. “I noticed that not only does the club provide students with information on nearly every aspect of the music industry, but they had also created a great sense of community within the club and the city of Eugene. Ultimately, it was this community that sparked my interest in joining the leadership team.” As president, Martinez hopes to continue attracting students from all over campus. e music industry is multifaceted. Aside from the music and business components of the industry, journalism can play a big role too. Music and culture critics can sometimes have an unfair amount of influence over what gets popularized and what doesn’t. It’s an important job that often gets overlooked when thinking about the music industry as a whole, Martinez said. “ e business school constantly supports us with funding because we’re providing something they’re not. Even the journalism school has

David Martinez is the current president of the Music Industry Collective. (DL Young/Emerald).

partnered with us because they noticed a lack of music and art journalism being taught in Allen Hall,” he said. e MIC’s official faculty advisor, Kate Harmon of the Lundquist College of Business, has been with the MIC from the ground up. Every year, Harmon helps pay for a group of students to go to South by Southwest, a popular technology, music and innovation conference held in Austin, Texas. Except there’s one condition: “I ask them to give back by creating something that spreads the entrepreneurial spirit. In 2016, I had a student named Desmond Harvey who was really interested in the intersection between music and business. Starting the MIC was how he gave back,” Harmon said. Harmon has always noticed the similarities between artists and business-minded people. To her, they’re both self-motivating, their drive often stemming from a passion, if not an obsession, for what they love. “You have to be entrepreneurial to be successful in both of these areas,” Harmon said. “ ese students aren’t just bringing in guest speakers. ey’re getting hands-on experience booking and hosting artists.” Last year’s president of the MIC, Bobby Schenk, had been there from the start. He and Harvey were two of the nine founding members. Along with founding member Aiden Allison, Schenk helped design the FIG based on the club, helped organize the firstever music industry networking fair and also began developing a music industry minor in the School of Music and Dance. “Allison and I have put a lot of time, blood and sweat into this club,” he said. Sullivan says MIC members almost immediately benefit from the

connections made during the weekly meetings. It’s where she got invited to her first house show. It’s where Schenk found a community that would carry him through his four years of undergrad. “At that time I really felt that a community around music was lacking at the University of Oregon,” Schenk said. “ e MIC isn’t just about building skills and learning about how the music industry works; it’s about making connections and making friends with people who love music so much they want to know how it works on every level.” Toby Koenigsberg, coordinator for the popular music program through UO’s School of Music and Dance, is about to begin his second year teaching the Pass e MIC FIG. His program will also be collaborating with the MIC for an artists’ lecture series later this year. “ e School of Music and Dance has become more involved with the MIC over the last two years,” Koenigsberg said. “It helps to connect music students with industry professionals and with students from other schools and colleges who have similar or related interests and career goals.” Because Schenk graduated in June, his presidential duties within the MIC have ceased, but the community he’s helped build is still looking toward the future, hoping to expand to include music professionals from all corners of the industry. “In the future, we’re really trying to work on our professional development series, making the club more focused on skill development. But we will always book speakers and make sure our events are as informative as possible. And more social events! Always more social events.”

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OPINION

GUEST VIEWPOINT

A CONSERVATIVE SOLUTION TO CLIMATE CHANGE BY WILL CHRISTENSEN

I’ve called Oregon home for my entire life. It’s without a doubt one of the best places a kid can grow up. We have sprawling suburbs, tightknit communities and beautiful forests housing crucial wildlife — and way too much rain, of course. We Oregonians treasure our natural wonders and resources because they contribute significantly to the character of our state. So, if you asked someone in Portland if climate change is all that big of a deal, you wouldn’t hear the end of it. If we lose our forests, we might as well lose our state; we Oregonians know that. Where we have trouble, however, is finding a solution that works in Portland without hurting places like Pendleton. State Senate Democrats proposed the first major solution to address these issues. eir highly controversial cap-and-trade bill aimed to cut emissions by 80% below their 1990 levels by 2050. e bill was stopped when GOP senators walked out in protest and left the state to avoid the vote. Many villainized the Right for the outcome, but what critics forget is that bill would have greatly cost farmers in the east and dramatically raised gas prices in the PortlandMetro Area, far beyond most lower income residents’ purchasing power, according to Oregon Public Broadcasting. All of these economic consequences are unnecessary for a state that only accounts for 0.7% of U.S. carbon dioxide emissions, according to the World Resources Institute while the U.S.

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fuels, which has been wrongfully as a whole contributes 16% to criticized for the industry’s alleged global emissions, according to data lack of innovation. However, collected by Climate Watch. is natural gas emits close to 50% less begs the question: If a particular CO2 than coal, according to the U.S. solution to a problem negatively Energy Information Administration, impacts the livelihoods of most and its recent rise has contributed people, with no guarantee of greatly to the climate and the recourse, is it really the best option economy. is has allowed the we can come up with? United States at’s to reduce its where young emissions at conservatives a faster rate like myself than most come in. other nations. We call our To advocate approach for this “All Of e solution, the Above,” a American free market Conservation solution Coalition, an allowing organization for the best that advocates and most for freeaffordable market and technology conservative to prevail. We environmental would like the solutions, flew government, 45 college from local students, to federal, to including deregulate myself, to the energy Washington industry, WILL CHRISTENSEN D.C. for three ultimately days. We allowing were split into free and fair groups based on our home region competition between energy of the United States and educated sources. members of Congress and their is approach does not subject staff about our message. All of the individuals to authoritative students were highly motivated, and economically devastating had vast knowledge of the energy government mandates, and it industry and always had something will give real value to the energy to add to the conversation. I knew technologies of the future. Of from the first day that our efforts to course, this approach includes fossil

“AT THE END OF THE DAY, REGARDLESS OF POLITICAL AFFILIATION, EVERYONE WANTS TO LEAVE THE PLANET BETTER THAN THEY FOUND IT.”

advocate for our position would be successful in the days to come. e main event of the fly-in was our meetings with representatives and senators in D.C. e groups met with congressmen and women from both chambers, from Rep. Walden (R-OR) to Sen. Ernst (R-IA). e groups traveled from office to office advocating for our free-market solution to the energy crisis, and everyone we spoke with made it clear that they were keen on spreading our message. After the meetings, the group attended a reception, where Reps. Mast (R-FL), Curtis (R-UT) and Steil (R-WI) gave speeches. e speakers showed great enthusiasm for our cause, and they were clear about their intent to advocate for an All Of e Above energy approach. At the end of the day, regardless of political affiliation, everyone wants to leave the planet better than they found it. However, most climate discourse often underestimates the utility of conservative solutions. An All Of e Above energy approach still emphasizes the importance of preservation, while simultaneously allowing the people that have relied on fossil fuel technology to carefully adjust. States like Oregon have no need to burden themselves with short-sighted legislation and must adopt a solution that leaves plenty of room for the American Dream. ese people need to be considered before we move forward because they need to be part of the solution, instead of being told they are the problem.

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SPORTS

OREGON’S RUSHING ATTACK AIMS TO GET BACK TO ITS STANDARD

Ducks offensive lineman Jake Hanson (55) prepares to snap the ball. (Sarah Northrop/Emerald)

BY GABE ORNELAS • TWITTER @GABE_ORNELAS e Oregon rushing attack is looking to get back in sync. e Ducks, following four weeks of football, have had a lackluster rushing attack. ey rank 85th in the nation and eighth in the conference for overall rushing. Offensive coordinator Marcus Arroyo and his offense got a chance to establish their rushing attack during the bye week ahead of their game against Cal. “Getting back into sync in regards to certain things we do, certain looks, certain fronts and certain schemes that may have a chance to give us an impact,” Arroyo said. “It’s all collectively seeing it, with some of the stuff that we are doing now is going to help us, and that’s been good.” Oregon center Jack Hanson will return to the field following an injury that sidelined him against Stanford and put Calvin rockmorton into the center position. rockmorton will slide back to right tackle and Oregon will return its veteran offensive line against Cal. With the bye week allowing the offensive line to

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recover to full strength, it also allowed them to get back to the basics. “We really just started from scratch,” senior offensive lineman Shane Lemieux said. “We got our bodies back, got our mental focus back and really tried to get away from football for a couple days. I think we came back today and ran the ball really well in practice and we are really emphasizing that.” Starting running back CJ Verdell also got a chance to work on the fundamentals during Oregon’s bye week. Verdell, who hasn’t played as well as he did in his freshman year, is focused on getting the rushing attack back on track. “We just wanted to get our technique right,” Verdell said. “We’re right there. Each game is different — sometimes it’s not going to be pretty. We’ll just keep working at it and hopefully it should open up this game.” Oregon rushing attack will have to run into the teeth of the Cal defense and inside linebacker Evan Weaver. Weaver, a senior, leads the nation in total tackles with 78 and is one of the nation’s best

linebackers. “He’s a really talented guy,” Ducks quarterback Justin Herbert said. “He’s about as special as they come. He makes all their plays. ey’ve got a lot of guys that makes plays, but he makes a lot of them.” Herbert is arguably playing at his best this season, but the run game has not been able to consistently support him. Herbert has completed 74% of his passes to go along with 14 touchdowns and no interceptions. Head coach Mario Cristobal has been consistently preaching that Oregon is a power-run school and that it needs to get back into sync with that mantra. And if Oregon wants to be competitive for the remainder of the season, the Ducks can not solely rely on Herbert to carry them. Despite trying to get the offense into sync, Oregon is focused on winning first and foremost. “A lot of teams see us as a running team,” Lemieux said. “I don’t really care how we win as long as we are in, whether we’re rushing or passing.”

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