Z E R O WA ST E P R O G R A M P I C KS U P AF T E R ST U D E N T S FA L L O U T B OY R U I N S G H O ST B U ST E R T H E M E S O N G T R AC K T OW N U SA FAC E S F I N A N C I A L W O E S

M O N DAY, J U N E 2 7 , 2 0 1 6 D A I LY E M E R A L D. C O M

DUCKS RACE FOR

RIOTHE U.S. OLYMPIC TRIALS RETURN to Historic Hayward Field on July 1. Many former and current Ducks seek to earn their spot on the Olympic team while competing on their home turf.

⚙ MONDAY

PA G E 2 E M E R A L D M O N DAY, J U N E 2 7 , 2 0 1 6

🔦 NEWS

As students moved out of the residence halls at the end of the school year, the University of Oregon’s Zero Waste program brought together a team of volunteers to ensure that unwanted items wouldn’t end up in the landfill.

In just one week, a team of 36 volunteers contributed 170 hours to the project. Teams collected 370 barrels of recycling — most of which were gathered over three days — which is five times more than what is produced in an average week.

Issues surrounding discarded waste, both on and off-campus, have caused problems in Eugene in recent years. Local housing agencies, such as Von Klein Property Management, have also been working on relieving the amount of waste left behind by exiting students.

Von Klein gives its tenants cleaning and moving instructions before their leases end as well as suggestions for donating food and other unwanted possessions. But these instructions are not always followed, so Von Klein has to hire clean up crews for the interiors and grounds

crews to haul away furniture and garbage left outdoors.

Local waste management companies end up disposing some of the move-out mess, but students and property owners are left to deal with trash or recycling that isn’t confined within their waste receptacles.

“According to city regulation, we are required to provide recycling [services],” Royal Refuse General Manager Josh Burnett said. “If recycling is contaminated [by non-recyclable waste], we are allowed to issue a penalty.”

Waste management companies aren’t allowed to revoke recycling services from properties, but property owners do have that authority if tenants are consistently contaminating bins or overusing receptacles, according to Burnett.

“If [recycling receptacles] were taken away, that would be a violation of city code,” Burnett said, “I can see where an owner would make that choice to take it away, [but] we don’t often have to resort to that.”

The chances of trash and recycling services being removed are slim, especially during the busy season of campus move-outs.

“We certainly aren’t removing anything,“ Derek Andrus, head of maintenance for Von Klein said. “We have trash and recycling set up, and it stays there 24/7, 365 days a year.”

While students have options available to them, responsibility often falls to groups such as Zero Waste to make sure that items are deposited in appropriate locations.

“Students get in a rush. They’re in a hurry and often times they don’t do as much sorting as it gets closer to move out day,” Robyn Hatchcock, Administrative Services Manager for Zero Waste said. “They throw it all together and drop it.”

Steps are being taken on campus to improve the transitions out of residence halls. With the growing success of clean up projects, student groups may begin to engage with the community at large and encourage better waste management practices by off-campus students whose messes aren’t cleaned up by the UO.

“We are just the tip of the iceberg,” said Hatchcock. “We are the last stop in terms of keeping material from ending up in the landfill.”

WHEN STUDENTS LEAVE TOWN, OTHERS ARE LEFT WITH THEIR MESS

➡ M A X T H O R N B E R R Y , @ M A X _ T H O R N B E R R Y

WHAT HAPPENS AFTER MOVE-OUT

Marko Mwipopo swtches out a barrel during a January clean up. (Campus Zero Waste Program)

Residence halls and off-campus apartments get stuck with students’ messes.

M O N DAY, J U N E 2 7 , 2 0 1 6 E M E R A L D PA G E 3

The Emerald is published by Emerald Media Group, Inc., the independent nonprofit media company at the University of Oregon. Formerly the Oregon Daily Emerald, the news

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A C C O U N T E X E C U T I V E SN I C O L E A D K I S S O N L I N D S E Y S M I T HF L E T C H E R B E C K

ON THE COVER Devon Allen competes at the NCAA Track and Field National Championships in Eugene. Photograph by Kaylee Domzalski

WHEN STUDENTS LEAVE TOWN, OTHERS ARE LEFT WITH THEIR MESS

📅 CALENDAR

Disney’s The Little Mermaid – 8 p.m. on July 1-2, 8-9, 22-23 and 2 p.m. on July 10 and 17 at the Actors Cabaret Theater (996 Willamette St.) Tickets are $16-$24 and $33-$43 for a meal and a show.

The popular Disney film, based on the fairy tale by Danish scribe Hans Christian Andersen, looks to a mermaid’s existential crisis as she considers the potential upside of living on dry land. The musical features an ensemble cast of aquatic characters, including Ariel (played by Jenny Parks), Prince Eric (Joel Ibanez), Flounder (Joely Hatcher) and King Triton (Donovan Seitzinger). Make a night out of it and enjoy a meal in the theater an hour and a half before the show begins. Tickets can be purchased at actorscabaret.org or by calling the box office at (541) 683-4368.

➡ B Y E M E R S O N M A L O N E , @ A L L M A L O N E

(Courtesy of The Actors Cabaret)

Whose Life is it Anyway - Thurs.-Sat. 7:30 p.m.; Sun. 2 p.m. At the Very Little Theatre (2350 Hilyard St.) Tickets are $12.

This drama focuses on Ken Harrison (played by local actor Blake Beardsley), a famous sculptor, who, after a car accident leaves him paralyzed and bedridden in a hospital room, fights for his right to die. British playwright Brian Clark was nominated for a Tony Award for Best Play in 1979 when this production was brought to Broadway.

Carlos Mencia at Cozmic Pizza - Doors open at 8:30 p.m.; show starts at 9:30. (199 West 8th St.) Tickets are $18-$23. 21+.

If you were in grade school roughly a decade ago, you likely overheard other students cracking jokes they heard on the Comedy Central sketch-variety program Mind of Mencia. The show’s host Carlos Mencia will drop by Cozmic this Saturday as part of his “C 4 Urself” tour. Mencia, born in San Pedro Sula in Honduras as the 17th of 18 children, has released the stand-up specials “Not for the Easily Offended” in 2003 and “No Strings Attached” in 2006. Call Cozmic for more information: (541) 338-9333.

Eugene Emeralds vs. Salem - Keizer Volcanoes at PK Park - Game begins at 7:35 p.m. (2760 Martin Luther King Jr. Blvd.) Tickets are $8-$14.

This Sunday, see the Emeralds (first in Northwest League South) play the Volcanoes (who are second in the league) on home turf. After the game, a special fireworks show will be scored by a quintet of musicians from the Oregon Bach Festival.

FRIDAY 7/01

SATURDAY 7/02

SUNDAY 7/03

Make It: Banana Pianos and More – 6 p.m. at the Eugene Library’s Sheldon Branch (1566 Coburg Rd.) Free.

Budding engineers of all ages: It’s about time you create a piano with a few bananas. Check out this unusual workshop and construct your own quasi-useful but nonetheless hilarious contraptions using the Makey Makey Kit, a novelty invention created by graduate students from MIT. A quick YouTube search will pull up a video of how the Makey Makey Kit works: You can conceive of your own pencil-drawn Pacman game pad, plug cables into bananas to create a make-shift computer keyboard, retrofit a staircase as a piano or turn buckets of water into the stomping pads for Dance Dance Revolution. Taken at face value, it doesn’t make much sense, but it’s hysterical to watch. Supplies will be provided during the event.

Various funk music gigs around town.This is likely the best night this week

for funk music in Eugene; Alvin and the Chipfunks, a local six-piece jazz-funk fusion group, will play an 8 p.m. show at Luckey’s Club (933 Olive St, $3 cover); later, HiFi Music Hall’s Free Funk Jam begins at 9 p.m. (44 East 7th Ave) and Agate Alley Bistro (1461 East 19th Ave) will host Lounge Jams with Bue Brown and Chilly Soup (9 p.m., no cover).

Leo “Bud” Welch at WOW Hall – Doors open at 7 p.m. Show starts at 8. (291 West 8th Ave.) Tickets are $20 in advance; $25 at the door.

Much like Muddy Waters, Robert Johnson and B.B. King, Leo “Bud” Welch, who’s playing the WOW Hall this Thursday, is part of a generation of Delta blues musicians hailing from rural Mississippi in the early twentieth century. But unlike his coevals’ prolific recording careers, Welch’s didn’t start until 2014 with his first studio album Sabougla Voices, followed by 2015’s I Don’t Prefer No Blues, which was released two days after his 83rd birthday. Welch has planned for two forthcoming albums, including one with The Black Keys’ Dan Auerbach. Eugene’s Cherry & the Lowboys will open for Welch.

TUESDAY 6/28

WEDNESDAY 6/29

THURSDAY 6/30

THIS WEEK IN

PA G E 4 E M E R A L D M O N DAY, J U N E 2 7 , 2 0 1 6

📖 COVER📖 COVER

8DUCKS TO WATCH AT TRIALS

THE U.S. TRACK AND FIELD OLYMPIC TRIALS kick off Friday, July 1, and while the final entry lists will be loaded with the names of former University of Oregon standouts, there will be plenty of current Ducks competing as well.

“It’s a great time to be part of the University of Oregon,” TrackTown USA president Vin Lananna said in May.

The official list of entries for the Trials has not yet been announced, and athletes still have a few more days to make their case for a qualifying spot. Each event of the Trials has a different declaration deadline, and deadlines for some events do not occur until after the first day of the Trials. After the declaration deadline for an event passes, the final field will be set.

As of June 25, eight Oregon athletes have met the qualifying marks in nine

different events. All but one of them have declared their intention to compete at the Trials.

These are Oregon athletes who have not met qualifying marks but might be added to field later:

Brooke Feldmeier (800 meters — 2:03.13), Matthew Maton (1,500 meters — 3:38.62), Sam Prakel (1,500 meters — 3:40.11), Blake Haney (1,500 meters — 3:40.46), Alli Cash (1,500 meters — 4:14.18), Cole Walsh (pole vault — 5.41 meters), Brittany Mann (shot put — 17.49 meters), Ryan Hunter-Sims (discus — 57.48 meters), Greg Skipper (hammer throw — 71.39 meters), Cody Danielson (javelin — 76.74 meters), John Nizich (javelin — 71.89 meters), Mitch Modin (decathlon — 7,578).

Even after winning titles at the NCAA indoor and outdoor championships within the past six months, Allen insists that he is still not at 100 percent health following the knee injury he suffered during the 2015 Rose Bowl. Football is now on the back burner for Allen as the two-sport star focuses on qualifying for Rio. With a season-best of 13.32 seconds, Allen is ranked eighth in the U.S.

DEVON ALLEN — 110-METER HURDLES

Washington burst onto the national track and field scene when she won both the 100- and 200-meter events at the NCAA Championships at Hayward Field earlier this month, and Stevens finished second in the 200-meter. Neither of the 100-meter times Washington or Stevens ran was wind-legal, but the pair of Duck sprinters still met the qualifying marks in the event earlier in the spring.

ARIANA WASHINGTON &DEAJAH STEVENS — 100-METER AND 200-METER DASH

Chambers, who finished fourth at the the NCAA Championships this year and second in 2015, owns a season-best time of 45.27 seconds. He ran a 44.95 at the USATF Outdoor Championships last summer, and that time leaves him as the seventh fastest athlete in America. Chambers declared after the NCAA Championships that one of his main goals at the Trials will be to break Mike Berry’s 400-meter UO school record.

MARCUS CHAMBERS — 400-METER DASH

➡ B Y J A R R I D D E N N E Y , G U S M O R R I S & J A C K B U T L E R

P H O T O G R A P H S B Y K AY L E E D O M Z A L S K I & A D A M E B E R H A R D T

M O N DAY, J U N E 2 7 , 2 0 1 6 E M E R A L D PA G E 5

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🔦 NEWS

When Nelly Furtado released Loose in June 2006, it was a curve ball. Just three years before, she had been collaborating with people like Caetano Veloso and the Kronos Quartet on polite, artsy folk-pop songs. Then suddenly she was singing about sex over blaring beats from Timbaland. It could only have been a way to sell records, critics concluded, and if so, it certainly did the trick; the album has sold no fewer than 11 million copies to date.

Whether Furtado’s transformation was her own decision or her superiors’ is still a mystery; the further up the charts one goes, the harder it is to tell whose ideas are whose. But 10 years later, loose remains one of the most convincingly and creatively sexual pop albums of the 2000s and one of the finest artifacts of that strange and fertile era for pop. The sex songs here aren’t just clichés about hands and bodies. They’re passionate, creatively written and exceedingly weird.

Take “Do It,” which inflates the physical feeling of sex to the operatic scale generally reserved for matters of the heart like crushes and breakups (“just a little touch has got me seeing things” – wow, I’d like to meet this guy). Or “Promiscuous,” where Furtado and Timbaland affectionately (and respectfully) play ping-pong with a loaded term too often used to slut-shame. Or “Glow,” which uses its title as code for the

feeling during or after great sex, in addition to cleverly flipping the “my friends say you’re no good for me” trope. Anyone who’s ever had their world completely rocked by another person – or fantasized about it – can find something to enjoy here.

Another interesting thing about Loose is how little Furtado, as a vocalist, sounds like your typical “sexy” female pop singer circa 2006. On “Maneater,” with its layers of slightly off-key chanting, she sounds a bit like a cackling goblin. There are no deep Britney gasps. Vocal fry is employed sparsely but dutifully. For a lot of it, she raps. She’s always calm and collected. Her vocals are understated, often deadpan, and in this she seems to predict vocalists like Rihanna and Lady Gaga who make the most out of a limited palate. Her high notes seem to have influenced Grimes; they share an ability to propel their voice into areas that are almost uncanny.

And then – holy shit – there’s Timbaland’s production. Loose was mere months removed from Justin Timberlake’s FutureSex/LoveSounds, in which Timbaland embraced his status as auteur by drowning his protege in pompous symphonies. Here, his approach to the nine (out of thirteen) songs he produces is utilitarian but no less weird. Saw-toothed synths augment the trashy swagger of “Maneater” and “No Hay Igual.” Chiptune bleeps and bloops give “Do

It” a tactile, ticklish feeling that only makes it sound even filthier. Bits of cut-up vocal are scattered liberally throughout. And he can dial back the weirdness too, as on the gorgeous “Wait For You.”

The idiosyncrasy of his approach is only more obvious given the presence of four non-Timbaland songs. One of these, the dreamy “Showtime,” is quite strong. The others are the weakest things here and muddy the flow of an otherwise consistent album. “Te Busque” is a post-grunge nightmare with a hammy chorus from Juanes and some truly dreadful rapping from Furtado. “In God’s Hands” and “All Good Things” are hookless acoustic cheese that mostly seem to offset the risk of making a commercial gambit with such a strange record.

It’s worth noting that these are the least sexual songs here too, so it’s possible Timbaland played a part in Furtado’s decision to get nasty. But she doesn’t feel like she’s in over her head here, and her effortlessness and comfort suggests that this was something she wanted from the get-go and just got the OK from Timbaland. It’s hard to say. Either way, this stands as one of the most artful recent mainstream symbioses between vocalist and producer and one of the great gems of 2000s pop. In today’s pop landscape, when the genre is weirder and more respected than it’s perhaps ever been, it may only sound better with age.

➡ D A N I E L B R O M F I E L D , @ B R O M F 3

10 YEARS LATER, NELLY FURTADO’S ‘LOOSE’ IS AS STRANGE AND SENSUAL AS EVER

(Creative Commons)

M O N DAY, J U N E 2 7 , 2 0 1 6 E M E R A L D PA G E 7

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It seems like everyone has an axe to grind with Paul Feig’s reboot of Ghost-busters. Whether you find the notion of an all-female cast pandering, or considering the use of African-Amer-ican stereotype to be uncouth, nega-tive emotions surround the film. This week, the cycle of outrage extended to the movie’s title track. Fitting the spirit of reinvented ‘80s classics, Fall Out Boy and Missy Elliot collaborated on a cover of Ray Parker Jr.’s iconic Ghostbusters theme.

I am on the record as an unabashed Fall Out Boy fan, from their pop-punk roots to their current top 40 efforts. I’m also a presumptive defender of the new Ghostbusters, holding out hope in the face of bad trailers and relentless social media cynicism. But when the track dropped online this week, my faith was shaken. I expected a take on the iconic funk track that would frustrate the online masses while still delivering an enjoyably corny experience.

Fall Out Boy’s cover entitled ‘Ghost-busters (I’m Not Afraid)’ , certainly accomplished the former. It’s been called everything from “pure cancer” to “hauntingly bad” by the blogosphere. Typically, I’d write off such press reac-tions as clickbait to elicit more atten-tion. Unfortunately, the critics have a point. “I’m Not Afraid” is a disappoint-ment for Fall Out Boy fans, a wasted opportunity for Missy Elliot fans and arguably a declaration of war against Ghostbusters fans. For everyone else, it’s just a remarkably bad song.

To start, calling “I’m Not Afraid” a ‘cover’ isn’t entirely accurate. Stump leads backing vocalists through many of the iconic lyrics (raising questions of whom should be contacted when strange things occur in one’s neighbor-hood) but ditches most of the original song structure. Ray Parker Jr.’s com-position is treated more like a sample, referenced and built upon for a larger pop-rock construction. If you’ve heard past FOB hits such as “Centuries” or “Uma Thurman,” this is nothing new. While those songs lift only a single ele-

ment (like the vocal baseline of ‘Tom’s Diner’, or the surf-rock twang of The Munsters theme) of their source mate-rial, “I’m Not Afraid” repurposes entire lyrical sections, all while wiping them of the ‘80s funk guitar that makes the base song such a perfect earworm. The chorus adds insult to injury as Stump repeats a single line (“I’m Not Afraid”) in mosh-friendly meter.

Missy Elliot also drops in for 30 seconds of instantly forgettable rap-ping, settling for generic rhymes about ghosts that feel ripped from a Halloween novelty record. The whole three minute experience is downright unpleasant. It’s too heavy on Ghost-busters references to work as a Fall Out Boy single and too entrenched in Fall Out Boy’s signature style to work as a theme track. It’s a failure on just about every metric, yet while I don’t care for the song, that doesn’t mean I stand by all of the criticism being sent its way.

For all the bad decisions that led to “I’m Not Afraid”, it’s never going to deserve the seething online vitriol. The song has been accused of simultane-ously being a “dubstep tire fire” and an unwelcome relic of 2000s pop. There’s no consistency to this criticism, which boxes me into a corner. This song should be rallied against because it’s terrible, yet the criticism applied to it has been nothing more than cultural sandbagging. The insults levied against it don’t bother to surface what is actu-ally going wrong.

Just as online haters took down Ghostbusters based on premise or trailer, most critics of its theme simply hate that it exists. Fall Out Boy has committed the cultural crime of sul-lying an iconic theme song, which is enough for most critics. Nobody gave this song a chance, and it turns out it didn’t deserve one. As a result, we’re robbing ourselves of something impor-tant. Can’t we at least offer something this bad a set of legitimate complaints?

B Y C H R I S B E R G , @ C H R I S B E R G 2 5

💻 FILM & TV

(Creative Commons)

Fall Out Boy’s Ghostbusters theme is bad.

BUT THERE’S MORE TO IT.

PA G E 8 E M E R A L D M O N DAY, J U N E 2 7 , 2 0 1 6

EO/AA/ADA institution committed to cultural diversity.  Accommodations for people with disabilities will be provided if requested in advance by calling 541-346-8393.

B Y T R A N N G U Y E N , @ T R A N N G N G N

🔦 NEWS

Days before the 2016 Track and Field U.S. Olympic Trials are set to take place at Historic Hayward Field, Eugene-based nonprofit organization TrackTown USA revealed that it is short on cash to host the event.

The organization turned to the city of Springfield for aid and was granted $75,000 from hotel tax revenues.TrackTown USA is a Eugene-based nonprofit with the purpose “to elevate track and field in the mind of the American public and to enhance the profile of Eugene-Springfield region and the entire state of Oregon as ‘Track Town USA,’” according to its mission statement.

When TrackTown USA hosted the 2008 and 2012 U.S. Olympic Track & Field Trials, its revenue came from ticket sales but mostly from donations and funding from local and state governments.

“In 2008, we were fortunate to be able to receive funds from the federal government to help us with many things, in particular security,” TrackTown USA President Vin Lananna said at a meeting last week where he went to the City of Springfield to ask for funding. “This year, in 2016, that is not the case.”

The 10-day event is said to cost around $10 million. TrackTown USA declined to detail the budget gap or its expenditure plan. It’s unclear whether

the grant from the City of Springfield would help close much of the shortfall.TrackTown USA CEO Michael Reilly said he’s not worried, as they have “a small gap.”

According to its latest tax form in 2014, TrackTown USA received $4.9 million in ticket sales, government money and donations but spent over $5.9 million in hosting the World Junior Track & Field Championships and the Run TrackTown High Performance meet in Eugene. This also includes the pay and benefits for the three voting members — Lananna, Reilly and project director Sam Lapray, which totalled $647,000.

The University of Oregon will not financially support TrackTown USA, despite the trials being hosted on campus, according to UO spokesman Tobin Klinger.

The City of Eugene contributed a total of $200,000 to the Olympic Trials and to last year’s NCAA Outdoor Track and Field Championships. Between 2013 and 2020, TrackTown USA is receiving $590,000 from the city.TrackTown USA was not able to be reached on June 24 for a comment.The 2016 U.S. Olympic Track & Field Trials are set to start July 1 at Hayward Field.

TRACKTOWN USA ASKS CITY OF SPRINGFIELD TO HELP FUND OLYMPIC TRIALS

Ruth Jebet of Bahrain jumps into the steeplechase pond during the women’s 3,000 meter steeplechase. (Kaylee Domzalski)