MEDIA KIT 2010-2011

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E thos Magaz inePO BOX Execu t i ve O f f i ce EMU, Su i t e 4 Eugene, OR 97403

NAMIBIA ETHNOMUSICOLOGY POMPEII THE ART OF SUSPENSIONFREE

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Family in NamibiaSkin Suspension

EstoniaLa Mezcla

Summer 2009 Volume 1 Issue 2Fall 2009 Volume 2 Issue 1

The Celtic Tiger’s DemiseSearching for Fire

Somali PiratesDrink of the Gods

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Female Circumcision The Code of Thieves Visit to Vietnam Culture Shock

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NAMIBIA ETHNOMUSICOLOGY POMPEII THE ART OF SUSPENSIONFREE

FREEFREE

Family in NamibiaSkin Suspension

EstoniaLa Mezcla

Summer 2009 Volume 1 Issue 2Fall 2009 Volume 2 Issue 1

The Celtic Tiger’s DemiseSearching for Fire

Somali PiratesDrink of the Gods

FREE

Spring 2009 Volume 1 Issue 1

Female Circumcision The Code of Thieves Visit to Vietnam Culture Shock

FREE

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IntroductIon E thos Magaz inePO BOX Execu t i ve O f f i ce EMU, Su i t e 4 Eugene, OR 97403

Since our inception in 2006, we’ve worked hard to share a multicultural spirit with our readership throughout the University and Eugene community. Ethos is, after all, defined as the fundamental characteristic of a spirit, people, or culture.

Throughout our pages and on our website you’ll find unique, multicultural stories discussing topics from Eugene restaurants to international human rights debates. Our readers pick up Ethos to explore ethical, journalistic story telling, beautiful photography and illustrations, and innovative designs. We embrace diversity in our stories, in our student staff, and in our readership.

An enthusiastic and talented student staff put in countless hours to produce Ethos independent of faculty advising. We hope to be a creative outlet for our staff and inspire our readers to seek understanding and fuel intrigue for this epically diverse world. Every three months we will print and distribute a free, colorful issue. Your support is vital in this process. Thank you.

Cheers,

Kevin BronkEditor in Chief

ethos.uoregon.edu ethosmag@gmail.com

Our Mission: To provide the University of Oregon and Eugene/Springfield community with different aspects of various cultures, both domestic and international, and their respective subcultures by publishing a free quarterly magazine.

About us

dIstrIbutIon sItesUniversity of Oregon campus:

Allen Hall•Education School•EMU, EMU Craft Center •Lillis Business Complex•Office of International Affairs•Pacific Hall•Student Recreation Center•University Health Center•UO Outdoor Program•UO Cultural Forum•

Area Businesses

University of Oregon Bookstore•The Beer Nuts Bottle Shop•Smith Family Bookstore•Sweet Life Patisserie•The Ninkasi Tasting Room•Espresso Roma Cafe•More...•

reAder profIleAccording to a recent survey on the University of Oregon campus, our readers are a diverse group, representing both the campus and surrounding communities. They come from every age group. Here are some more resulting statistics:

10% were born outside of the United States 1/2

belong to a multicultural organization

over desire to travelAll

cIrculAtIonEthos Magazine is available for free at the University of Oregon and throughout the Eugene community. Yearly subscriptions are now available. Readership: 4,750

Previously known as Korean Ducks and KD Magazine, Ethos acquired a new name in 2009 to better reflect its multicultural focus. The word ‘ethos’ means, “the fundamental characteristic of a culture.” In 2009, Ethos was celebrated for its award-winning work, receiving national recognition from the Columbia Scholastic Press Association’s College Gold Circle Awards and the William Randolph Hearst Foundation.

Ethos Magazine celebrates diversity by offering insightful and exploratory coverage of cultural issues in Oregon and abroad, as well as food, film, music, art, and sports. As one of the few magazines in the Eugene

area that focuses on a multitude of cultural issues, Ethos Magazine supplies its readers with a knowledge of underrepresented and sometimes controversial topics. Bringing the community stories from Somalia to Saudi Arabia and back, readers enjoy a unique presentation of the world outside of their own, in addition to useful articles about diversity right in their own backyard. Produced by University of Oregon students, Ethos Magazine has a growing reputation for covering stories you wouldn’t find elsewhere, complementing its editorial with a high level of photography and design.

bAckground

E thos Magaz inePO BOX Execu t i ve O f f i ce EMU, Su i t e 4 Eugene, OR 97403

ethos.uoregon.edu ethosmag@gmail.com

WhAt you gAIn

Printed quarterly, Ethos Magazine advertisers enjoy the benefit of reaching a large number of students and residents in the Eugene/Springfield community for a prolonged period. New issues of Ethos Magazine are personally handed to readers by Ethos Magazine staff to ensure readership. With improved content and design, Ethos Magazine has become a recognized name throughout the Eugene/Springfield community. Printed in full color on high quality, glossy paper, advertisers

benefit from higher quality advertisements unlike many of the other campus publications. With an expanding presence and growing readership on the internet, advertising on the Ethos website in addition to print ads nearly doubles the amount of business exposure. Ethos also gives your business the opportunity to have a custom advertisement designed by our award-winning design team for no extra charge.

contentsPassportThe passport section focuses on one country per issue and includes short pieces about the area’s culture. This department is designed to give an interesting and informative look inside cultures abroad.

DialogueThis is our Q&A section, profiling a number of culturally diverse people who have life-changing experiences to share with our readers.

The ForumForum is treated as a conversation between writers and their audience about contemporary cultural struggles. This section typically includes discrimination and injustice, and is designed to inform readers of indifferences and miscommunications among people.

FeaturesOur features range from light to heavy material, all

emphasizing culture. We feature anything from tattoo culture to war to political issues in other countries. Our feature section is compelling and always tells a story journalistically and visually.

EntertainmentThis is our entertainment portion that fills the back of the magazine. It includes our regular and rotating departments on food and drink, film, music, art, sports, and personal accounts of journeys abroad.

hoW We see It

Ethos Magazine defines culture as experiences that need to be shared in order for us to understand each other.

E thos Magaz inePO BOX Execu t i ve O f f i ce EMU, Su i t e 4 Eugene, OR 97403

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ith a giant metal spider perched in the front yard and musty couches scattered on the porch, the Campbell Club, wedged

in-between the manicured lawns of nearby sororities, is a hard place to miss. The Campbell Club is a student co-operative situated along Alder Street on the University of Oregon’s campus. It’s early evening on a mid-November Friday, and for a place that is home to thirty people, it seems oddly empty.

Pink, red, and light blue illuminate the walls in the staircase and living room. In this central area, behind cluttered rows of residents’ bikes, words that read, “May the walls of this house become an anti-authoritarian art gallery” are scribbled sloppily in black.

Unlike most college housing where residents are charged with hefty fees for the slightest

wall markings, the Campbell Club actually encourages residents to write, draw, and paint on these walls. “This is our space and this community wants to see people be creative and improve the place,” says second-year resident Riley Peck.

Two girls are in the kitchen cutting up vegetables for dinner that night. Above them, the walls are lined with some of the most socially and politically controversial art pieces in the house. These have been known to spark heated debates among residents. In one piece, a skeleton dressed like the Pope is riding a rocket and throwing pumpkin pies.

About an hour later, the girls put a communal dinner on the table, and nearly twenty people—mostly Campbell Clubbers accompanied by a couple guests—gather around the dining room. Chili, salad, and baked bread with squash are the options for tonight; it’s all placed together on table in the center of the room, and people can grab however much they want. Dinner is leisurely, filled with friendly conversation.

Like cooking and other house chores, the artwork, too, is often a group activity. “A lot of times art is a solitary activity where you’re drawing by yourself in a studio. But…here, lots of art happens that is more of a collective thing and so you’re creating something with someone else,” says former resident Amy Fox. With a battered pair of converse shoes and a lip ring, Amy Fox, an Art major who graduated from the UO with a bachelor’s degree in Art in the spring of 2009, feels

that residents benefit from being surrounded by canvas-esque walls. “There’s a degree of freedom... in the co-op that you’re never going to get living in an apartment or renting a house because you can paint and do whatever you want on the walls,” Fox says. “It is a public place to display your art and live in rooms that are surrounded by art as opposed to four white walls.”

With no landlord or resident assistant figure looming over the house, residents are free to create—and seemingly, to do—whatever they want. On the second floor, there is a large painting in blue and black with the phrase, “Love is All You Need.” Another is a close-up portrait of a man with his hands to his face and his mouth open. The word “solution” is painted in red and white across his teeth. In the hallways, even the bedroom doors have been transformed by artistry. One is covered in a black and white spiral. Another has a giant Cheshire Cat. Along the staircase between the second and third floors, the walls are red, green, and light blue.

Nestled in the corner of the dining room, behind an empty candy dispenser and couches, lies a seven-foot replica of a tree. The trunk is made of wires and twigs closely wrapped around each other. Leaves and other ornaments hang down from the branches, reminiscent of an environmentally friendly Christmas tree. A mural of a mermaid warps around the staircase that leads to the basement. The hair of the mermaid continues down to the basement,

where it turns into a dog. That artistic freedom they

enjoy also extends to the creation process itself. A few residents still remember one such artistic venture. One night, a couple of years ago, a former resident covered her entire naked body in red paint. Dripping in red, she ran down the hallway and pressed herself up against a wall near the kitchen. The red imprint of her body remains there today.

But while the lack of regulation may be conducive to the creation of art, it has also caused some problems. Typically, residents are allowed to decorate their bedrooms upon moving in. The Campbell Club has a high turnover rate; Peck estimates that they lose about half of their residents every year. A few people have moved in, painted over a mural in their room, and moved out a few weeks

The walls are not left white at the nation’s oldest student co-operative

PH

OTO

RE

NA

LE

V-B

AS

S

36 ETHOS MAGAZINE WINTER 2009

COLORS & SHAPES

later. To safeguard against these occurrences, the house recently adopted a new policy—residents can get artwork in their rooms protected. The only way for another artist to remove the protection is to obtain consensus from the entire

house. So far, Ian Royer is the only one to have a piece, his mural depicting rioters in Paris burning cop cars, protected by the new policy.

While some of the artwork is painted over to make room for the next artist, many other pieces are left for years. Much of the Campbell Club’s art history is shrouded in mystery—the current residents are not sure exactly when certain pieces were created.

On the second floor, a small alcove in the wall has been filled with various decorations, toys and pictures, the shrine symbolizes a piece of the odd history surrounding the co-op, and a small picture of John Cusack. The John Cusack Shrine has been around for as long as anybody currently living there can remember, but its origins remain unknown.

The same is true of a shrine in the attic. With a dim, temperamental desk lamp serving as the only light, the attic is already creepy. At the top of the creaking ladder, sits a low table covered in red candle wax and a burnt bible. Cell phones are nailed into the wall above the table. All anybody seems

to know about the origin of this piece, an alter known as the “Shrine to Nothing,” is that it was created by three women who lived in the house sometime in the 1990s. According to the legend, the creators were a part of a blood cult. Today most residents aren’t sure what a blood cult is, but by word of mouth, they have been able to piece some details together. The rumors say that each night the girls would come to the attic to watch the sun set from the roof. Then they would return to the attic to perform a ritual on the alter. Over the years, some Christian members have voiced their opinions against the shrine because of the degradation of the Bible. Nonetheless, the alter remains in the attic and some people continue to add on to it.

Life at the Campbell Club has been constantly changing throughout the decades. As one of the oldest student co-operatives in the nation, they have been around for 75 years. In the 1970s, the house had resident assistants and curfews. But by the 1990s, the co-op became a hotbed for radicalism, especially anarchism. Although this stage came to an end early this century, remnants of the green anarchism are prevalent parts of the house today. The first floor bathroom, currently marked “out of order,” contains marked pictures of Malcom X and other radical movements with several hateful and alarming messages.

Despite this disconnect with some of the historical details, the art provides a small

window into the past. “We don’t have records and we only have some history,” Peck says. “Art is one of the very few things we have that actually connects to the past.”

And although that connection can be a little bit hazy, it still resonates with many. “[I have] no idea of when the shrine started… it’s one of those things we can take out but we don’t because of the history, we sort of respect it,” says Ian Royer about the “Shrine to Nothing.” The same goes for the art in the kitchen, some of which construction workers painted over during the summer. Next to the Pope drawing, part of the wall is blank. Many of the Campbell Clubbers were deeply affected by this.

“I think what bothers us so much about losing this art is not so much that we lost the art, but that we lost the history,” Peck explains. “So much else in the house changes, but those paintings have been permanent.” —Luis Ramirez

Tree sculpture made out of chicken wire, branches, and dry leaves perches in the corner of the Campbell Club living room.

“May the walls of this house become an anti-authoritarian

art gallery”

ETHOS.UOREGON.EDU 37

ith a giant metal spider perched in the front yard and musty couches scattered on the porch, the Campbell Club, wedged

in-between the manicured lawns of nearby sororities, is a hard place to miss. The Campbell Club is a student co-operative situated along Alder Street on the University of Oregon’s campus. It’s early evening on a mid-November Friday, and for a place that is home to thirty people, it seems oddly empty.

Pink, red, and light blue illuminate the walls in the staircase and living room. In this central area, behind cluttered rows of residents’ bikes, words that read, “May the walls of this house become an anti-authoritarian art gallery” are scribbled sloppily in black.

Unlike most college housing where residents are charged with hefty fees for the slightest

wall markings, the Campbell Club actually encourages residents to write, draw, and paint on these walls. “This is our space and this community wants to see people be creative and improve the place,” says second-year resident Riley Peck.

Two girls are in the kitchen cutting up vegetables for dinner that night. Above them, the walls are lined with some of the most socially and politically controversial art pieces in the house. These have been known to spark heated debates among residents. In one piece, a skeleton dressed like the Pope is riding a rocket and throwing pumpkin pies.

About an hour later, the girls put a communal dinner on the table, and nearly twenty people—mostly Campbell Clubbers accompanied by a couple guests—gather around the dining room. Chili, salad, and baked bread with squash are the options for tonight; it’s all placed together on table in the center of the room, and people can grab however much they want. Dinner is leisurely, filled with friendly conversation.

Like cooking and other house chores, the artwork, too, is often a group activity. “A lot of times art is a solitary activity where you’re drawing by yourself in a studio. But…here, lots of art happens that is more of a collective thing and so you’re creating something with someone else,” says former resident Amy Fox. With a battered pair of converse shoes and a lip ring, Amy Fox, an Art major who graduated from the UO with a bachelor’s degree in Art in the spring of 2009, feels

that residents benefit from being surrounded by canvas-esque walls. “There’s a degree of freedom... in the co-op that you’re never going to get living in an apartment or renting a house because you can paint and do whatever you want on the walls,” Fox says. “It is a public place to display your art and live in rooms that are surrounded by art as opposed to four white walls.”

With no landlord or resident assistant figure looming over the house, residents are free to create—and seemingly, to do—whatever they want. On the second floor, there is a large painting in blue and black with the phrase, “Love is All You Need.” Another is a close-up portrait of a man with his hands to his face and his mouth open. The word “solution” is painted in red and white across his teeth. In the hallways, even the bedroom doors have been transformed by artistry. One is covered in a black and white spiral. Another has a giant Cheshire Cat. Along the staircase between the second and third floors, the walls are red, green, and light blue.

Nestled in the corner of the dining room, behind an empty candy dispenser and couches, lies a seven-foot replica of a tree. The trunk is made of wires and twigs closely wrapped around each other. Leaves and other ornaments hang down from the branches, reminiscent of an environmentally friendly Christmas tree. A mural of a mermaid warps around the staircase that leads to the basement. The hair of the mermaid continues down to the basement,

where it turns into a dog. That artistic freedom they

enjoy also extends to the creation process itself. A few residents still remember one such artistic venture. One night, a couple of years ago, a former resident covered her entire naked body in red paint. Dripping in red, she ran down the hallway and pressed herself up against a wall near the kitchen. The red imprint of her body remains there today.

But while the lack of regulation may be conducive to the creation of art, it has also caused some problems. Typically, residents are allowed to decorate their bedrooms upon moving in. The Campbell Club has a high turnover rate; Peck estimates that they lose about half of their residents every year. A few people have moved in, painted over a mural in their room, and moved out a few weeks

The walls are not left white at the nation’s oldest student co-operative

PH

OTO

RE

NA

LE

V-B

AS

S

36 ETHOS MAGAZINE WINTER 2009

COLORS & SHAPES

later. To safeguard against these occurrences, the house recently adopted a new policy—residents can get artwork in their rooms protected. The only way for another artist to remove the protection is to obtain consensus from the entire

house. So far, Ian Royer is the only one to have a piece, his mural depicting rioters in Paris burning cop cars, protected by the new policy.

While some of the artwork is painted over to make room for the next artist, many other pieces are left for years. Much of the Campbell Club’s art history is shrouded in mystery—the current residents are not sure exactly when certain pieces were created.

On the second floor, a small alcove in the wall has been filled with various decorations, toys and pictures, the shrine symbolizes a piece of the odd history surrounding the co-op, and a small picture of John Cusack. The John Cusack Shrine has been around for as long as anybody currently living there can remember, but its origins remain unknown.

The same is true of a shrine in the attic. With a dim, temperamental desk lamp serving as the only light, the attic is already creepy. At the top of the creaking ladder, sits a low table covered in red candle wax and a burnt bible. Cell phones are nailed into the wall above the table. All anybody seems

to know about the origin of this piece, an alter known as the “Shrine to Nothing,” is that it was created by three women who lived in the house sometime in the 1990s. According to the legend, the creators were a part of a blood cult. Today most residents aren’t sure what a blood cult is, but by word of mouth, they have been able to piece some details together. The rumors say that each night the girls would come to the attic to watch the sun set from the roof. Then they would return to the attic to perform a ritual on the alter. Over the years, some Christian members have voiced their opinions against the shrine because of the degradation of the Bible. Nonetheless, the alter remains in the attic and some people continue to add on to it.

Life at the Campbell Club has been constantly changing throughout the decades. As one of the oldest student co-operatives in the nation, they have been around for 75 years. In the 1970s, the house had resident assistants and curfews. But by the 1990s, the co-op became a hotbed for radicalism, especially anarchism. Although this stage came to an end early this century, remnants of the green anarchism are prevalent parts of the house today. The first floor bathroom, currently marked “out of order,” contains marked pictures of Malcom X and other radical movements with several hateful and alarming messages.

Despite this disconnect with some of the historical details, the art provides a small

window into the past. “We don’t have records and we only have some history,” Peck says. “Art is one of the very few things we have that actually connects to the past.”

And although that connection can be a little bit hazy, it still resonates with many. “[I have] no idea of when the shrine started… it’s one of those things we can take out but we don’t because of the history, we sort of respect it,” says Ian Royer about the “Shrine to Nothing.” The same goes for the art in the kitchen, some of which construction workers painted over during the summer. Next to the Pope drawing, part of the wall is blank. Many of the Campbell Clubbers were deeply affected by this.

“I think what bothers us so much about losing this art is not so much that we lost the art, but that we lost the history,” Peck explains. “So much else in the house changes, but those paintings have been permanent.” —Luis Ramirez

Tree sculpture made out of chicken wire, branches, and dry leaves perches in the corner of the Campbell Club living room.

“May the walls of this house become an anti-authoritarian

art gallery”

ETHOS.UOREGON.EDU 37

ith a giant metal spider perched in the front yard and musty couches scattered on the porch, the Campbell Club, wedged

in-between the manicured lawns of nearby sororities, is a hard place to miss. The Campbell Club is a student co-operative situated along Alder Street on the University of Oregon’s campus. It’s early evening on a mid-November Friday, and for a place that is home to thirty people, it seems oddly empty.

Pink, red, and light blue illuminate the walls in the staircase and living room. In this central area, behind cluttered rows of residents’ bikes, words that read, “May the walls of this house become an anti-authoritarian art gallery” are scribbled sloppily in black.

Unlike most college housing where residents are charged with hefty fees for the slightest

wall markings, the Campbell Club actually encourages residents to write, draw, and paint on these walls. “This is our space and this community wants to see people be creative and improve the place,” says second-year resident Riley Peck.

Two girls are in the kitchen cutting up vegetables for dinner that night. Above them, the walls are lined with some of the most socially and politically controversial art pieces in the house. These have been known to spark heated debates among residents. In one piece, a skeleton dressed like the Pope is riding a rocket and throwing pumpkin pies.

About an hour later, the girls put a communal dinner on the table, and nearly twenty people—mostly Campbell Clubbers accompanied by a couple guests—gather around the dining room. Chili, salad, and baked bread with squash are the options for tonight; it’s all placed together on table in the center of the room, and people can grab however much they want. Dinner is leisurely, filled with friendly conversation.

Like cooking and other house chores, the artwork, too, is often a group activity. “A lot of times art is a solitary activity where you’re drawing by yourself in a studio. But…here, lots of art happens that is more of a collective thing and so you’re creating something with someone else,” says former resident Amy Fox. With a battered pair of converse shoes and a lip ring, Amy Fox, an Art major who graduated from the UO with a bachelor’s degree in Art in the spring of 2009, feels

that residents benefit from being surrounded by canvas-esque walls. “There’s a degree of freedom... in the co-op that you’re never going to get living in an apartment or renting a house because you can paint and do whatever you want on the walls,” Fox says. “It is a public place to display your art and live in rooms that are surrounded by art as opposed to four white walls.”

With no landlord or resident assistant figure looming over the house, residents are free to create—and seemingly, to do—whatever they want. On the second floor, there is a large painting in blue and black with the phrase, “Love is All You Need.” Another is a close-up portrait of a man with his hands to his face and his mouth open. The word “solution” is painted in red and white across his teeth. In the hallways, even the bedroom doors have been transformed by artistry. One is covered in a black and white spiral. Another has a giant Cheshire Cat. Along the staircase between the second and third floors, the walls are red, green, and light blue.

Nestled in the corner of the dining room, behind an empty candy dispenser and couches, lies a seven-foot replica of a tree. The trunk is made of wires and twigs closely wrapped around each other. Leaves and other ornaments hang down from the branches, reminiscent of an environmentally friendly Christmas tree. A mural of a mermaid warps around the staircase that leads to the basement. The hair of the mermaid continues down to the basement,

where it turns into a dog. That artistic freedom they

enjoy also extends to the creation process itself. A few residents still remember one such artistic venture. One night, a couple of years ago, a former resident covered her entire naked body in red paint. Dripping in red, she ran down the hallway and pressed herself up against a wall near the kitchen. The red imprint of her body remains there today.

But while the lack of regulation may be conducive to the creation of art, it has also caused some problems. Typically, residents are allowed to decorate their bedrooms upon moving in. The Campbell Club has a high turnover rate; Peck estimates that they lose about half of their residents every year. A few people have moved in, painted over a mural in their room, and moved out a few weeks

The walls are not left white at the nation’s oldest student co-operative

PHOTO RENA LEV-BASS

36 ETHOS MAGAZINE WINTER 2009

COLORS & SHAPES

later. To safeguard against these occurrences, the house recently adopted a new policy—residents can get artwork in their rooms protected. The only way for another artist to remove the protection is to obtain consensus from the entire

house. So far, Ian Royer is the only one to have a piece, his mural depicting rioters in Paris burning cop cars, protected by the new policy.

While some of the artwork is painted over to make room for the next artist, many other pieces are left for years. Much of the Campbell Club’s art history is shrouded in mystery—the current residents are not sure exactly when certain pieces were created.

On the second floor, a small alcove in the wall has been filled with various decorations, toys and pictures, the shrine symbolizes a piece of the odd history surrounding the co-op, and a small picture of John Cusack. The John Cusack Shrine has been around for as long as anybody currently living there can remember, but its origins remain unknown.

The same is true of a shrine in the attic. With a dim, temperamental desk lamp serving as the only light, the attic is already creepy. At the top of the creaking ladder, sits a low table covered in red candle wax and a burnt bible. Cell phones are nailed into the wall above the table. All anybody seems

to know about the origin of this piece, an alter known as the “Shrine to Nothing,” is that it was created by three women who lived in the house sometime in the 1990s. According to the legend, the creators were a part of a blood cult. Today most residents aren’t sure what a blood cult is, but by word of mouth, they have been able to piece some details together. The rumors say that each night the girls would come to the attic to watch the sun set from the roof. Then they would return to the attic to perform a ritual on the alter. Over the years, some Christian members have voiced their opinions against the shrine because of the degradation of the Bible. Nonetheless, the alter remains in the attic and some people continue to add on to it.

Life at the Campbell Club has been constantly changing throughout the decades. As one of the oldest student co-operatives in the nation, they have been around for 75 years. In the 1970s, the house had resident assistants and curfews. But by the 1990s, the co-op became a hotbed for radicalism, especially anarchism. Although this stage came to an end early this century, remnants of the green anarchism are prevalent parts of the house today. The first floor bathroom, currently marked “out of order,” contains marked pictures of Malcom X and other radical movements with several hateful and alarming messages.

Despite this disconnect with some of the historical details, the art provides a small

window into the past. “We don’t have records and we only have some history,” Peck says. “Art is one of the very few things we have that actually connects to the past.”

And although that connection can be a little bit hazy, it still resonates with many. “[I have] no idea of when the shrine started… it’s one of those things we can take out but we don’t because of the history, we sort of respect it,” says Ian Royer about the “Shrine to Nothing.” The same goes for the art in the kitchen, some of which construction workers painted over during the summer. Next to the Pope drawing, part of the wall is blank. Many of the Campbell Clubbers were deeply affected by this.

“I think what bothers us so much about losing this art is not so much that we lost the art, but that we lost the history,” Peck explains. “So much else in the house changes, but those paintings have been permanent.” —Luis Ramirez

Tree sculpture made out of chicken wire, branches, and dry leaves perches in the corner of the Campbell Club living room.

“May the walls of this house become an anti-authoritarian

art gallery”

ETHOS.UOREGON.EDU 37

ith a giant metal spider perched in the front yard and musty couches scattered on the porch, the Campbell Club, wedged

in-between the manicured lawns of nearby sororities, is a hard place to miss. The Campbell Club is a student co-operative situated along Alder Street on the University of Oregon’s campus. It’s early evening on a mid-November Friday, and for a place that is home to thirty people, it seems oddly empty.

Pink, red, and light blue illuminate the walls in the staircase and living room. In this central area, behind cluttered rows of residents’ bikes, words that read, “May the walls of this house become an anti-authoritarian art gallery” are scribbled sloppily in black.

Unlike most college housing where residents are charged with hefty fees for the slightest

wall markings, the Campbell Club actually encourages residents to write, draw, and paint on these walls. “This is our space and this community wants to see people be creative and improve the place,” says second-year resident Riley Peck.

Two girls are in the kitchen cutting up vegetables for dinner that night. Above them, the walls are lined with some of the most socially and politically controversial art pieces in the house. These have been known to spark heated debates among residents. In one piece, a skeleton dressed like the Pope is riding a rocket and throwing pumpkin pies.

About an hour later, the girls put a communal dinner on the table, and nearly twenty people—mostly Campbell Clubbers accompanied by a couple guests—gather around the dining room. Chili, salad, and baked bread with squash are the options for tonight; it’s all placed together on table in the center of the room, and people can grab however much they want. Dinner is leisurely, filled with friendly conversation.

Like cooking and other house chores, the artwork, too, is often a group activity. “A lot of times art is a solitary activity where you’re drawing by yourself in a studio. But…here, lots of art happens that is more of a collective thing and so you’re creating something with someone else,” says former resident Amy Fox. With a battered pair of converse shoes and a lip ring, Amy Fox, an Art major who graduated from the UO with a bachelor’s degree in Art in the spring of 2009, feels

that residents benefit from being surrounded by canvas-esque walls. “There’s a degree of freedom... in the co-op that you’re never going to get living in an apartment or renting a house because you can paint and do whatever you want on the walls,” Fox says. “It is a public place to display your art and live in rooms that are surrounded by art as opposed to four white walls.”

With no landlord or resident assistant figure looming over the house, residents are free to create—and seemingly, to do—whatever they want. On the second floor, there is a large painting in blue and black with the phrase, “Love is All You Need.” Another is a close-up portrait of a man with his hands to his face and his mouth open. The word “solution” is painted in red and white across his teeth. In the hallways, even the bedroom doors have been transformed by artistry. One is covered in a black and white spiral. Another has a giant Cheshire Cat. Along the staircase between the second and third floors, the walls are red, green, and light blue.

Nestled in the corner of the dining room, behind an empty candy dispenser and couches, lies a seven-foot replica of a tree. The trunk is made of wires and twigs closely wrapped around each other. Leaves and other ornaments hang down from the branches, reminiscent of an environmentally friendly Christmas tree. A mural of a mermaid warps around the staircase that leads to the basement. The hair of the mermaid continues down to the basement,

where it turns into a dog. That artistic freedom they

enjoy also extends to the creation process itself. A few residents still remember one such artistic venture. One night, a couple of years ago, a former resident covered her entire naked body in red paint. Dripping in red, she ran down the hallway and pressed herself up against a wall near the kitchen. The red imprint of her body remains there today.

But while the lack of regulation may be conducive to the creation of art, it has also caused some problems. Typically, residents are allowed to decorate their bedrooms upon moving in. The Campbell Club has a high turnover rate; Peck estimates that they lose about half of their residents every year. A few people have moved in, painted over a mural in their room, and moved out a few weeks

The walls are not left white at the nation’s oldest student co-operative

PHOTO RENA LEV-BASS

36 ETHOS MAGAZINE WINTER 2009

COLORS & SHAPES

later. To safeguard against these occurrences, the house recently adopted a new policy—residents can get artwork in their rooms protected. The only way for another artist to remove the protection is to obtain consensus from the entire

house. So far, Ian Royer is the only one to have a piece, his mural depicting rioters in Paris burning cop cars, protected by the new policy.

While some of the artwork is painted over to make room for the next artist, many other pieces are left for years. Much of the Campbell Club’s art history is shrouded in mystery—the current residents are not sure exactly when certain pieces were created.

On the second floor, a small alcove in the wall has been filled with various decorations, toys and pictures, the shrine symbolizes a piece of the odd history surrounding the co-op, and a small picture of John Cusack. The John Cusack Shrine has been around for as long as anybody currently living there can remember, but its origins remain unknown.

The same is true of a shrine in the attic. With a dim, temperamental desk lamp serving as the only light, the attic is already creepy. At the top of the creaking ladder, sits a low table covered in red candle wax and a burnt bible. Cell phones are nailed into the wall above the table. All anybody seems

to know about the origin of this piece, an alter known as the “Shrine to Nothing,” is that it was created by three women who lived in the house sometime in the 1990s. According to the legend, the creators were a part of a blood cult. Today most residents aren’t sure what a blood cult is, but by word of mouth, they have been able to piece some details together. The rumors say that each night the girls would come to the attic to watch the sun set from the roof. Then they would return to the attic to perform a ritual on the alter. Over the years, some Christian members have voiced their opinions against the shrine because of the degradation of the Bible. Nonetheless, the alter remains in the attic and some people continue to add on to it.

Life at the Campbell Club has been constantly changing throughout the decades. As one of the oldest student co-operatives in the nation, they have been around for 75 years. In the 1970s, the house had resident assistants and curfews. But by the 1990s, the co-op became a hotbed for radicalism, especially anarchism. Although this stage came to an end early this century, remnants of the green anarchism are prevalent parts of the house today. The first floor bathroom, currently marked “out of order,” contains marked pictures of Malcom X and other radical movements with several hateful and alarming messages.

Despite this disconnect with some of the historical details, the art provides a small

window into the past. “We don’t have records and we only have some history,” Peck says. “Art is one of the very few things we have that actually connects to the past.”

And although that connection can be a little bit hazy, it still resonates with many. “[I have] no idea of when the shrine started… it’s one of those things we can take out but we don’t because of the history, we sort of respect it,” says Ian Royer about the “Shrine to Nothing.” The same goes for the art in the kitchen, some of which construction workers painted over during the summer. Next to the Pope drawing, part of the wall is blank. Many of the Campbell Clubbers were deeply affected by this.

“I think what bothers us so much about losing this art is not so much that we lost the art, but that we lost the history,” Peck explains. “So much else in the house changes, but those paintings have been permanent.” —Luis Ramirez

Tree sculpture made out of chicken wire, branches, and dry leaves perches in the corner of the Campbell Club living room.

“May the walls of this house become an anti-authoritarian

art gallery”

ETHOS.UOREGON.EDU 37

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at 10:00 am KING’S ASiaN MARKETC&H IMPORTS AND EXPORTS LLC

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register online or in person

fall 2009workshops

the craft centera program of the erb memorial union 541-346-4361

drawingpainting

ceramicsfiber artssculpture

paper artsphotography

woodworkingglass hot * warm * coldjewelry & metalsmithingsilkscreen printmaking

craftcenter.uoregon.edu

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opportunities excitement fraternity barbecues joy excia shaving the yak extra curricular experience sports spirited involved volley c charity philanthropic football dedication pinned achievement leadership chivalry hom k kindred minds creative application kno virtuous respect pride professional contacts lif brotherhood sisterhood planning affirmation action goals keys believe fellowship untied intel a dv advance truth justice scholarship culture character service strive real ideals life satisfaction problem solving creation challenge difficult work fulfilling transformation bonding confidenc accomplishment reliable friendship ability dila accountability social delegation step up diversit community enjoy tight-knit different identity abil precious financial planning commitment long la change new friends diversity love support self-governing nation-wide memories college h connection international mentor role model big sister little sister big brother little brother strength surprising initi helpful respectable classy hope little sister enjoymen t amplification divine organization merit league d unity growth amplification morality recruitment awesome credence proliferation worth conviction aim g partake righteousness family maturity session performance ightness faith innovative chapter stellar leadesip meaning sharing distinction creed resource excellence persuasion heart brothers-keeper founding ho boom strive modesty stature edgy intent dete justice purpose acceptance actuality ideas perfection humane veracity cultured fidelity principle equity objectivity future justness competition th passion fiber influence growth design fr lifelong mentorship health help h umble knowledge camaraderie intense unwavering skill history dignity project ritual wisdom international literature nature personality complexity in collaboration initiation ethical strength pledge commitment symbolic crest Greek forefathers inherent empathy standards vice president design nat expansion commitment explosive innovative academics grades skill tradition procedure motivation dare judicial innovate smil uran drive knowledge bylaws president hope greater good glue support care fr donation give legacy rush brave function house sage parliamentary s vigor conviction positive commonality capable plan nurture motivation ds movement force inspiring vision courage attitude s bold unique priority re discipline spirit expectations gratitude maximize for insight ancestry youth hi relentless response f change programming just hope open mind mult reciprocation enthusiasm professionalism self organization transformation esteemed teamwork choice intelligence

pr eparation k motivation future dream d higher level tho vision expectations recognition catalys s thanks imagine fo confidence love bro masterful understanding grace peace zealousconquer readiness destiny wise grateul lessons fun pleasure smiles

THINK GREEKgreeklife.uoregon.eduUniversity of Oregon Fraternities and Sororities

valueswhatshapeyou

opportunities excitement fraternity barbecues joy excia shaving the yak extra curricular experience sports spirited involved volley c charity philanthropic football dedication pinned achievement leadership chivalry hom k kindred minds creative application kno virtuous respect pride professional contacts lif brotherhood sisterhood planning affirmation action goals keys believe fellowship untied intel a dv advance truth justice scholarship culture character service strive real ideals life satisfaction problem solving creation challenge difficult work fulfilling transformation bonding confidenc accomplishment reliable friendship ability dila accountability social delegation step up diversit community enjoy tight-knit different identity abil precious financial planning commitment long la change new friends diversity love support self-governing nation-wide memories college h connection international mentor role model big sister little sister big brother little brother strength surprising initi helpful respectable classy hope little sister enjoymen t amplification divine organization merit league d unity growth amplification morality recruitment awesome credence proliferation worth conviction aim g partake righteousness family maturity session performance ightness faith innovative chapter stellar leadesip meaning sharing distinction creed resource excellence persuasion heart brothers-keeper founding ho boom strive modesty stature edgy intent dete justice purpose acceptance actuality ideas perfection humane veracity cultured fidelity principle equity objectivity future justness competition th passion fiber influence growth design fr lifelong mentorship health help h umble knowledge camaraderie intense unwavering skill history dignity project ritual wisdom international literature nature personality complexity in collaboration initiation ethical strength pledge commitment symbolic crest Greek forefathers inherent empathy standards vice president design nat expansion commitment explosive innovative academics grades skill tradition procedure motivation dare judicial innovate smil uran drive knowledge bylaws president hope greater good glue support care fr donation give legacy rush brave function house sage parliamentary s vigor conviction positive commonality capable plan nurture motivation ds movement force inspiring vision courage attitude s bold unique priority re discipline spirit expectations gratitude maximize for insight ancestry youth hi relentless response f change programming just hope open mind mult reciprocation enthusiasm professionalism self organization transformation esteemed teamwork choice intelligence

pr eparation k motivation future dream d higher level tho vision expectations recognition catalys s thanks imagine fo confidence love bro masterful understanding grace peace zealousconquer readiness destiny wise grateul lessons fun pleasure smiles

THINK GREEKgreeklife.uoregon.eduUniversity of Oregon Fraternities and Sororities

valueswhatshape

you

UNIVERSITY HOUSING Division of Student Affairs

UO Housing strives to foster and enhance the academic, cultural, intellectual, personal and social development of all students living in resident halls. To advance these efforts, the UO recently built the first new residence hall on campus since the 1960’s. Integrating spaces for classes, study groups, faculty advising, informal musical and theatrical performances, dining and living, the Living-Learning Center represents an exciting new evolution for University Housing. In continuing with this exciting transformation of University Housing, the East Campus Residence Hall project is currently envisioned as a major residence hall housing 450-500 students from diverse backgrounds and accommodating a variety of different student living spaces, shared and common areas, dining facilities and academic program spaces. The East Campus Residence Hall is scheduled to open by the fall of 2012 and hopes to accomplish the following goals:

Help meet long-term university plans to •significantly expand the overall student housing capacity; and to meet expected increases in freshman enrollment.

Contribute to university goals to house •up to 25% of undergraduates in diverse housing types that offer residents sequenced independence, and motivate them to live on campus for several years.Provide residence hall “surge” space to house •first-year students while existing traditional-style residence halls are remodeled or replaced.Provide dining facility surge space in the form •of a 500 seat dining hall serving several thousand students per day while existing dining halls are renovated. Post-renovation plans include retrofitting the dining facility into a catering/commissary kitchen and a much smaller scale food service ‘Grab and Go’ or eatery.The inclusion of a greater variety of student •living spaces for a diverse population of students that still retain the current in-residence staffing model. (e.g. traditional double-occupancy rooms arranged with community restrooms and common areas, as well as other configurations).Purposeful common areas and public spaces •that are organized and designed to promote community for a wide spectrum of students, enhance the quality of the student living experience, and contribute to the residential

nature of campus as a whole.Incorporate sustainable design and •operation; and, as practical, creating opportunities for residents to engage in sustainability initiatives as a living-learning laboratory.To promote academic linkages and •out-of-the-classroom learning within the residence hall accomplished through the academic programming spaces, building components and collaborative programming.

UNIVERSITY HOUSING Division of Student Affairs

UO Housing strives to foster and enhance the academic, cultural, intellectual, personal and social development of all students living in resident halls. To advance these efforts, the UO recently built the first new residence hall on campus since the 1960’s. Integrating spaces for classes, study groups, faculty advising, informal musical and theatrical performances, dining and living, the Living-Learning Center represents an exciting new evolution for University Housing. In continuing with this exciting transformation of University Housing, the East Campus Residence Hall project is currently envisioned as a major residence hall housing 450-500 students from diverse backgrounds and accommodating a variety of different student living spaces, shared and common areas, dining facilities and academic program spaces. The East Campus Residence Hall is scheduled to open by the fall of 2012 and hopes to accomplish the following goals:

Help meet long-term university plans to •significantly expand the overall student housing capacity; and to meet expected increases in freshman enrollment.

Contribute to university goals to house •up to 25% of undergraduates in diverse housing types that offer residents sequenced independence, and motivate them to live on campus for several years.Provide residence hall “surge” space to house •first-year students while existing traditional-style residence halls are remodeled or replaced.Provide dining facility surge space in the form •of a 500 seat dining hall serving several thousand students per day while existing dining halls are renovated. Post-renovation plans include retrofitting the dining facility into a catering/commissary kitchen and a much smaller scale food service ‘Grab and Go’ or eatery.The inclusion of a greater variety of student •living spaces for a diverse population of students that still retain the current in-residence staffing model. (e.g. traditional double-occupancy rooms arranged with community restrooms and common areas, as well as other configurations).Purposeful common areas and public spaces •that are organized and designed to promote community for a wide spectrum of students, enhance the quality of the student living experience, and contribute to the residential

nature of campus as a whole.Incorporate sustainable design and •operation; and, as practical, creating opportunities for residents to engage in sustainability initiatives as a living-learning laboratory.To promote academic linkages and •out-of-the-classroom learning within the residence hall accomplished through the academic programming spaces, building components and collaborative programming.

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TH28JANUARY

E t h o s M a g a z i n e a n d U O C u l t u r a l F o r u m p r e s e n t

The

Featuring ...

DECIDE who is...

YOu & JUDGES

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