09/27/18 Emerald Media - Thursday Edition (Week of Welcome)

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THURSDAY

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NEWS

e UO Campus Shuttle will no longer serve the 13th and Olive apartments nor the apartnments near Autzen Stadium. (Sarah Northrop)

CAMPUS SHUTTLE CLOSES AUTZEN ROUTE

BY RYAN NGUYEN • TWITTER @RYANJJNGUYEN e UO Campus Shuttle will be closing two of its routes to create one route that serves most of the dropoff and pick-up locations that UO students request. It will no longer serve the 13th and Olive apartments, nor the apartments near Autzen Stadium.

Campus Shuttle collected data to measure which locations were most frequently requested as pickup and drop-off locations by students and used the information to create a new route.

“It’s a culmination — that one route — of all of the most frequent stops,” said Ashley Dougherty, the program manager of Safe Rides, which is the UO Police Department program that also manages Safe Ride and the Designated Driver Shuttle.

Previously, the Campus Shuttle offered three routes: One winded around the northern half of campus, another included a stop at the 13th and Olive apartments and also an Autzen Line that the service added in April 2018.

One factor that led to the service adding the former two routes was the string of robberies in March 2018, 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.

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Dougherty said, which caused students to request new locations and for Campus Shuttle to rent four additional vans during that time.

“We were identifying new needs of areas that people were requesting,” Dougherty said.

Katie Mendiburu, a Campus Shuttle shift lead who has worked with the program since March 2018, said that as a new program, although it’s a lot of hard work, it’s rewarding to have a “tangible impact” for students.

“You got to see that hard work and this planning that had to come together very quickly come to fruition and students be thankful that we were there,” Mendiburu said. “I felt like I was actually helping people.”

On May 6, the Campus Shuttle announced that it would start running the Autzen route four times a night “due to a small amount of people using this line,” according to a post on the Campus Shuttle Facebook page. e service also did not run the predetermined route at least two other times before this, according to announcements on its Facebook page, but it did accept requests from students to be

NEWS EDITORS FRANKIE BENITEZ MICHAEL TOBIN BECCA ROBBINS A&C EDITORS SARAROSA DAVIES JORDAN MONTERO SARAH URBAN OPINION EDITOR JASON BIBEAU SPORTS EDITORS JACK BUTLER SHAWN MEDOW MAVERICK PALLACK

taken or dropped off from apartments near Autzen.

Campus Shuttle was intended to be a “temporary solution” to lower the turnaway rates of Safe Ride and the Designated Driver Shuttle, Dougherty said.

But even after the Campus Shuttle began running, turnaway rates did not fall.

Instead, the service found a new population of students to serve, said Dougherty, who also said that some may be using Campus Shuttle to get to and from class or get to their car at night.

During the 2017-18 school year, Safe Ride had 33,715 riders and the Designated Driver Shuttle shuttled 16,265.

“It’s a really good assistance to two thriving programs,” said Talon Kennedy, a Campus Shuttle coordinator who manages drivers and other staff.

Campus Shuttle has served over 10,000 students as of June 2018, according to data obtained from UOPD. e service has two vans running as of this moment.

UO students can visit the shuttle’s website or the UOregon app for routes and the real-time locations of shuttles. e UO Campus Shuttle operates from 6 p.m. to 1 a.m. daily.

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A NEWS UO’S MATTHEW KNIGHT ARENA HAS BECOME A MAIN SPOT FOR MUSICAL ARTISTS — WITH A PRICE

BY ERIN CAREY• TWITTER @ELCAREY

Matthew Knight Arena on the night of Snoop Dogg’s 420 Wellness Retreat tour stop on April 21, 2018.

(Sarah Northrop)

Autzen Stadium is packed with concert-goers both on the ground and in the stands. Dead & Company bring music to Autzen Stadium in Eugene, Ore. on June 30, 2018. (Sarah Northrop)

Home of the Oregon Ducks basketball team, Matthew Knight Arena is more than a sports facility; more than a floor made of wooden planks and greasy popcorn. For many, seeing a popular music artist or a monster truck rally means they end up in line by the bronze Oregon Duck that sits outside.

Across the city, venues accommodate for an array of spectacles, from tens of thousands of fans to gatherings of few for intimate performances. For this reason, Eugene draws a spectrum of diverse artists. But as the venue grows to accommodate, so does the price tag to use the space.

Seating 12,364 people, MKA was built in 2011 to replace McArthur Court and was named after Nike owner Phil Knight’s son Matthew, who died in a scuba diving accident in 2004.

In 2017, MKA saw a range of musical artists, from Snoop Dogg’s 420 Wellness Retreat to WWE Live. According to Senior Associate Director of Operations and Events Mike Duncan, the first music artist to play at MKA was heavy metal band Avenged Sevenfold in 2011.

According to Duncan, the pricing can vary depending on the situation — $45,000 is for shows using the lower level and $60,000 is for both upper and lower levels.

For example, Foo Fighters paid the full $60,000 when they came to Eugene.

But the rental fee is not the only money that the university makes from these artists. Duncan says UO retains 20 percent of all original merchandise sales and 10 percent of digital sales through the “Program, Novelty, Parking and Concession sales.”

If a musical artist sells 500 T-shirts at $30, UO gains $3,000 from that 20 percent in sales.

According to Duncan, the cost covers more than just using the building but affords ushers, security, ticket takers and janitors, along with the use of MKA’s equipment, such as chairs and staging.

Although uncommon, Autzen stadium also has a history of

musical artists playing there. e Grateful Dead played there in 1994 and again in June 2018 as Dead & Company. For Dead & Company to play Autzen in 2018, it cost $200,000, along with the same fees and percentages for merchandise.

In some situations, like Snoop Dogg’s 420 Wellness Retreat on April 21, 2018, the university will also retain $2 from all ticket sales, which is considered a facility fee.

For other venues in Eugene, the grandiose spaces such as Autzen and MKA don’t mean other venues lose artists. For example, the Hult Center draws artists with a different character than those looking to perform at major arenas, according to Rich Hobby, the Center’s director of marketing.

“We are a performing arts center — meaning we focus 100 percent on putting shows on our stages year round,” Hobby said of the Hult Center. “ e size of our halls is focused on creating intimate and engaging experiences during performances.

Not that you can’t have a great experience at the MKA – it will just be different.”

According to Hobby, some artists will play both MKA and Hult Center, and if an artist is new to the area, they’ll usually go with the smaller hall. While the Hult Center offers smaller and more comfortable shows, it doesn’t always mean the best show.

Libby Morris saw Jack White at the Hult Center in 2012, and said while White was an incredible performer, the venue was not the best. “ e sound quality at Hult was disappointing as there was a lot of feedback and noise distortion,” Morris said. “I don’t think that I would see another electric show there.”

For Hobby, comparing the two facilities for size or experiences is difficult.

“We don’t really lose any artists or performances to Matthew Knight Arena,” Hobby said. “ e main reason for that is comparing the two venues is a little like apples to oranges, or more like apples to watermelons.”

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ARTS & CULTURE

COLORGUARD:

A FLASHY, HIDDEN SPORT

BY JORDAN MONTERO • TWITTER @MONTERO_JOR ough many University of Oregon students pulled drunken all-nighters before the ESPN College Gameday last Saturday, there were some who had to remain alert the next morning and be ready to sprint down Autzen Stadium’s field in front of thousands of football fans. But rather than a football, these students toss and catch flags and wooden rifles.

Colorguard is a mix between traditional militaristic color guard — which raises flags and spins real rifles — and ballet or modern dance. Some students might know them as “flag-twirlers,” to which many colorguard members roll their eyes. Colorguard senior Hannah Brumbaugh-Cunningham, who has done colorguard since freshman year of high school, said it can be entertaining to hear people’s guesses as to what are in the giant flag bags.

If you have seen the Ducks’ marching band halftime show, though, you have seen the colorguard in action. e team’s job is to provide a visual aspect to the marching band’s performance during football game halftime shows and on parade routes. ey dance, spin and toss flags and wooden rifles, spin swing flags with long silks and small poles and sometimes spin metal swords called sabres. Flags and swing flags are considered starter equipment pieces, meaning everyone learns how to spin these first before they try “weapons” — rifle and sabre.

During the beginning of the season, tryouts are held for weapon line within the colorguard. ose chosen will spin rifle for a part of the show, while the rest of the colorguard stays on flag. e colorguard team spent the last two weeks of summer at band camp. is meant being on a turf field with the band during the hottest part of the day — nine-hour days, five days a week, with hour and a half breaks for lunch and dinner. Water breaks are sometimes given, but often forgotten by band and colorguard instructors, according to many colorguard members.

“Being able to rest at the end of the day is the best thing ever,” said colorguard member Sarah Hartley.

According to the colorguard captains, the goal is for most of the halftime show to be ready by game day on the last Saturday of band camp. is year, for the ESPN College Gameday national broadcast, the routine had to be perfect.

“It was one of the longest days of my life, but also really fun,” said colorguard captain Lisa Millstein. She has performed colorguard since her freshman year of high school. “I’ve never performed in Autzen like I did that day.”

During practice, colorguard members separate themselves from the band to PA G E 6

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stretch and do cardio and dance warmups. After that, they’ll either work on their equipment routines or join the band to learn their “dot” — their assigned place to stand during every second of the show.

Preparing for a show requires memorizing the formations for the performance and learning either dance or equipment routines to execute while moving. Sometimes movements might require sprinting several yards in 16 counts of music, or tiptoeing backwards while tossing a flag overhead.

With a nod back to its military roots, each move is done with precision to look like one cohesive performance.

“If you miss even a day due to being sick, you can be so behind in the routine that you might lose your spot in the next performance,” BrumbaughCunningham said.

During the fall season, the colorguard practices three evenings a week at Autzen Stadium and performs at halftime during every home game, one away game and during Bowl games.

Even when they aren’t performing during halftime, the colorguard instructor and captains remind members to maintain a smile — from tailgate appearances to the final song at the end of a game. Most of the day is also spent standing up, as members don’t get to sit often while in the stands. is made for a particularly long day last Saturday. Stand tunes — the songs played by the marching band from the stands — were recorded at 5 a.m., though the game didn’t start until 5 p.m. Many members woke up at 3 a.m. to get their hair and makeup done with their signature green and yellow eyeshadow and “O” bows in their hair.

Colorguard has many similar elements to dance and cheerleading. ey dance, support the football team, are stereotypically female-dominated, involve routines and require members to look their best at all times with flashy makeup, hair and uniforms.

Still, there are differences. Colorguard members perform with the marching band, and they use equipment in addition to dance.

For first-year students, it can be a challenge to learn everything. Millstein said the team tries to support all of its new members throughout the learning process.

As members grow stronger and perfect their skills, routines are able to be made more intricate and challenging. Learning new equipment tricks requires using different muscles, said Millstein.

First-year colorguard member Oliver Cochener can attest to this. “Colorguard is hard at first,” he said. “ en you realize you are a part of something beautiful with people you would be proud to call friends.”

A member of the University of Oregon Color Guard spins the flag prior to the Oregon vs Stanford football game at Autzen Stadium on Sept. 22, 2018. (Ben Green)

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7 ARTS & CULTURE

UO ART EXAMINES THE MIND USING PAPER

BY KENZIE FARRINGTON

“Paper Weight,” an art exhibit inside the Jordan Schnitzer Museum of Art by Elsa Mora, examines the transformative, fleeting and complex qualities of the mind through means of paper. e shadows, shades, shapes and colors of the paper serve to turn simple materials that might not have any emotional or memorable significance into something that feels familiar.

“My intention with this exhibition was to reflect on the diversity of humankind through the surprising power of an ordinary material,” said Mora.

“Paper Weight” has six different instillations: Fading, Mindscapes, Cartograms, Oblivious, Misunderstandings and One Hundred and One Notions. Each of these installations delves into the different aspects of the five cognitive faculties that make up the mind: consciousness, judgment, thinking, perception and memory. e exhibit centers around two glass boxes that hold numerous small 3D objects made out of paper and glue. is installation is called One Hundred and One Notions, and each of the objects inside the glass box represent a mental syndrome or disorder.

You can identify which disorder aligns with which object from a laminated guide that hangs from the glass box. 2D paper designs that vary in size hang on the museums walls displaying the other five installations. One wall holds a few larger pieces of work, while another has a cluster of small frames at its center. e beauty of this exhibit comes from the simplicity of walking into

the room and glancing at the pieces from afar; however, it only takes a few steps closer to understand the intricate and time-consuming nature of Mora’s work. Paper on glue is delicate — Mora admits that forming it into both 2D and 3D objects was a long project.

“An idea came to mind that consciousness could be [seen] as a collective of small containers carrying everything that we know.

I built the small paper ‘cups’ as those containers,” said Mora in the exhibit description. “Making them had to be done one at a time by cutting circles and applying pressure on them with a metal tool that has a ball on one end, usually used for soft metal embossing.”

On her website, Mora says the work itself serves to show the parallels between our mind and the paper. e expressive and powerful, yet fragile and delicate, characteristics of each. e way they can both be transformative in many ways, but often begin bare and unassuming — these similarities between the mind and paper are showcased and outlined in the art and its description.

Just like the mind, how the paper objects with deep reds, stark whites and dramatic shadows is beautiful.

Still, paper can be torn and manipulated easily, and much like the mind, it doesn’t last forever.

“Paper Weight” is open to the public, free for students to view and will be running Aug. 29, 2018 through Jan. 20, 2019. It can be seen at the Jordan Schnitzer Museum of Art, open ­ursday through Sunday from 11 a.m. until 5 p.m. and Wednesdays from 11 a.m. until 8 p.m. It costs $5 for adults and $3 for seniors.

Paper Weight by Elsa Mora is on display at the JSMA until Jan. 20, 2019. (Henry Ward)

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9 COVER

HITTING FOOD CRAVIN

BY BECKY HOAG

Everyone experiences food cravings, yet they can be different for each person. Some might crave food such as french fries or bacon while, for others, cravings lead them to Prince Pucklers. e common underlying trend with these cravings is that they tend to be high in fats, cholesterol and sugars. Humans still need these things to thrive, but during more primitive times, they were much harder to come by.

A study called “Devaluing Energy-Dense Foods for Cancer Control” is being conducted at the University of Oregon to test two online treatment programs designed to reduce cravings. e study’s researchers, including associate professor of psychology Dr. Elliot Berkman, plan

to have a sample size of 300 participants, the majority of whom are in Lane County.

“Reward systems in the brain encourage us to eat these certain things because they used to be hard to find, but now it’s too easy to get them,” Berkman said. He’s also the director of the Social and Affective Neuroscience lab at University of Oregon, housed in the Lewis Integrative Sciences building.

A Scientific Breakdown

Berkman specializes in the science behind cravings and addictions; many of the things that people crave or are addicted to make them more susceptible to certain types of cancer-inducing

Victoria Braun and Dr. Elliot Berkman in the hall of the Lewis Integrative Science Building. (Dana Sparks)

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behaviors. And for Berkman, this research hits home. In addition to experiencing food cravings himself, Berkman was once addicted to cigarettes, which have been long-known to cause lung cancer.

Strong connections between high amounts of certain foods and an increased risk of cancer is becoming more apparent as this field of research grows, yet this topic isn’t something as readily talked about outside the scientific community.

Merely consuming certain foods can lead to a higher chance of cancer, according to Cancer Research UK. e chemicals commonly used to preserve processed meats, such as bacon, ham and jerky, can be converted into cancer-causing

e Bod Pod, a small chamber-like machine that the clinical study team uses to measure body fat and lean body mass. (Dana Sparks)

NGS WHERE IT HURTS (Illustrations by Kelly Kondo)

chemicals in the body.

Craving unhealthy foods in general can lead to adult obesity, which is also a high-risk factor for cancer and an area of focus for Berkman. When someone is obese, the additional fat in their body releases hormones and other chemicals that increase the risk of cancer.

According to State of Obesity, an annual report providing current information on obesity, the percent of obese adults in the U.S. has grown from 30.5 percent in 1999 to 39.6 percent in 2016. is means that behavior-induced cancers are likely to become more common, as obesity leads to a significantly increased risk of several types of cancer. Berkman hopes his study will find more efficient treatment methods to decrease the urge to eat these unhealthy foods, thereby leading to healthier lifestyles.

“Our goal is to try to get people to care more about changing their behavior,” Berkman said. “People often say they ‘want to want to change’ but then struggle when cravings happen.”

Reducing cravings is an often overlooked way to fight obesity. Normally, people would think of diets or exercise regimens. But if people can reduce their craving of unhealthy foods, then that leaves more room for the good foods, like fiber-rich greens. Berkman said it might even be possible to train oneself to crave healthy foods.

“You can learn to crave healthier foods, but craving comes from a reward system,” Berkman said.

How the Study Works

is preclinical study was created to test two different programs designed to change eating behaviors. One treatment plan was previously formed by Berkman from previous research, while the other plan was designed by his colleague Dr. Eric Stice, a senior research scientist at the Oregon Research Institute who also focuses on eating pathology. e two scientists are looking for the pros and cons of each treatment plan in the current study.

While Berkman oversees that the broad goals of the project are being met, the nitty-gritty work is done by project manager Victoria Braun. She received a Master’s degree in social cognitive psychology at Oregon State University.

“I really like translation in research — bridging the gap between what we’re

doing and making it a realistic and useful tool for what people actually need,” Braun said. e study is currently in the beginning of the second year of its five-year grant, and Braun is tasked with prescreening potential study participants. She has about 50 participants in treatment plans so far, and the goal for the study is 300. Less than 10 percent of volunteers actually pass the prescreen because there are many requirements that have to be met. e participants must be between 18 and 60 and must not have an eating disorder (craving is not an eating disorder). ey must have a Body Mass Index within a certain range deemed to be overweight or obese, and right-handedness is a must because brains between right- and lefthanded people are oriented differently.

Participants also can’t have any metal in their bodies to interfere with the MRI machine, and they can’t have any abnormalities in the brain, such as small aneurysms or benign tumors.

To get a sense of what people tend to eat, the researchers ask people to log their daily food intake using an online automatic self-assessment tool. ey use a Bod Pod, pictured left, to measure the person’s body fat percentage and BMI. “ e inclusion criteria for the study represent a balance between rigor and generalizability,” Berkman said.

While the list of conditions that a participant must meet might sound picky, it is necessary for studies to only look at a defined population to reduce “noise” — the amount of variability that makes it difficult to compare participants. And while they recognize that participant self-reporting and tools such as BMI can be faulty, they had to set guidelines somehow.

Once a participant has been given the green light, they begin their treatment plan and receive regular check-ins from the researchers for about 13 months. e treatment plans are online, so participants can see them at home to work on and then check in once a month.

Braun said that they have a diverse set of participants so far. While they’ll accept college student applicants, the study focuses on helping a more broad, nonspecific set of people. e study still has a ways to go before any findings come out, but maybe in the near future, people will have a more formulaic way to fight their temptations to eat all the unhealthy things.

Scans of the medial wall of the prefrontal cortex. Activity of reward is shown in green, self-processing in red and their overlap in yellow. (Courtesy of the Social and Affective Neuroscience Lab) T H U R S D AY, S E P T E M B E R 2 7 , 2 0 1 8

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OPINION

(Emerald Stock)

BEAUTY INDUSTRY’S TARGETING OF YOUNG GIRLS

PROMOTES PEDOPHILIA CULTURE

BY BAREERAH ZAFAR

e internet’s accessibility and the influence of social media give big companies easy ways to target society’s most vulnerable and exposes young girls to objectification and sexualization. e beauty industry is one of the most notorious for perpetuating a specific ideal for young girls to model themselves around. Some of these girls, without knowing any better, conform to these ideals, and use social media as a way to express themselves to the world. e job of a beauty influencer is incredibly appealing: ey get paid partnerships, free makeup and opportunities to travel the world.

Young girls who want these opportunities know that social media is the biggest platform for becoming known.

Unfortunately, it is easy for anyone to access social media, and these girls unknowingly fall into gazes of creeps. ese creeps are primarily older men.

Big industries, such as Hollywood, normalize pedophilia. e documentary An Open Secret told the story of former child stars who faced sexual abuse while working in Hollywood. It recieved little to no media coverage as Hollywood officials refused to distribute or promote the film.

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e film also highlighted the fact that many big name actors, producers and directors knew about the actions of the abusers, but continued to work with them. e same was true with the Harvey Weinstein scandals. Everyone knew about it, but nobody said anything until recently. By the time this issue was brought to the public, it had gone too far. e beauty industry contributes to the issue of grooming because it tells young girls they are expected to look a certain way in order to be deemed professional or mature.

Beauty influencers such as Huda Beauty encourage girls as young as 9 years old to immerse themselves in the world of makeup. ey do this under the guise of empowerment, but in reality, they are convincing impressionable girls to conform to a capitalistic lifestyle.

Makeup is commonly used because there is something people want to hide or improve about their faces. It can be used to hide acne, cover undereye circles, extend eyelashes and define cheekbones. ese are false imperfections that were created by companies who strive to profit off of women’s insecurities. Now they have a younger, more vulnerable target.

Many beauty brands also give their products very sexual names. Nars just came out with a mascara called “Climax,” and they have a blush called “Orgasm.” Too Faced has a mascara called “Better an Sex.” Anastasia Beverly Hills has an eyeshadow palette called “Sultry.” ey advertise with the promise that these products will make women sexier.

It is easy to find data about the consumers of a company’s products, so these brands should know that much of their audience is under the age of 18. As such, they should either refrain from giving their products sexual names, or stop encouraging young girls to immerse themselves in makeup.

When an industry knows that it has a large influence over certain groups of people, it should be held accountable for any harm its products or messages cause. ey have a responsibility to their consumers, but unfortunately, big companies only see their audience as dollar signs.

Makeup and social media are not inherently bad; however, younger girls should not be encouraged to participate. If they do, then these industries need to change in order to accomodate a younger audience and set forth safety measures for that audience.

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Learn more and subscribe at 959Franklin.com

8 OPINION

SHOULD DRAKE GET THE BENEFIT OF THE DOUBT?

BY ANDY STEVENS • TWITTER @VNDREWWS

You’re not alone if you find 31-year-old popstar Drake’s relationship with 14-year-old actress Millie Bobby Brown slightly disconcerting. After an interview with Access Hollywood in which Millie revealed that the two have a friendship of sorts, social media lit up with people criticizing Drake.

Many people are accusing Drake of grooming Millie, a process in which people form an emotional bonds with children in order to later take advantage of them sexually. Not much is known about the specifics of their friendship, but it is clear that they have one and aren’t ashamed of it. e general nature of their relationship has made a lot of people angry, and Twitter is a great place to view that. One particular tweet gained a lot of attention that said, “Drake is OBVIOUSLY grooming Millie Bobby Brown.. no 30-something year old man should be in a 14 year old girls text messages giving her... ‘dating advice’.” is tweet, while sensationalist, does a good job of simplifying this discussion. It’s odd for strangers with an age gap that large to talk about dating. It just doesn’t sit right.

Millie Bobby Brown seems to be oblivious to it all, saying in an interview with Access Hollywood, “He helps me. He’s great.

He’s wonderful. I love him.”

When asked what kind of advice Drake gives her, she responded, “ at stays in the texts.” ere is no hard evidence right now that their friendship has become anything more than friendly,

but people are wary that it has.

Drake is a huge artist, and regardless of how he treats people or carries himself, he’s always going to be Drake. Everyone is going to be nice to him, everyone is going to listen to what he has to say, regardless of merit, and many people will offer themselves to him. It’s often hard to be self-aware in this position. Drake may think he’s just giving a fellow entertainer advice, but his elevated status changes the context of every relationship he has.

When Drake is texting Millie, it doesn’t really matter what he’s saying, because she’s listening. He is an older man showing interest in her, and she might not understand the dangers of this kind of relationship, but Drake should. Drake should know better than to give a 14-year-old advice about boys.

At the end of the day, Drake is allowed to be friends with whomever he wants, even if he doesn’t understand that he’s becoming a part of the ever-growing history of well-meaning idiots with too much power.

Drake’s relationships aren’t necessarily the business of the public, but it is important to recognize this kind of predatory behavior in the people we look up to.

Like it or not, Drake has a huge influence on pop culture, and he has many young fans who look up to him. e power dynamic in relationships like this is dangerous and normalizing — it only stands to put future young women at risk.

Drake has afriendship with 14-year-old Millie Bobby Brown . (Creative Commons)

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SPORTS

Ducks head coach Mario Cristobal instructs the offensive line during practice at the Hatfield-Dowlin Complex. (Ben Green)

HEAD COACH MARIO CRISTOBAL REFLECTS ON LAST WEEK AND PREVIEWS SATURDAY’S GAME AGAINST CAL

BY MAGGIE VANONI • TWITTER @MAGGIE_VANONI Besides lacking a home-field advantage, away games require a different type of focus. Players have to hone-in on game concentration despite a crowd made up of the opposing team’s colors and playing in an unfamiliar stadium. e No. 19 Oregon Ducks will take on the awaygame test with the team’s first road trip of the season this weekend. Oregon will play the No. 24 Cal bears Saturday at 7:30 p.m. in Berkley.

Head coach Mario Cristobal addressed the media Wednesday morning reflecting the team’s loss to Stanford and forwarding Saturday’s game.

Cristobal noted that defensive line Austin Faoliu and running back Tony Brooks-James remain questionable for Saturday due to injuries from last week’s game against Stanford.

Q: What did you learn about your team this week?

A: “Tough, resilient, hungry and not satisfied.

Certainly, we want to always play our best. I think the best part is that we all acknowledged that cutting it close, or getting close, isn’t good enough.

It’s not what we train for. … We still know that we

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have more in us and it’s not over yet.”

Q: Has Cal’s experience on your offensive line showed up on tape this week?

A: “Absolutely. ey do a heck of job. ey affect the quarterback well and a lot of their people get the ball out quick and it’s RPO stuff. ey can protect. We’re very familiar with some of those guys. We recruit a bunch of those guys as well.

One of their offense is our former players is there.

Valentino [Daltoso] is doing a great job for them. ... ey have a lot of things you have to prepare for to defend effectively.”

Q: Four of their seven interceptions have come on third down passes, do you feel like that’s kind of a byproduct of them being exotic on defense?

A: “Without a doubt. ey change the look, thus confusing a quarterback. You know, like the extra pat or all of a sudden he’s gonna go with the ball and pre snap, that’s going to change, and he’s got to go to his postsnap breath and that’s difficult for quarterbacks. I’m sure for the NFL guys, that’s like nothing for them, but for college, quarterbacks

are still developing, it’s that extra second that now causes a pressure, a hurry, a poor decision and all of sudden the ball is going the other way. eir defense has really done a great job in setting up their offense for success.”

Q: Is there a better feeling than a road victory in college football?

A: “Playing on the road, it is different. You’ve really got to make sure the understanding of the whole thing, I know it sounds cliché, but it is a business trip. You have to create business processes. So many times people talk about talking it into existence, but you got to create into existence. With the way that you practice and the way you prepare and that’s been the focus here.

We’re fully processed, oriented and focused and that’s really, in our belief, that’s the secret sauce to having success on the road. And we have to do it because that’s one thing in the offseason we focused on due to the fact that last year we didn’t do very well on the road. It’s been a big point of emphasis.”

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