01/11/18 Emerald Media - Thursday Edition (Week of Welcome)

T H U R S D AY, J A N U A R Y 1 1 , 2 0 1 8 D A I LY E M E R A L D . C O M

THURSDAY

KEITH SMITH’S FAMILY and Seattle roots propelled him to a basketball life.

MARIO CRISTOBAL

FILLS OUT HIS COACHING STAFF SPORTS PG 11

THE SONGS THAT DEFINED 2017 A&C PG 5

FAMILY BUSINESS

RED WAGON CREAMERY CLOSES NEWS PG 3

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NEWS RED WAGON CLOSES IN THE EMU

BY BECCA ROBBINS• TWITTER @BROBBINSUO The Red Wagon Creamery in the EMU basement closed on Jan. 1 due to not meeting the financial obligations of its contract.

Dan Geiger, assistant director for retail services at the EMU, said they didn’t do as well as they hoped.

“The EMU is disappointed it didn’t work out,” he said.

Geiger said the contract between the creamery and the EMU was for a minimum base rent or a percentage of their sales, whichever was higher. Because they could no longer meet this, Geiger said it was a mutual decision between the EMU and Red Wagon to close their shop on campus.

Red Wagon opened on campus in September 2016 and was in the EMU for the building’s reopening that fall.

“We like their ice cream,” Geiger said. “It just didn’t sell.”

Red Wagon could not be reached by The Emerald and its website is also unavailable.

EMU seeks replacement According to Geiger, the EMU is seeking another vendor for the location, preferably

a local option to neighbor Townshend’s Teahouse.

Keeping in mind students’ price points, Geiger said having a variety of options on campus is an important factor.

“Students have a diversity of palates,” said Geiger. “So we’re not going to put in another burger place.”

Looking to drive sales later into the evening, Geiger said the new vendor would preferably appeal to students beyond traditional lunch time hours like other national chains in the building.

One challenge in the search to fill the location is the space itself.

“It’s a great location, but it’s small,” said Geiger.

The space doesn’t have a hood for cooking things like burgers, he said, so that’s why an ice cream shop was initially appealing.

Geiger said they are seeking input from students on what should come next and are consulting the EMU board, which is comprised of students.

If you have ideas for something you want to see replace Red Wagon in the EMU, email dgeiger@uoregon.edu.

STUDENT SUSTAINABILITY FAIR CELEBRATES UO AND EUGENE’S “EARTH-LOVING” SUSTAINABILITY SCENE

BY RYAN NGUYEN• TWITTER @RYANJJNGUYEN The Student Sustainability Center is holding a fair to get more University of Oregon students involved in the community’s “earthloving” sustainability scene.

The Student Sustainability Fair will be located in the Crater Lake North and South rooms of the ERB Memorial Union on Jan. 26 from 10 a.m. to 3 p.m. The event has been held annually by the SSC in an effort to get UO students to learn and talk more about local sustainability practices, issues and initiatives, such as the UO Zero Waste program and the UO Outdoor program.

Selena Blick is a fourth-year environmental studies student and one of the SSC’s event coordinators for the fair. She says that the fair doesn’t include just UO environmental groups.

“We have a bunch of different groups from the Eugene area that come in and table,” she said, adding that the SSC wants UO students to also get involved with environmental and social justice groups outside of the campus community and not just ones on campus.

The fair also aims to start conversations between interested students and organizations that “aim to promote sustainable practices in the Eugene community and beyond,” according to the University of Oregon website.

Tabling student groups will offer a variety of games and activities in addition to information; last year, students played recycling basketball and enjoyed “dank food,” according to the SSC website.

This year, the SSC is partnering

(Emily Harris)

with the UO Craft Center to make screen-printed reusable shopping bags that will be free to students.

There will also be a raffle drawing.

The SSC is a space where students collaborate to lead initiatives in the areas of human equity and environmental sustainability, according to the University of Oregon website. It is located in the EMU, and it manages other initiatives, such as the Grove Community Garden, “Bottles Up,” the free seed library and UO Greeks Go Green.

“Just seeing all the [sustainability] groups on campus together is my favorite part,” said Blick.

The stall that used to house Red Wagon Creamery in the EMU. (Emily Harris)

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Formerly the Oregon Daily Emerald, the news organization was founded in 1900.

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ON THE COVER

Keith Smith (11) attacks the rim in a game against UCONN in the PK80 tournament.

Photograph by Adam Eberhardt

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ARTS & CULTURE EMERALD RECOMMENDS:

THE SONGS THAT DEFINED 2017

BY SARAROSA DAVIES, ALEC COWAN, ZACH PRICE, NIC CASTILLON AND JORDAN MONTERO

“PRELUDES” — CRAIG FINN

It seems symbolic to me that Craig Finn — known for his geographic poetic lyrics and storytelling from his days with The Hold Steady — would be a steady soundtrack to my first full calendar year in college. Especially because I have always had trouble with his music.

Finn is originally from Minnesota, my home state, and he often writes about specific spots in the Twin Cities, where both of us grew up.

It’s easy to trace the geographical threads through his songs, and this is especially apparent in “Preludes,” the single from Finn’s 2017 solo album, “We All Want The Same Things.” “I came back to St. Paul and things had progressed and got strange,” Finn sings over meandering instrumentals.

This sense of returning to a familiar place and seeing it as unfamiliar resonates with me every time I return home, especially having spent 90 percent of the last year in Eugene. I remember hearing this song the one week I was home over the summer and feeling exactly what Finn was talking about. I think about how the neighborhood I grew up in has expanded and changed and how I, too, have done the same.

Now, a term into my sophomore year, I can say that I’m becoming a Craig Finn fan. It’s amazing what a year can do.

-Sararosa Davies

“FORGOT MYSELF” — JEN CLOHER

Summer 2017 was a weird one for me. I wish I had had Jen Cloher’s rambling lyrics and guitar playing from “Forgot Myself” to help me through a few months of bad health, summer classes and the smoke covering Eugene. But when I first heard Cloher sing the lines “Paint a still life of your side of the bed / Patti Smith poems, a hair tie, and some vitamins,” at a concert in Portland this fall, I immediately felt some closure and distance from all the hospital visits I had and Patti Smith I read this summer.

I remembered lying in bed at my sublease, recovering from a severe allergic reaction, and turning to my bed stand to see “Just Kids” by Patti Smith, bottles of medicine and a hair tie.

And now that the summer has surely passed, the depression has lifted and my health is better. “Forgot Myself” serves as a reminder to never eat shellfish again. If music has ever been a motivator to treat myself better, it is now.

-Sararosa Davies

“AMERICAN TEEN” — KHALID

“American Teen” captures the uncertainty of youth that propelled Khalid from Grammy hopeful to a nominee in five categories at

the 2018 awards. The title track follows the struggles of a life in transition, and for me — a senior in college — the synth-driven ode to the quintessential ups and downs of life has been especially resonant. Listening to “American Teen” throughout the year, I felt exactly like Khalid did tweeting back on his aspirations: “Wow. I did it.”

-Alec Cowan

“DON’T TAKE THE MONEY” — BLEACHERS

What can be said about Bleacher’s pop hit “Don’t Take The Money”? This track has been uplifting, poignant, dancey — in a word, anthemic. The lovelorn lyrics give a thundering battle cry to the song, and whether its relationships or nostalgia for the past, this song always makes me feel retrospective, but motivated. Be sure to listen to the vulnerable MTV Unplugged cover featuring Lorde.

-Alec Cowan

“REDBONE” — CHILDISH GAMBINO (DONALD GLOVER)

If a growing sense of frustration surrounding changing political, social and racial landscapes in the United States doesn’t sum up everything that happened in the past year, then I don’t know what does. Though Childish Gambino/ Donald Glover’s 2017 smash-hit, “Redbone,” tells the story of a paranoid boyfriend who is suspicious his lover is cheating, its lyrics have been interpreted in many ways. Jordan Peele decided to use the track during the opening moments of his 2017 satirical horror film, “Get Out,” which depicts the realities of racism in America. Peele told Genius.com that he chose the song because of its eerie vibe and its use of the phrase “stay woke,” which is a slang term for being socially and politically aware. But Glover’s 2017 year of wokeness didn’t end there.

His Golden Globe Award winning TV show, “Atlanta,” dealt with similar issues of social and racial injustice.

-Zach Price

“GUCCI GANG” — LIL PUMP

“Gucci Gang” helped push Florida-based rapper Lil Pump into the mainstream this year, but it’s been easy for some people to call the single stupid or even lazy. Its repeated hook — “Gucci gang, Gucci gang, Gucci gang, Gucci gang” — can be heard over 50 times throughout the song’s short duration of two minutes. On paper, this sounds obnoxious; however, Lil Pump somehow makes it work. “Gucci Gang” is

incredibly fun, and it remains one of the year’s catchiest singles.

Pump pushes a typical hip-hop braggadocio to the point of absurdity with the song’s excessive chorus and flamboyant lyrics, an attitude that perfectly matches with the gaudy — and repeatedly referenced — fashion brand.

“Spend three racks on a new chain / My bitch love do cocaine,” Pump says. This kid is only 17. It should be a bit concerning, yet it’s oddly inspiring. The meteoric rise of artists like Lil Pump in 2017 may not sit well with a lot of “real” hip-hop fans, but whatever. This song works well if you don’t take it too seriously.

-Nic Castillon

“BAD AND BOUJEE” — MIGOS

The single off of Migos’ early 2017 album, “Culture,” epitomized the future of hip-hop, as well as any song of the year. Though technically released in 2016, the song acts as a solid snapshot of the now. Metro Boomin’s ominent trap beat, the patented triplet rhyme scheme (without mumbling) and the appearance of a current hip-hop prince, Lil’ Uzi Vert, made for the perfect combination, leading to a decent stay at number one on the Billboard Charts.

Beyond the song’s commercial success, the track rang through the internet like an inescapable echo. Even non-hip-hop listeners know the phrase, “Rain drop, drop top,” followed by any mumbling that fits. It also gave birth to an iconic hip-hop meme: “Do it look like I’m left off ‘Bad and Boujee’?”

-Jordan Montero

“911 / MR. LONELY” FEATURING FRANK OCEAN — TYLER, THE CREATOR

Tyler, The Creator’s 2017 mid-summer release, “Flower Boy,” was a success in many ways. The album was a mainstay in my summer rotation, and “911 / Mr. Lonely” was constantly on repeat. Its Neptunes-inspired grooves and soul influences ladened by sweet synth lines and boom-bap kicks are extremely effective, making “911 / Mr. Lonely” my year’s definitive jam.

“911 / Mr. Lonely” has it all. Tyler’s production is mature and ironically sweet and beautiful.

The Odd Future connection of Tyler and Frank Ocean has yielded masterful tracks since 2011.

And the song splits halfway from a sunlit, coastal drive to a shiny lament where Tyler studies himself in a genuine and dexteric fashion. His raps are hot.

-Jordan Montero

LISTEN TO THIS PODCAST AT WWW.DAILYEMERALD.COM T H U R S D AY, J A N U A R Y 1 1 , 2 0 1 8

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đ&#x;“– COVER

RUNS IN THE

FAMILY

Keith Smith (11) attempts to dribble past his defender in a game against Northwest Christian. (Adam Eberhardt)

BY MAGGIE VANONI • TWITTER @MAGGIE_VANONI

It was on the court of a Seattle community center where NBA player Jamal Crawford — who played for the New York Knicks at the time — first spotted seventh-grader Keith Smith with a basketball in his hand.

The 18-year NBA veteran noticed more than just talent in Smith. He noticed a deep focus for the game that would take Smith beyond the middle school court.

Six years later, Smith became a forward for Oregon.

The sophomore is his father’s namesake, whose collegiate and professional career on the court was a key influence in Smith’s passion for the sport. It was this, combined with Crawford’s mentorship and Seattle’s evergrowing basketball lineage, that helped

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the 6-foot-7 player begin his collegiate career.

An NBA friendship At Crawford’s alma mater, Rainier Beach, Smith played on the Crawford Court. It’s the same court where NBA players Doug Christie, Terrance Williams, Dejounte Murray and Nate Robinson also played. “It was kinda crazy,� Smith said. “Because in seventh or eighth grade, playing in front of some of the pros and you’re starstruck, but then when you get a relationship with them it turns into a brotherhood.�

Smith still calls Crawford for advice, both on and off the court. “He took me under his wing,� Smith said. “Anything I need — questions about basketball, life, anything — he’s there for me.�

The two practiced together during past summers, when both found themselves home in Seattle. “He is special to me because he is so humble,� Crawford said. “He is such a good kid.�

Crawford even notices Smith’s strong bond with his father. “The apple didn’t fall far from the tree,�

Crawford said. “[Smith’s father] is a great presence in his life. They have the same drive for the sport, both smooth and skilled players.�

A father-son game Ultimately, it was Smith’s father who first put the ball in his hands. “I’m the guy that started this thing in the

“Basketball has been in his blood since day one. Since day one, he’s had a basketball. I knew Keith had a passion for it and he wore it on his shoulder.”

-KEITH SMITH’S FATHER

Smith family,” Smith’s father said. “Every day I played basketball. It was just something I did from the time I was a little boy until the time I couldn’t play anymore.”

In the street courts of Flint, Michigan, Smith’s father fell in love with basketball. He played pickup games with friends and learned the basics of the game.

And when Smith was born in Los Angeles, it wasn’t long before his father was dressing him in a Kobe Bryant Lakers jersey.

“Basketball has been in his blood since day one,” Smith’s father said. “I knew Keith had a passion for it, and he wore it on his shoulder.”

Smith played multiple sports growing up, but it was being on the court that stuck with him.

“Basketball was the one that was the most fun to me,” Smith said. “I think it was just fun to me because it was something fun I could do with my dad.”

Seattle basketball As a child in Seattle, Smith earned himself a spot on the Rotary Boys and Girls club basketball A-team. He started in every game and began to take advantage of the city’s deep basketball lineage.

“The Seattle tradition of basketball is really great,” Smith said. “All the older guys that make it come back and are mentors to us. Guys like Jamal Crawford, Nate Robinson, Dejounte Murray, Brandon Roy, guys like that, they come back and just check up on us. We all have their numbers and we learn from them.”

Their mentorship paid off as Smith found success in high school.

Smith completed his final two years of high school at Rainier Beach. As a junior, he averaged 18.5 points per game. During his senior year, he averaged 15.7 points and led the team to a 3A State Championship.

The high school’s intense competition prepared Smith for his collegiate career.

“It gives you a lot of opportunity to meet people,” said Stevie, Smith’s younger brother and a junior at Rainier Beach. “It’s the best stage ever to be on and you have to work for your spot. It’s not just given to you.”

His father’s game From 1982 to 1986, Smith’s father played at Loyola Marymount University. He led the Lions in

scoring during his final two years, and he is ranked sixth on LMU’s career scoring list with 1,980 points. He was inducted into the school’s hall of fame in 2000.

During his senior year at LMU, Smith’s father was coached by Paul Westhead, former Oregon women’s basketball head coach. From his very first day as coach, Westhead noticed how vital Smith’s talents were for the team.

“I ran a fast-break system that needs a point guard who is fast and righthanded,” Westhead said. “I found out the very first day of practice that Keith Smith was fast and very good, but he was lefthanded. He said, ‘No problem coach — I can go just as fast with my right hand,’ and he was terrific.”

After graduating, Smith’s father was drafted by the Milwaukee Bucks in the second round of the 1986 NBA Draft. In his one season with the Bucks, he averaged 3.3 points and one assist in 42 games.

Issues from a broken foot lingered, forcing him to retire early.

“I got my cup of coffee and had a great experience,” Smith’s father said. “But what I tell my boys: ‘Dream big, but have that foundation of an education to fall back on. Your life will move on and you’ll still love the game but you’ll have a wonderful life still.’”

The family number At LMU and while on the Bucks, Smith’s father wore the number 11. So in high school, Smith decided to wear his father’s number. Stevie also follows in the tradition, wearing number 11 as a member of the Vikings varsity team.

“It is a big shoe to fit because all the old guys are like, ‘Your dad was a killer out there,’” Stevie said. “My brother wore it too and they say, ‘Your brother was a killer. You gonna live up to him?’ and I say, ‘Yes.’” Smith’s father appreciates his sons’ choice to wear the number.

“I love the fact that they do,” he said. “Everytime I

Keith Smith (left) with his brother Stevie Smith (middle) and his father Keith Smith (right). (Courtesy of Keith LeWayne Smith)

look out there, I see some of me out there.”

But it’s more than just a jersey number. Smith is inspired by how his father always put their fatherson relationship above their mutual passion for the sport.

“My dad has been my biggest basketball influence in my life since I was born,” Smith said. “He put the ball in my hands. … He’s always told me that he doesn’t care if I score another point in my life; he’s going to love me regardless.”

Passing the ball The two Smiths might share the same name and jersey number, but they don’t share quite everything. One of their few differences: Smith is right-handed, while his father is a lefty.

Despite the differences, Smith’s father is proud of his son’s commitment to basketball. He believes that his collegiate experience at Oregon has already made a positive influence on his life, and he wants his son to cherish his time as a Duck.

“I told him from day one, ‘The college experience is the greatest,’” Smith’s father said. “You’re going to have new experiences, and you’re going to grow from a boy to a man. He’s a terrific person and the basketball is the icing on the cake.”

As for the future of basketball in the Smith family, Smith plans on continuing the tradition.

“I hope I have a son, and I’ll probably name him Keith. I’m going to keep it going. We’re going to keep the number going.”

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OPINION LATINXS CAN FILL THE SEATS, WHY CAN’T THEY FILL THE SCREENS?

BY VERONICA FERNANDEZ-ALVARADO

Many people saw Coco, but not everyone saw the film through a Mexican/Latinx lens. To see Coco through that lens would be to sigh a relief—in my case a cry—at finally seeing yourself represented in film. The Disney castle with the mariachi theme in the opening credits made me feel incredibly happy; but I also felt growingly frustrated. It felt great that for once, a movie was not depicting my people under a Hollywood stereotype; but my expectations shouldn’t be so low in the first place.

We need to ask ourselves why Latinx representation in film is so low. Because at this point there is no valid excuse for the lack of Latinx representation in Hollywood. Hispanics make up the largest demographic of moviegoers per capita in the United States. Latinxs made up 21 percent of all tickets sold in 2015 though they make up about 18 percent of the U.S. population. A 2015 study by the University of Southern California’s Annenberg School for Communications and Journalism found that only 5.3 percent of characters in 800 movies examined were Latinx. It is not a question of whether or not Latinx

audiences would show up for a movie like Coco, it is a question of why Hollywood is so stubborn with the idea of people of color as main characters and filmmakers.

Hispanics make up the largest population of moviegoers in the nation yet they are represented in a little less than 2 percent of films. They make up less than 3 percent of film directors, and 6 percent of screenwriters. Because we live in a world where white is seen as normal, Latinxs are lucky to get to see themselves as drug dealers, maids, or mistresses. Fewer than 38 percent of actresses are Latinxs and yet they are the most sexualized minority group in Hollywood. Latinxs get thrown a bone once in a while and are suppose to feed for the rest of the decade.

Even when films are made with Latinx protagonists, Hollywood has continuously casted white actors in place for Latin American actors. In a study done by USC they show that out of the 700 popular films of 2007-2014 over 73% of film actors are white leaving less than 26% for actors of color. We don’t want to see a brown face Ben Affleck and Catherine Zeta-Jones. It

is hard enough to get Latinx characters written but to also face the difficulties of getting cast in these roles is just ridiculous.

Mexicans deserve to play Mexicans.

It is difficult to say that Latinxs earned the right to see themselves as threedimensional characters because to say we “earned” it is to discredit us as part of society. Latinx folk make up a quarter of our population and that should be reflected in film. I can tell you that if you step into any crowded area in a city, there will not be large groups of white people like an episode of Friends, but rather a diverse atmosphere of characters and yes, culture. This is the world we live in and Latinxs need to be a part of the filmmaking process and in front of the cameras as active characters we can root for. We don’t want to create watered down versions of our world to better suit audiences and producers who think we won’t show up to our own movies. At this point, to exclude us from the media is making the statement that Latinxs, a population of 56 million, are not only unwanted in the U.S. but simply do not exist.

“HISPANICS MAKE UP THE LARGEST POPULATION OF MOVIEGOERS IN THE NATION, YET THEY ARE REPRESENTED IN A LITTLE LESS THAN TWO PERCENT OF FILMS.” (Courtesy of 21st Century Fox)

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SEATTLE NETWORKING SPRING BREAK 3 / 28 - 3 / 31 A P P L Y T O D A Y @ www.uoalumni.com/springbreak Get a jump start on your career

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SPORTS

WITH SIGNIFICANT RAISES, DUCKS RETAIN MOST OF TAGGART’S STAFF

BY JACK BUTLER • TWITTER @BUTLER917

isn’t always greener,” Arroyo told reporters. “Weighing that opportunity was something that was hard on me and my family, and working through some of the decisions we had to make, but this is a special place.”

Defensive line coach Joe Salave’a will also return for Oregon. He will receive $650,000 annually through 2020.

“Jim led an amazing turnaround on the defensive side of the ball,” Cristobal said in a press release. “Joe’s defensive line was a big part of that improvement thanks to his ability to make players better. Under his tutelage, the defensive line led an attack that allowed 118 fewer rushing yards per game than in 2016, while accounting for 63 more tackles for loss and eight more sacks. Marcus’ work on offense, and in particular with Justin Herbert, were critical to the offense’s success.

Despite Justin’s absence for five games, we finished in the top 20 in scoring overall while averaging nearly 50 points when at full strength.”

However, the Ducks were not able to retain all of their assistant coaches. Running backs coach Donte Pimpleton and outside linebacker and special teams coach Raymond Woodie followed Taggart to Florida State. Cornerbacks coach Charles Clark took a similar job at his alma mater, Ole Miss.

Cristobal hired Donte Williams as the outside linebackers coach. Williams was the cornerbacks coach at Nebraska last season.

The Ducks are still looking to hire coaches as Cristobal continues to build his staff.

January 20 – April 29, 2018 Keith Achepohl (American, born 1934). Forest Walks #3, 2012. Watercolor on paper, 30 x 22 inches.

Oregon head coach Mario Cristobal cheers on his team. (Phillip Quinn)

Oregon football has a new captain in head coach Mario Cristobal, and with the change at the top comes change for the assistant coaches.

The Oregon football coaching staff has some new faces, but the Ducks were able to retain many assistant coaches who helped engineer 2017’s turnaround season.

Oregon’s biggest move was keeping and extending the contract of defensive coordinator Jim Leavitt. He took Oregon’s defense from one of the worst in the country to respectable in his first season, and the Ducks have most of their defensive talent returning next season.

There were rumors Leavitt would follow former Oregon head coach Willie Taggart to Florida State, but Oregon kept him, filling his wallet in the process. Leavitt signed his contract extension, which now runs through 2021 with an average annual salary of $1.7 million, putting him in the top-3 highest paid assistant coaches in college football.

Leavitt’s buyout is $500,000 if he chooses to leave before Jan. 31, 2019. If he leaves after that date, it drops to $250,000. It is all voided if he decides to take the Kansas State head coaching job.

The Ducks also retained Marcus Arroyo, the quarterbacks and tight ends coach. Arroyo and Cristobal were co-offensive coordinators last season while Willie Taggart called the plays. Now Arroyo is the offensive coordinator and play-caller. Arroyo will average $808,000 annually through 2020.

“When you’ve got a special bond — a special kind of thing going — I am old enough to know now the grass

Opening Reception | Friday, January 19 | Members, 5–6 p.m. | Public, 6–8 p.m.

Conversations in the Gallery | Saturday, January 20, 2 p.m.

With Keith Achepohl; exhibition curators Jill Hartz and Danielle Knapp; Robert and Desirée Yarber, directors of the Morris Graves Foundation; and Cory Gundlach, Curator of the Arts of Africa, Oceania, and the Americas, University of Iowa Museum of Art Keith Achepohl: Vision of Nature/Vessel of Beauty is made possible with the generous support of the Coeta and Donald Barker Changing Exhibitions Endowment; the Harold and Arlene Schnitzer CARE Foundation; the Oregon Arts Commission and the National Endowment for the Arts, a federal agency; Philip and Sandra Piele; Diana Gardener; and JSMA members.

Visit https://jsma.uoregon.edu for full schedule of exhibitions and events.

Are you a UO Student Member? Join today! http://jsma.uoregon.edu/student-membership

jsma.uoregon.edu • 541.346.3027 EO/AA/ADA institution committed to cultural diversity

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