Sunday, December 11, 2011

Western football team goes back to basic training: The Western Front 2008

After a disappointing 2-8 season, the Western football team hits the gym this winter in an effort to
improve strength, conditioning and forge tighter bonds as a team
Erin Miller
The Western Front

Following a disappointing
2-8 season this year the Western
football team is starting fresh in
2008 by going back to the basics
in winter training.
After a few general team
meetings the team reconvened
for morning practices Jan. 7,
senior offensive lineman Dan
Trask said.
“We sat down as a whole
entire team and tried to figure
out what went wrong last season
and I guess it was many factors
combined," Trask said. "It wasn’t
one thing that separated it and
that’s what was frustrating.”
Although official training
has just started, most players
continued to work out during the
end of the season and through
winter break, Trask said.
“A bunch of guys stayed
up during break and worked out
when they could," Trask said.
"We didn’t just stop.”
Players lift four days a week
at 6:30 a.m. practices, and then
run three days a week, Trask
said. Strength and defensive line
coach Lawrence Suiaunoa said
special teams and those on the
line form two groups that run and
lift weights on alternate days.
“We split them up by groups
that they can bond in,” Suiaunoa
said. “That is the theory behind
separating them. But as far as
the workouts go, there is no
difference.”
The importance of training
has increased as Western
tries to improve on last year’s
disappointing season.
“There are a lot of things to
improve on for next year,” senior
wide receiver Pat McCann said.
“The biggest thing is we need to
come together as a team and play
more cohesively.”
Trask and McCann point
to the need for an increase of
speed and strength on both the
offensive and defensive line for
the season to come.
because as an offensive lineman
it’s a lot of footwork and quick
movements," Trask said.
A good offensive line also
needs to be fast so they may
better protect the quarterback,
Trask said.
“We take a lot of pride in
protecting the quarterback and
that’s a big thing for the line
next year," Trask said. "We gave
up some sacks last year that we
shouldn’t have."
To increase speed and
strength Western is relying
on what Suiaunoa calls a
“universally” used winter
training program of weight lifting
and running that will prepare the
football team for next season,
Suiaunoa said.
“It’s a blanket workout for
everyone but there are certain
cases we handle on an individual
basis like injury or specific
needs,” Suiaunoa said.
The training not only helps
the team become stronger as
individuals, it helps make the
team a cohesive unit, Trask said.
“I think we need to come
together more as a team,” Trask
said. “I think the things we’re
doing in the off season will
increase team camaraderie. The
team aspect is an overall focus
for us next year.”
It is encouraging to see
everyone working out together
and putting out the same effort
to get better, McCann said.
The football spring practice
schedule is set to begin April 5.

Western football team goes back to basic training

Curses, Soiled Again:Daily Candy 2008

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Seattle - March 04, 2009

Curses, Soiled Again

SeattleFarm Garden Services and Produce Delivery

You’ve learned which ones to weed out, not to let just anything into your bed, and that you can’t change a bad seed.
Have we got a pea in the pod for you.
SeattleFarm keeps it local by creating backyard vegetable gardens throughout Seattle that feed its Community Supported Agriculture program. The company will come to your house; evaluate your soil; build the type of garden that’s best (raised or standard); and plant, tend, sow, and deliver fresh veggies to your door weekly. (Whew. A farmer’s work is never done.)
If you don’t have space to spare, you can reap the benefits by enrolling in the produce delivery program or shopping Seattle-grown veggies at Queen Anne’s Eat Local come harvest.
Just sit back and enjoy your salad days.

For more information, go to seattlefarm.com or e-mail mailto:info@seattlefarm.com?subject=SeattleFarm.

Q&A with The Blow: The AS Review 2008

Q&A with The Blow

The AS Review caught up with Khaela Maricich, lead singer of The Blow, before her show on campus. The quirky electro-pop artist will grace Western as a part of the Bellingham Electric Arts Festival. After one failed attempt at an interview postponed by an exhausted Maricich, a product of a long night filing taxes, we connected later that day to talk the future of The Blow, bad TV and heartbreak.

ASR: What are you doing right now?
KM: Uh… [laughter] It's kinda embarrassing. I am reading about Madonna's trainer. There is all this dirt on her ripping people off by opening a fake gym or something on this gossip page. I was googling her cause she had this crazy amazing workout for Madonna.

ASR: Yea, I am definitely a sucker for gossip and trash TV once in a while. Like the show Flavor of Love.
KM: I never really watched that, I maybe saw two episodes. It was garbage when I was in the mood for garbage. It's pretty ridiculous-the less love he finds, the more money he makes.

ASR: You are originally from the area, what is your favorite Seattle haunt?
KM: I love walking around Queen Anne where I spent 18 years. And even though I know it sounds cheesy I really still love the Pike Place Market.

ASR: Do you plan on releasing any more work under, Get the Hell Out of the Way of the Volcano?
KM: I haven't really thought about it, I always saw The Blow as like a shortened version of that title.

ASR: Will you write another album? How will the sound change?

KM: I am working on music right now but I don't know if it will be an album I don't want to be an album producer my whole life.
It won't sound the same for sure. The background beats were all Jona. I don't think it will be as low-fi as my older stuff is. The last project was a conscious step towards pop. It will be interesting to see how it sounds different. I'm not out to try and repeat what I already did.

ASR: What is your process of music, do you force yourself to write every day or do you just wait for it to come to you?
KM: Kind of when it comes to me, I sorta just fit it in. It's when I am avoiding what I'm supposed to be doing it always happens; I think its best as an alternative thing.

ASR: Was “Hey Boy” written about a specific experience?
KM: Yea, it was.

ASR: Do you want to talk about it?
KM: No…They got all the notoriety they deserved.

ASR: Did you ever find out why he didn't call you?
KM: No, all my friends said that's just LA guys.

ASR: Sounds like Bellingham guys too.
KM: I actually came across the person again in a group and nothing happened. Ultimately it was worth a lot more than any dumb relationship I would have had with that person.

ASR: I personally love the song, “True Affection” the snapping is so catchy! What did you intend for the song to mean when you wrote it?
KM: This song was about a relationship with someone that was not mature. It was never going to work even though there was really love there. It was so real that it was hard for me to get over. I had never realized in my life that something could be so real but still not work.

ASR: Others have labeled you a role model; do you see yourself as one?
KM: I just try to be a good role model for myself. Once I got into my 30s I was more honorable and a lot less shifty and shitty and not fucking around with my friend's boyfriends You just have to try and maintain good behavior. When it's just me, I think “I should volunteer more” or “my hair looks shitty.”

ASR: What is it like to sing such vulnerable songs in front of an audience of strangers?
KM: I feel really comfortable, I recently played a big show in New York and I was really nervous about it, but after it was this amazing feeling of what did I just do.
I am trying to be honest even if it's kind of sad and a little funny. Once you're telling the truth your feet are at least planted on the ground. When you are trying to hide your weakness you are much more vulnerable. It's a much stronger place to be when you are exposed, it is a really amazing feeling to me.

ASR: You seem to have been through your share of heart ache in your life. What advice would you give to someone who's had their heart broken?
KM: When I had my heart broken really bad I needed my friends around me to make sure I ate food. Luckily, with my job I had time to lie around and be self-indulgent but I would force myself to do one useful thing a day like go to a cafe to check my e-mail. You have to give yourself lots of room to feel. I guess just be really kind yourself even if that means watching seven hours of TV.

ASR: What if it is Flavor of Love?
KM: If that's what makes you feel better.

ASP Pop Music brings The Roots to WWU:The AS Review 2008

ASP Pop Music brings The Roots to WWU

You get to school, your chest heaving when you look down and realize that you're only wearing your underwear and everyone is laughing at you. You look up and a banner across Viking commons informs you that The Roots are playing on campus—but that's no dream. It's really happening! Yes, pinch yourself because at 7:30 p.m. March 1 in Carver Gym the Roots are playing with openers Sweatshop Union and Surge Spittable.

The Roots are a Philadelphia-based hip hop group famed for a heavily jazzy sound and live instrumentation. Inspired by the “hip hop band” concept pioneered by Stesasonic, the Roots themselves have garnered critical acclaim and influenced later hip hop and R&B acts.

The Roots have been nominated for five Grammy Awards, the last for Best Rap Album in 2007.

Their last album release was “Game Theory” in 2006 which hit number 9 on the charts and sold 300,000 copies.

“The hip hop that's allowed to reach the mainstream is only one certain type of hip hop, and there's the danger of the minstrelsy of it,” ?uestlove said in a 2006 Rolling Stone Magazine interview.

“The more one-dimensional, character-driven hip hop is what seems to be driving the big bucks—because people want a show. Like, Eminem's the crazy white-trash man who hates his mommy; 50 Cent got shot nine times; Jay-Z is a bad drug dealer gone good,” ?uestlove said.

“I think Black Thought [the lead singer of the Root] is a really intelligent MC The Roots aren't misogynistic or all about the money,” Cuellar said.

When the Roots were announced the reaction of students could be read all over the Internet with wall posts on Facebook that are best described as incredulous. One poster wrote:

“How the hell did the ASP Pop guys get The Roots?! I have to admit, I was impressed with Aesop [Rock], but this is unfathomable. Someone is sleeping with executives or something. I gotta go get my tickets now!”

Students shouldn't be surprised ASP Pop Music has a history of bringing great acts to campus including Ben Kweller, The Faint, Ratatat, Neko Case, Matt Costa, Rocky Votalato, Andrew Bird and Citizen Cope. But how exactly did ASP Pop get such a notorious act to play on campus?

“We have been planning the show for a really long time and have definitely had ups and downs, said Victor Cuellar assistant coordinator of ASP Pop Music. “But, finally the stars aligned.”

This is the first show since 1999 that has been held in Carver Gym, Cuellar said.
“The last time we were there was a big problem with smoking in the venue and that is why it's been so long since we used that venue,” Cuellar said. “Which is a shame because it can hold so many more people than the MPR and PAC Mainstage and with that venue at our disposal we can put on much bigger events and larger names that everyone can go to.”

Opening for The Roots include Sweatshop Union and Surge Spittable, who received the best hip hop artist of the year by What's Up! Magazine.

A Sexual Health Awareness Workshop will occur at 1 p.m. the day of the concert and include a movie showing and a discussion on Sexual Health.

Many Resource and Outreach Programs offices are helping out with this event both financially and by raising HIV awareness. The Sexual Awareness Center, Lesbian Gay Bisexual Transgender Alliance and VOX will be tabling before the concert in Carver Gym.

Tickets are available at the PAC Box Office and are $20 for Western students with ID and $35 for general admission.

Q&A with Blue Scholars' MC Geologic:The AS Review 2007

Q&A with Blue Scholars' MC Geologic

Last week, The AS Review got on the phone with MC Geologic from the Blue Scholars to get a sneak peak at the concert coming up and more. Here's what we got:

How did you and Sabzi meet?
We met at the University of Washington through the Student hip hop Organization of Washington. He was a freshman. I was a sophomore. At the time the group got together to put on all-ages shows at a time when all-ages venues were getting shut down. We knew each other a couple years before we got together as a group in early 2002.

How did you pick the name Blue Scholars?
It came from a long list of names we rejected that included Blue Scholars. We then went back and picked it. We both come from blue collar families and we were both students.

What are your favorite artists to listen to?
I listen to lots of different stuff. My favorite music will probably always be hip hop from around 91-92 to 97-98 those were my teen years. These days I listen to everything, even the old stuff. What I've been listening to lately is a lot of Curtis Mayfield and MC's. As far as MC's go I am really influenced by Chuck D, Public Enemy stuff like that.

Who are your favorite artists to work with?
I would say the folks from my own neighborhood are my favorite to work with, Abbotsford the folks from Native Guns who are two other Filipino MC's. But my favorite would have to be a lot of the local MC's people from Seattle. We just have the connection, a lot of energy with other artists in the scene. It's cool to be a part of that right now.

Where do you get your material/lyrical inspiration?
Everyday life, people that I see in my community. Things that are going on locally as far as working peoples struggles, liberation movements that are trying to get whole countries free from exploitation from other countries.
The heartbeat of the people. I like to think that the music I make is not just a reflection of that struggle but a soundtrack. That people out there can listen to the music and inspire them just as much as they inspire the music.

In many of your songs you make political and social observations. Have you been following the elections? Who would you vote for?
My stance on the elections? I am still trying to work out how it will fit my politics and that of many people in the community I work with. We all want similar things we all want jobs and healthcare for the people, higher education and accessible information.
Every four years when this question comes up people get divided and distracted and forget we have most the same ideas and goals. I voted in 2000 then again in 2004 and this is the third election since I turned 18. This time, I developed this analysis, although we do have the right to vote, I think it's important to practice any sort of interaction.
It takes nothing to vote; you register then do the damn thing. I get tired of all the energy people put into elections expecting that a change from the top of this hierarchy will affect a change at the bottom. Who becomes president is not necessary as important as local politics the judges running in your circuit have more effect on your life than the people in the White House.
In a two party system where the two parties mirror each other on most the issues except wedge issues they all just widen the gap between the rich and the poor and exploiting other countries. The candidate that best reflected my ideas was Dennis Kucinich.
Voting is a year long thing. Voting is something you do with your feet, when marching comes to the street. We vote all the time. When people focus more on voting as a daily thing instead of a four-year thing we can achieve a lot more than putting our hope into one person.

Your lyrics are intellectual, thought provoking and aren't littered with vulgarity and profanity? How do you feel about the lyrics of mainstream rap and hip-hop?
In hip hop a lot of people say, “I don't like this and that about hip hop,” and I can agree with them. There is some over-masculine, violent hip hop but that is just one side, you see?

You ask yourself, “Why is that the kind you hear on the radio,” But at the same time you can be critical of that but these are things that represent what's really happening. Hip hop is a form of art that represents what happens in real life, it's important that message of what's going on in the streets is out there but if that's all that is allowed out there on MTV and the radio that's worse.

If you want to see the change in hip hop you have to think on a wider scale. Who controls the radio, the record labels the media. We may blame 50 Cent but why are no fingers being pointed at those behind the record labels pushing his image and his music?

What do you think the future holds for music in the Northwest?
I think for hip hop it's wide open in Seattle we have a rich history that goes back to the late 1970s but besides Sir Mix-a-Lot we haven't broken through. A lot of people in the Seattle scene are influenced by different sounds and that is Seattle's trademark right now. We don't just have one sound. People need to keep listening and realize there's more to hip hop music than what is on MTV.

What are Blue Scholars' plans for the future?
For 2008 we will continue to push “Bayani.” It hasn't been a year since we put it out, so we will push it to the limit until the next album comes out.

Raising the Bar: The Nightlight: The AS Review

Raising the Bar: The Nightlight

Like the 3B, Chiribins and the State Street Depot before it, the Nightlight follows in the legacy of Bellingham bars to shut down in their prime. Like a bad breakup, the loss of the Nightlight leaves throngs of college students feeling betrayed, desolate and in search for something to fill its place.

For me it's been a love-hate relationship with the Nightlight; long lines, a cover and expensive drinks have pushed my patience and my wallet. Yet, try as I may I can't find a better dance party in town than the Nightlight's 80s night. On the first Thursday of the quarter a line is already forming at 10 p.m., unusual for a bar that rarely is crowded before 11 p.m.

Why, then, review the bar now in its last weeks? It is out of appreciation for the many Thursday nights the Nightlight gave to Western students who danced the weeks stress out to the pulsating rhythms of 80s synthesizer machines and electric keyboards.
With its cavernous interior dimly lit, it is the first time I've really noticed the ambiance. You never appreciate what you have until it is gone. Walls of raggedly cut stones line the curved breezeway architecture. Attached rooms lead to pool tables, pinball machines, and a room full of love seats.

Sitting on one of the stools scattered sparingly around the perimeter of the dance floor, I scrutinize my surroundings. I feel like the strobes and flashing colored lights could prove hazardous for the epileptic and are a little too reminiscent of a middle school birthday party I once went to at a roller skating rink.

The cheesy light show pairs well with the denim vests, leg warmers and off-the-shoulder sweat shirts worn by occupants of the club. The 80s dance scene melds perfectly with the retro style of the fashion forward. What's old is new again and it's hard to distinguish who is dressed normally and who is in costume.

As the night progresses, people crowd the floor and adjoining stage. Shoulder to shoulder, back to sweaty back, the room is a cesspool of sticky hot bodies crammed together and pumping their fists in the air to Europe's “The Final Countdown.”

Like any traditional breakup situation the people I talk to react differently, Nightlight regular Diana Dizard is optimistic the bar will be back.

“I don't think it will stay closed very long. I heard the guys from the Royal and the Fairhaven are thinking about buying it,” Dizard said.

Western Alumni Dan Toomey is still grappling with the news, trying to make sense of the loss of a bar that is gone too soon.

“It's a damn, dirty shame,” Toomey said.

The Nightlight's last night is Jan. 26

ASP beats hairy situation to bring Iron and Wine: The AS Review 2007

ASP beats hairy situation to bring Iron and Wine

The magic's in the beard. The lovin's in the lyrics.
Associated Students Productions (ASP) Pop Music, in sponsorship with Banner Bank and the AS Environmental Center, will present indie folk artist Iron and Wine for an intimate event at 8 p.m. on Dec. 4 at the Mount Baker Theatre.

Iron and Wine is the stage name for Samuel Beam, a Florida native who made his name by releasing lo-fi tapes in Miami. Iron and Wine's first CD, “The Creek Drank the Cradle,” was released in September 2002. Shortly thereafter, Beam headed into the studio for the very first time to make a record. The end result was the resolutely hi-fi record “Our Endless Numbered Days,” which was released by Sub Pop in 2004.
Maybe the creative mastermind of Beam's persona is derived from his expansive ambiguous beard.

“Sam Beam's beard is kind of like Samson's hair. I feel like if he shaved it he would immediately release an album that sounds like Creed,” said Victor Cuellar, ASP Pop Music assistant coordinator.

As Beam's celebrity increased he began to shy away from the spotlight, moving to a remote location in Texas and giving few interviews to the press. Beam is a father of two daughters and formerly taught cinematography at Miami International University of Art and Design. He has lent his expertise in cinematography to the production of his own music videos. Iron and Wine's sound has been compared to Elliot Smith, Neil Young and Simon and Garfunkel.

One of the most widely recognizable of Iron and Wine's songs is the re-release of The Postal Service's “Such Great Heights” that was featured on the “Garden State” soundtrack and an MandM's commercial. Iron and Wine has also gained popularity in his own right with songs like “Naked as We Came” and “Each Coming Night.”
Beam brings the depth, candor and vulnerability to his craft that is missing from much of today's music. With lines like, “But now I see love/tracked on the floor where you walked outside/now I seek love/looking for you in this other girl's eye,” Iron and Wine's melodies are sure to melt even the most frigid hearts.

“If I had to describe Iron and Wine's music I would say it's like spooning with someone you love on a warm summers day while a children's choir is singing in the background,” Cuellar said.

Iron and Wine is currently on tour promoting its latest release, “The Shepherd's Dog.”
Unlike most shows that are brought to Western, Iron and Wine will be playing at the Mount Baker Theatre in downtown Bellingham.

The Mount Baker Theatre's elaborate and majestic interior will provide the backdrop for an intimate night with Iron and Wine. The buildings ambience paired with the mellow lyrical genius of Iron and Wine will create a not-to-miss experience.

“The Mount Baker Theatre is a legendary historic theatre. It's gorgeous on the inside,” Cuellar said. “The theatre will begin renovations in March so we wanted to do an event there before the renovations began.”

The process of booking a show is long and often times arduous, with lots of paperwork and deliberation going into it. When ASP initially proposed Iron and Wine play at the Mount Baker Theatre there was some resistance from the administration.

“Administration initially voiced concern,” ASP Director Jeff Talbot said. “The main concerns were regarding if the money spent on the concert was being used in the best possible way for the students. We were lucky enough to have an administration that ultimately trusted the experience and advice of ASP and ASP Pop about what is best for the students.”

AS productions demonstrated to the board why the Mount Baker Theatre was an appropriate venue for this show submitting our request in writing and in multiple meetings, he said. One reason for the theatre was the 1500 person capacity, 400 more than the PAC main stage. Since Iron and Wine is such a big name more students would be able to attend this concert. The Mount Baker Theatre also has good acoustics and is a strictly performance venue unlike the VU Multipurpose Room, said Talbot.

Opening for Iron and Wine is Seattle band Arthur and Yu. On tour to promote their recently released solo album, “In Camera,” Arthur and Yu boasts folk-pop melodies, flutes twinkling in the background, and plenty of reverb for an extremely full sound.
Banner Bank, a co-sponsor of the show, will be giving away prizes at the event, including Xboxes, iPods and Western gear.

The AS Environmental Center will be also be on hand to promote the use of alternative modes of transportation to the concert, including the Whatcom Transportation Authority. A shuttle has been organized to transport people from the school to the concert. Bus numbers 14, 105 and 108 will be leaving Haggard Hall between 6:25 p.m. and 7:55 p.m. to drop students off downtown.

Tickets will be $20 for Western students with ID and $24 for the general public. Doors will open at 7 p.m. Tickets are available at the Western Associated Students Bookstore and through the Mount Baker Theatre box office.

Minus the Bear returns to campus: The AS Review 2007

Minus the Bear returns to campus

In the tradition of bringing epic shows to Western, AS Productions Pop Music has done it again, hitting students with the one-two-three punch of Minus the Bear, The Helio Sequence and Grand Archives.
The show will be in the on Friday 8 p.m. on Nov. 9, in Viking Union Multipurpose Room. Doors will open at 7:30 p.m. Tickets are $13 for Western students with identification and $16 for the general public.
Straight from Seattle, Minus the Bear is returning to Western as a part of their nationwide tour to promote their third full-length album, “Planet of Ice.” They will be accompanied by The Helio Sequence the Indie, electronic band that call Beaverton, Oregon home and Indie Rock Band Grand Archives.
Awarded MTV's Band of the Week Sep. 17, MTV met up with Minus the Bear in Seattle and gave them an old-school Super 8 camera. The resulting footage, which was played all week during their “Artist of The Week” TV spots, was shot at their favorite Seattle locations, like the Capitol Hill pub Clever Dunnes and the Seattle Laser Dome.
The name “Minus the Bear” comes from an inside joke between the band members, referring to the 80s TV show BJ and the Bear. Formed in 2001 the band has met wide success in the past six years. Band Members include Dave Knudson on guitar, Cory Murchy on bass, Alex Rose on electronics, Jake Snider, lead vocals and Erin Tate on the drums.
The bands latest album, “Planet of Ice”, has received favorable reviews from critics and fans. Spin Magazine wrote that the band's latest album is, “sublimely elegant and more maturely conceived. It comes to a head when glitchy synths skip into playful free-form guitar on ‘Knights,' the first single released on the new album then eases into the delicate ebb and flow of ‘When We Escape,' a mid-tempo ode to newfound lust.”
“They keep it real they aren't possessed by stardom, they are fun and college kids love them,” said Hunter Motto, ASP Pop Music coordinator.
To get a better idea of what to expect from the Minus the Bear show I sat down with self proclaimed music conasuier Victor Cuellar ASP Pop Music assistant coordinator.
Breaking through the tension that naturally arises from sitting on a couch with Cuellar I was able to get past the aura to get some genuine explanation of what makes Minus the Bear such a great band.
“Minus the Bear is interesting because judging by their stage set they are pretty basic, they have classic instruments but play them in a completely different way,” Cuellar said.
Cuellar went on to compare them to an article of clothing.
“They (Minus the Bear) are like those zipper pants. Why? Because they are applicable all the time, comfortable all the time and fashionable all the time.”
If that doesn't give you an idea about what the show will be like than don't be alarmed not everyone understands Victorisms. Just know that a comparison to zipper pants is a huge compliment.
Minus the Bear came to play last year and was only 50 people shy of selling out the VU MPR.

Raising the Bar: Beaver Inn: The AS Review 2007

Raising the Bar: Beaver Inn

Sometimes you want to go/Where everybody knows your name/and they're always glad you came.

Without fail whenever I walk into the Beaver Inn the opening lyrics for the show Cheers plays in my head. Don't get me wrong not everyone will know your name and if they do, you might have a problem. The Beaver has been located at 1315 N State St. since the 1920s, only closing for a few years during prohibition. The inside of the Beaver is dark and dim with a wooden bar and 1970s wood paneled accents making the Beaver feel like you are spending your night with friends locked up in the family den.

I especially felt like I was in my family den as my brother was tagging along with myself and some friends that night. Anyone who has siblings will agree that no matter how tight you are with your family it can still be weird hanging out with them…especially at a bar. Holidays and social visits are one thing, but having your family observe you with your guard down amongst friends can be intimidating.

Not long after pulling up our wheeled office chairs around a table sticky with spilt beer I realized that having an older brother around you at the bars is as weird as having your parents drive you and your date to a high school dance.

At least the location wasn't a problem. The Beaver was the perfect background for this night of family-friendly fun. The Beaver is currently a family-owned business that prides itself in its laid back homey atmosphere. The lack of a dance floor, the pool tables, dart boards and pinball machines also help keep it from exuding pomposity of the other bars.

My personal favorite quality of the Beaver is its hilarious staff. When my friends, brother and I went up to buy tequila shots the bartender asked us with a smirk if we needed training wheels—lime and salt. We shamefully accepted realizing his little quip exposed us as the amateur drinkers we are. This short exchange encompasses what makes the Beaver so amazing. It doesn't have a big head and it won't let you have one either. The drinks come quick and you better be waiting because no one will bring them to you. The Beaver unlike some other bars in town also provides patrons with the opportunity to relax and enjoy one another's company without the conversation being drowned out by loud pulsating music.

The Beaver also has an extensive menu that includes roasted chicken, hamburgers, fish and chips, deep fried pickles and the gloriously complimentary popcorn. Like an episode of a heart warming family sitcom I came out of my evening at the Beaver Inn with some wholesome lessons in life. Don't bring family members to the bar with you. Don't flirt with boys when your older brother is watching and most importantly—don't take salt and lime with your tequila, it's a sign of weakness.

Raising the Bar: Fairhaven: The AS Review 2007

Raising the bar: Fairhaven

What do you have to do to get kicked out of an Irish pub? Apparently, not drink. This is my first bar lesson of fall quarter when I am shivering on the street contemplating what bar I will spend my evening in, when I should be sharpening pencils.

Assigned to cover the nightlife of a Bellingham bar of my choice, I had coerced a few friends to come with me to Uisce's, the Irish pub at 1319 Commercial St., for their famous Tuesday trivia night. Sadly there isn't a seat left and when we don't buy drinks immediately, we are told (not so kindly) to leave.

The group decides on going to The Fairhaven instead. Located at 1114 Harris Ave., The Fairhaven is off the beaten path of downtown bars. The dimly lit interior of leopard print and black leather booths inspires me to document my night's experience like a researcher in the wild—do not interfere and do not interact. (This becomes an increasingly difficult motto to live by as the night goes on.) I had hoped that my study would answer questions pondered for centuries: how long does it take for people to go from idling on the dance floor to uncontrollably gyrating? Or, when does the first stumble after excessive drinking occur?

Split into small round tables and a row of booths against a mirrored wall, The Fairhaven feels a little more “adult” than other bars in town. But tonight—and every Tuesday night—is a different story because it is College Night at The Fairhaven. On College Night the drink specials include pitchers at $5.25 and $6.25 for microbrews. The martini list ranges in price from $5.75 to $8.50. The more expensive martinis are made with top shelf liquor.

Easily persuaded by colorful pictures, I decide to order a lemon drop martini off the vibrant martini menu. I am feeling pretty swanky and hip when I realize there is absolutely nothing glamorous about having a pen and paper at a bar and staring at people like a creeper.

As my friends deliberate about what beer they will order, I furiously take notes on the bar's ambience, smell, sound and anything that seems noteworthy. There isn't much to document since the bar is still almost completely empty—granted, it is only 9 p.m. One of the first things about The Fairhaven I notice is the questionable choice of music moving from “classics” by Sinead O` Connor and Cyndi Lauper to Christina Aguilera and Britney Spears, as the younger crowd filters in.

9:14 p.m. The steady stream of college students, which began only minutes before, shows no sign of stopping and the bar is officially crowded. A friend voices her irritation at the lack of complementary pretzels or popcorn.

My first misadventure of the night comes when I try to locate the bathroom. Anyone who has been to The Fairhaven will agree that maps should be provided at the door. Not only are the bathrooms ridiculously hard to find, but there is a hall of various unmarked doors that trick you into thinking you might have found them. Like a contestant in a game show I hope the door I open next will lead to the bathroom. Door number one: broom closet… door number two: empty keg room.

When I finally locate the bathroom, which is completely across the bar from where I was searching, I am faced with a dilemma. I spot a boy in the girl's bathroom. Seeing such a blatant disregard for social constructs motivates me to inform the boy that, in fact, he is not a girl. This seems like quite the important issue at the time. He acknowledges this but claimed he was assisting a friend who spilled beer on her pants. I am suspicious of this alibi. Apparently after a few drinks I have turned into the bathroom police.

9:42 p.m. As I wait at the bar to order a drink I feel my airway slowly constrict as the smell of excessive cologne wafts from the individuals surrounding me on both sides.

9:51 p.m. This is the point where rather than performing my journalistic duties I start writing ludicrous and unimportant observations that are largely egged on by my friend's laughter. One such observation reads, “I love lamp.” The field-journal that had started with such good intentions has turned into a doodle pad.

9:57 p.m. The dance floor that was empty when I arrived remains empty apart from the few stragglers who, no doubt, hope their sporadic dancing will encourage others to participate. Sadly, it seems to have the opposite effect.

10:17 p.m. Officially, the bar is over packed with college kids who hope to delay the reality of their classes. By this time I have failed completely as an undercover reporter telling anyone and everyone who will listen.

11:48 p.m. The night ends with me contently stuffing my face with Russian dumplings.
Reviewing my notes the next morning with a massive headache, I am pleased to see my research was a success. Having made it a personal goal to record the first sign of a stumble, it is noted that by 10:57 p.m. there were stumbles all over. How long does it take for people to go from idling on the dance floor to uncontrollably gyrating? Apparently it takes 34 minutes: from 10:14 p.m.-10:48 p.m.

ASP Pop Music presents: The Presidents of the United States of America The AS Review, 2007

ASP Pop Music presents: The Presidents of the United States of America

Years ago in city just south of here one band was responsible for forever glorifying the experience of eating canned peaches. The Seattle based Presidents of the United States of America is that band and on Saturday they are bringing peaches to Western Washington University.

At the height of their popularity the President's were number one on the Billboard Modern Rock music charts and had three Top 40 songs. Some of their most memorable songs, such as Lump, Kitty and Peaches, came from their self titled debut album in 1995. Maybe their most famous and intoxicatingly catchy song is “Peaches.” Another of the President's most popular songs, “Lump,” was later the inspiration for the parody song “Gump” by Weird Al Yankovic. The Presidents also covered the Ian Hunter song “Cleveland Rocks,” which played for many years during the opening of the “Drew Carey Show.”

In 1997 the Presidents met hard times briefly splitting due to what band member Dave Dederer described as “exhaustion.” Having gone through some changes such as the replacement of Dave Dederer , vocalist and bass guitarist, for Andrew McKeag their 2004 album gained popularity with their single “Some Postman.” Although meeting success after releasing the 2004 album “Love Everybody,” the Presidents may forever be remembered for the pop-punk rock hits of their first album that provided the fun-loving quirky music many desired after the teen-angst of the grunge era. The Bellingham based group the Love Lights will be opening for the Saturday show.

Laugh it Off, Klipsun 2008

Laugh it Off


Story by Erin Miller // Photo by Kevin McMillon
Caution: Adults and Kids at Play plaster the windowed walls of Bellingham''s Co-op Connection Building - a well-deserved warning if you catch sight of the local laughter yogis.

Loyalists flock to weekly laugher yoga meetings to reap the benefits of a belly laugh - an improved immune system, less stress and better digestion, according to research conducted by laughter-yoga founder Dr. Madan Kataria.

Eighty-year-old Mary Lou Richardson, who leads the group with club co-leaders Mary Jensen and Linda Read, started attending laughter yoga a year and a half ago after Walt, her husband of 58 years, died.

"I just couldn't sleep," Richardson says. "And when I went to that, the very first day I came home and slept 12 hours. Twelve hours and that''s all it took, and I thought, this is something I really, really need. And then I just kept going."

Richardson has macular degeneration, a condition that has severely reduced her vision - but you wouldn''t know it watching her maneuver through her 100-year-old renovated coal-mining cabin cradling a pot of chicken noodle soup,
"I know I don''t look blind and therein lies the problem sometimes," Richardson says.
During the week Richardson guides Columbia Elementary School students in a series of laughter exercises sounding "hahas," "hehes" and "hohos."

"With the children, there is just no holding back," Richardson says. But not all the students are able to laugh with their classmates. "I just told the principal the other day that there are a couple of kids in second or third grade, and they don''t laugh. It just breaks my heart there is some stuff going on in these kids lives that is so out of the realm of their experiences."

Richardson attests to the alternative medicine''s advantages, and caters the club''s philosophy to assisted living and retirement homes to help other senior citizens catch on to the quick cure: laughter. Her own health, vivacity and spirit are a sure testament to smiling in the face of adversity.

Deep Sea Cacophony, The Planet Magazine 2007

"DEEP SEA CACOPHONY"



The deaths were prolonged. Slow, painful, broken gasps for air, the rise and fall of strained, unfulfilled breaths. One by one, the bodies of beached marine animals were found on shore, void of life. Eleven bodies in one month. The days and years following the deaths were muddied with confusion and mystery. What caused the deaths in harbor porpoises in Haro strait? The answer to the mystery lies in the dark, cloudy depths of the sea.

On the morning of May 5, 2003 a navy submarine, USS SHOUP, participated in an active sonar training exercise in the eastern part of the Strait of Juan de Fuca and Haro Strait in Washington State. The SHOUP was using mid-frequency sonar as part of a quarterly training exercise.

That same morning Dr. David Bain, assistant professor of psychology at the University of Washington and contractor with the National Marine Mammal Laboratory, was out on the water in Friday Harbor teaching a field methods class. Following the orca J pod on the western side of the San Juan Islands, Bain and his students noticed the group of whales turn abruptly towards the shore in an unusual location. Bain then began to hear the rhythmic pings of sonar through the hull of his boat.

Bain and his students, perplexed by the unusual behavior they were observing, documented the whale’s activity.

Cetaceans, a scientific grouping which includes porpoises, toothed-whales and baleen whales, rely heavily on sound for location, feeding and socializing. Using both high and low frequency sounds intermittently, cetaceans are able to ‘see’ where they are going. When sound waves from external forces disturb or mask these sounds, the cetacean loses awareness of its surroundings, hindering its ability to locate food and communicate.

Commercial boats, seismic sonar, cruise ships, recreational boats and navy sonar are all contributors to ocean noise. Navy sonar is a huge concern to researchers because it uses low frequency sonar. Even if a submarine is testing sonar at a distance the low frequency sound waves can travel far enough to disturb a cetacean.

"Low frequency waves travel farther; that’s why when you’re in your car and someone has music blasting you can feel [the bass] from far away," Western Washington University Professor Alejandro Acevedo-Gutierrez said.

The Navy’s official statement on the incident of the USS SHOUP was that the SHOUP’s use of sonar on May 5, 2003 was not a factor in the stranding or deaths of the harbor porpoises discovered in the following days. The report also stated that the behaviors exhibited by the orca J pod on May 5 were not out of the range of normal behavior routinely observed for the species.

"It took us a while to connect it to the Navy exercise," Bain said. "So we took notes, video, sound and a description of the behavior. At first we didn’t see any boats that could be the source of the noise, but then we observed the top of the SHOUP."
Bain and his students observed tail slaps and an unusual change in direction. The orcas also began traveling in a strange spatial arrangement. But, when the whales were no longer exposed to the sounds of sonar, their behavior went back to normal. As the SHOUP changed direction, exposing the whales a second time to the sound, the J Pod turned toward the shore again, stopping in a little bay. The pod stayed there until the SHOUP passed.

It took a while for the J pod to get back together, but all the whales survived with no measured permanent damage.

"The whales’ behavior was definitely tied to the sonar," Bain said. "The Navy people don’t have the same level of expertise on the behavior of whales, I am quite confident. They can take an individual behavior out of context and say ‘yes killer whales do that,’ but in a big package it is unusual."

Since 1996, five reports of mass strandings following Navy sonar testing have surfaced around the world. However, it is a struggle to prove the relationship between these events, the behavioral response and the beachings. Navy biologists say there is no strong evidence these beachings were related, while many researchers believe these events cannot be coincidence.

"It can be extremely frustrating that we don’t have the smoking gun; it’s all circumstantial," said Dr. Volker Deecke of the University of British Columbia. "If a whale flees from sonar and lands on a mud bank, linking it to an acoustic source is almost impossible."

Researchers argue the effect of sonar is largely behavioral and not biological, which explains why autopsies on stranded harbor porpoises have been inconclusive. In the case of the USS SHOUP, the autopsies of harbor porpoises revealed no physical damage.

"You put a once in 25-year event with the passing of a Navy boat using sonar, if that is not enough evidence for them, they may as well pack up and go home," said Dr. Lance Barrett-Lennard, a researcher at the Vancouver Aquarium.
Despite the rare orca and porpoise behavior in reaction to the USS SHOUP’s sonar, Navy biologists said they can’t be certain of the effect on marine mammals without greater evidence.

"Navy sonar is the object of much suspicion and misinformation," stated Sean Hughes, public affairs officer for Navy Region Northwest.

A careful examination of the facts and scientific evidence paints a different picture. For example, the National Marine Fisheries Service examined the remains of 11 porpoises whose bodies were found between May 2 and June 2, 2003. Some had been dead for several days, long before the USS SHOUP transited the area on May 5. In addition, other noise sources were present in Puget Sound at the time. The National Marine Fisheries Service investigation found no proof that sonar caused any of the deaths. Yet, some members of the public continue to blame sonar.

"If someone wants hard legal proof, they aren’t a scientist. We rarely have tangible proof," Barrett-Lennard said. "We work with what is probable, what is likely."
The Marine Mammal Protection Act (MMPA), created in 1972, is legislation meant to protect the safety and treatment of marine mammals in the wild. The MMPA defines harassment as any act that injures or has significant potential to injure a marine mammal or marine mammal stock in the wild, or any act that disturbs or is likely to disturb a marine mammal or marine mammal stock in the wild by causing disruption of natural behavioral patterns.

The Navy is exempt from the MMPA but not the Endangered Species Act, which includes the southern resident orca. Endangered species have ultimate protection afforded by law. Regardless of the threat sonar poses to these endangered cetaceans, the Navy stresses the importance of sonar and sonar training in the waters of the Northwest.

"Forty-one nations have diesel-electric submarines, and more than 180 diesel-electric submarines operate in the Pacific Ocean," Hughes stated. "Detecting them with sonar is a complex, highly perishable skill that cannot be completely mastered only in simulators."

As complex as the subject may seem, small measures can decrease the level of ocean noise.

"The quickest thing to do is increase the space between boats and whales," Bain said. "Not getting as close will make things quieter for whales."

Recreational boat owners can reduce their contribution to ocean noise significantly by replacing a loud boat motor with a more efficient silent one.

"We can easily make [boats] quieter, but we hear in the air so we don’t really care," Barrett-Lennard said. "The boats that are quieter above water are usually the ones that are louder underwater."

Rerouting commercial and shipping vessels through different straights would greatly decrease motor effects on marine mammals.

Some scientists think national defense is not a valid reason for sonar testing in waters of high marine mammal populations.

"You have to wonder who the enemy is," Barrett-Lennard said. "I am not aware that Osama has submarines yet."

It is a bit of an easy way out, Deecke said. Of course, national security is important, but ideally there should be a middle ground. Deecke said a healthy marine system is as important as a safe homeland.

While bodies continue to wash ashore and the deep sea discord builds, the greatest danger to marine mammals may be the ocean noise debate that remains eerily silent.