The Out Issue: Liza Anne Edition

EMMIE

FALL 2019

LIZA ANNE + TASHA ALSO FEATURING GENDER CONFETTI, BRIGHTVIOLET, DEQUADRAY, SEASAW

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FOR THE RECORD ALBUM REVIEWS

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WORLDS APART

A PLAYLIST

10 NO DOTTED LINES TO SIGN

LEARNING TO NAVIGATE THE INDUSTRY WITHOUT A LABEL. B

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JA S P E R N E L S O N

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GENDER CONFETTI

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THE VOICES OF A GENERATION

A LOOK AT TEN INFLUENTIAL VOICES IN THE WORLD OF HIP-HOP

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BRIGHTVIOLET 22

LIZA ANNE ON THE COVER

LIZA ANNE EDITION

WELCOME TO THE OUT ISSUE CONTENTS

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SEASAW

SO THIS IS LOVE

A PLAYLIST

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“THEY MUST HAVE BEEN WOMEN CUZ I DON’T LIKE NO MEN.” MA RAINEY + QUEER L I B E R A T I O N I N T H E 1 9 20 s B

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B A I L E Y OW E N S

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DEQUADRAY

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TASHA ON THE COVER

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MUSIC OF THE WORLD

R E A L-T I M E C R O S S - C U LT U R A L CONVERSATION PROMOTING SOCIAL AND POLITICAL CHANGE B

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CONCERT GALLERY

HENRY MICHAELS

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RESOURCES TAKE CARE

EMMIE MAGAZINE FALL 2019

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EDITOR-IN-CHIEF ASSOCIATE EDITOR ART DIRECTOR ALBUMS EDITOR CONCERTS EDITOR FEATURES EDITOR PHOTOGRAPHY EDITOR MARKETING DIRECTOR

geordon wollner ashley evers bashir aden izzi bavis francisco velazquez jasper nelson ly nomad abbey meyer

WRITERS

sophia abrams izzi bavis kayla bell zoe bockhorst kayla chung morgan dooley talia eiseman ashley evers bailey griffin abbey meyer henry michaels jasper nelson bailey owens hayley snell francisco velazquez geordon wollner riley younger julia zeimentz

ART

PHOTOGRAPHERS

PLAYLISTS special thank you

ON THE COVER

bashir aden geordon wollner ana ramos contreras ashley evers daniel klugman ly nomad hayley snell geordon wollner EMMIE staff august

414 state street madison wi 53703

liza anne by geordon wollner tasha by ana ramos contreras

4 / EMMIE

M

I’ve been trying to figure out what the fuck is really going on. Trying to make sense of anything these days seems harder than it used to be. More seems to be falling apart, than being pieced together. I’ve been asking more questions than receiving answers, which has left me restless and irritated most of the time. Despite this, I have managed to find more certainty within myself — I often travel inwards with my feelings, thoughts and unanswered questions, thus leading me towards long nights of self-exploration.

What I have found in myself is that now, more than ever, I am willing to actually be myself. I find my pockets of confidence and open them up, letting them overflow, filling me with power, vibrating at my fingertips, straightening out my back, lift my chin up high. And I really dig it.

These moments of confidence remind me to keep pursuing the craziest of dreams I have tucked away in the corners of my mind and to go out and get them — even if I don’t have the support from those around me, I’m going to do what I fucking want and what I dream about.

You won’t find loose dreams and manifestations of hopeless romanticizing here, but instead you will come across real dreams, real love and real stories. L I Z A A N N E offers a safe space for growth and healing.

T A S H A reminds us to love honestly and fully. The pages that follow are filled with the many ways one can be “out” in this world. Take each story with a grain of salt, consider them, reimagine them or accept them as they are.

We’re all just trying to figure it out and get it together. Let these words help you in your journey.

Take care.

GEORDON WOLLNER EDITOR-IN-CHIEF

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PLEASE NOTE: ALL VIEWS EXPRESSED HERE ARE THE AUTHOR’S OWN

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ALL ALBUMS ARE REVIEWED ON A SCALE FROM ONE TO TEN, WITH TEN BEING THE HIGHEST POSSIBLE SCORE

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EMMI E STAF

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G I N G E R B Y BROCKHAMPTON WRITTEN BY ZOE BOCKHORST

BROCKHAMPTON’s latest album GINGER is an album of change. The 12-piece rap collective took an almost year-long hiatus from producing music after rapper Ameer Vann left the group in May of 2018, amidst accusations of sexual assault. After hastily releasing iridescence the following September, BROCKHAMPTON chose to take a break from creating and living together. The group took this time apart to focus and recharge, releasing their fifth studio album GINGER on Aug. 23, 2019.

It served them well. The hectic, disorganized exuberance of their earlier albums coalesces in the (albeit still) intense GINGER. BROCKHAMPTON’s signature high-voltage, indiscriminate sound is forsaken a bit in this more mature, brooding album. The opener “NO HALO” exemplifies this transition into coherence; Deb Never’s refrain “I’m sure I’ll find it” tethers together the numerous verses, all which lament a lack of identity.

Vann’s absence is felt heavily in the album. His distinctive languid, effortless-yet-heavy style was a grounding element that the group notably lacked in 2018’s iridescence. Still, it’s clear that no one has forgotten about him: the focus of the most compelling verse on the album — Dom McLennon’s in the standout “DEARLY DEPARTED” — is all on Vann. This verse alone changes the album; listening to it, we know that we’re not going to get the same frenetic fervor of SATURATION II. GINGER’s tracks have matured the group, and McLennon’s resigned anger (“And it’s not my problem anymore”) is a key part of this tonal shift.

BROCKHAMPTON had to change. Their group changed, their lives changed and so their style changed. However, they still retain that inimitable eclectic energy that captivated millions.

SCORE: 8.3

S T W B M

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WRITTEN BY ASHLEY EVERS

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MUNA are ahead of their time with their modern mix of pop and exasperatingly raw lyrics that unravel themes of distress in Saves The World. The trio did exactly as their album title infers by introducing motifs surrounding the hopeless desire for something or someone who is out of reach.

The project starts softly with “Grow,” then is cut with an abrupt transition to the memorable “Number One Fan,” a driving pop anthem that is stocked with positivity and overcoming feelings of self-doubt. This emotional buildup is released in “Stayaway,” which creates a light buffer for the deeper meaning surrounding the difficulty and willpower required to change habits.

“So I gotta leave the light on for tonight / Just so I can stay away,” lead singer Katie Gavin belts in the bridge.

“Who” focuses on the confusion that comes with rejection and the feeling of loneliness before moving into ‘70s heartbreak anthem “Navy Blue,” which is daring-yet-honest as the bridge mimics intrusive thoughts circling through one’s mind after a breakup. Club track “Never” encapsulates the energy in Robyn’s “Dancing On My Own” with electra-pop rhythms that mask the topic of losing someone while losing a part of oneself, too. The missing piece is reclaimed in “Pink Light” as Gavin proclaims, “That at the right time, in the right surroundings / I will be lovely.”

SCORE: 8.6

“Hands Off” is the feminist anthem that necessary after many tracks surrounding heartbreak, while “Good News (Ya-Ya Song)” stands out the most on the project, representing persistence and ultimate resilience. Dark dance track “Memento” melds into the near six minute coming-of-age narration, “It’s Gonna Be OK, Baby.” Rhythms get a bit repetitive, but varying tempos allow MUNA to redeem themselves on this record. Saves The World goes well beyond relatable pop music while revealing themes surrounding growing up, making mistakes, and developing a sense of identity. MUNA encapsulate the importance of being one’s own cheerleader while illuminating the many things one will do in their young life—both good and bad. After all, listeners are left with some piece of mind knowing it’s going to be OK.

FALL 2019

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FOR THE RECORD

ALL MY H E R O E S ARE CORNBALLS B Y J P E G M A F I A WRITTEN BY IZZI BAVIS

Barrington DeVaughn Hendricks dropped All My Heroes Are Cornballs under his stage name JPEGMAFIA on Sept. 13, 2019, in collaboration with EQT Recordings, marking JPEG’s third studio album release.

All My Heroes Are Cornballs is a performative album — JPEG wholly embodies the experimental rap genre. Similar to Donald Glover’s 2013 Childish Gambino release Because of the Internet and Kilo Kish’s 2016 Reflection in Real Time, JPEG incorporates a mass of percussion overlaid with autotune and ambient noises to develop his unique sound.

The first track “Jesus Forgive Me, I’m a Thot” amused me. I was impressed by the humor that JPEG uses to downplay the depth of his songs. I didn’t think the song could have a deeper meaning, but the track engages with issues of violence in America, self identity and the feeling of being lost. “Pray for my babies, they doin’ time / Pray that these crackers don’t Columbine / I just pray that I peak before my decline.” JPEG is articulating the complexity of his life, incorporating sadness, fear and his aspirations all in one track.

JPEG is multifaceted. He draws on his life experience to assemble the lyrics that are the backdrop to his intoxicating music. He has range, from raging on “JPEGMAFIA TYPE BEAT” to ambient noises on “Free the Frail.” JPEG encompasses every aspect of experimental rap.

After spinning All My Heroes Are Cornballs a few times, I have more respect for JPEG. However, it seems each song is fused together with only a few standout tracks disrupting the otherwise monotonous flow of the album. This could be a stylistic choice, but could also indicate lazy song-writing. At the end of the day, JPEG did what he knew best: he created honest, enticing beats to support his story.

SCORE: 8.0

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WRITTEN BY ABBEY MEYER

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Formerly known as Baby Jesus, this North Carolina rapper and songwriter struggled to land a hit until he debuted his first studio album, Baby On Baby. Released in March of 2019, DaBaby landed at 25 on the Billboard Top 100. While many were shocked by this XXL Freshman’s overnight success, others credit his sudden rise to fame to his feature on the Dreamville track with J. Cole and Lute “Under The Sun” which dropped in July of 2019. Riding the success of Baby On Baby, DaBaby held onto the charts by featuring on tracks from other Top 100 artists including Lizzo and Lil Nas X. By fall of 2019, DaBaby became an artist to watch, and the arrival of his most recent studio album, Kirk, did not disappoint.

Kirk debuted every track on the Billboard Hot 100, with “INTRO” leading the tracklist at No. 13. Tying with Post Malone for the most Hot 100 entries in 2019, many have called it DaBaby’s breakout year. Kirk features his famed single “Suge,” as well as 17 other tracks that, like it or not, sound fairly similar. Listening through the album revealed that multiple tracks adapt the same beat used in “Suge.” The song “BOP” for example almost mirrors the single entirely.

If it wasn’t already made evenident, this man really likes to rap. DaBaby managed to completely demolish a few predictable beats and land his entire tracklist on the Hot 100 list, developing a well-rounded studio album with features from Nicki Minaj, Megan Thee Stallion, Kevin Gates, Migos, Post Malone, Gucci Mane, Offset, Chance the Rapper, and Stunna 4 Vegas in the process. These artists did their part to break up the album and provide some variation to pretty consistent rapping from DaBaby. “iPHONE” featuring Nicki Minaj provides a break from hard rap with the addition of a few catchy R&B hooks and (unsurprisingly) a well-executed verse from Minaj. Songs like “GOSPEL” and “INTRO” offer a slower beat and arguably more thoughtful lyrics to round out this highly rated album from the XXL Freshman.

8 / EMMIE

SCORE: 8.1

FALL 2019 ALBUM REVIEWS

H O U S E OF SUGAR B Y ( SA N DY ) A L E X G WRITTEN BY MORGAN DOOLEY

Alex Giannascoli, otherwise known as (Sandy) Alex G, is a Philadelphia-based artist recognized in the indie-rock scene for his eclectic genre-mixing and DIY production aesthetic. Alex G stayed true to this indescribable sound with the release of his latest, highly-anticipated album House of Sugar.

Alex G blends indie-rock with everything from sharp electronic sounds in “Project 2” to twangy country influences in “Bad Man,” while incorporating classical instrumentals and angsty synths throughout the entirety of the project. While these genres may not mesh well for some listeners, I find it’s what makes this album, along with Alex’s other works, most intriguing to listen to.

At first listen, the House of Sugar tracklist is unpredictable; however, this album doesn’t do anything monumental to surpass Alex G’s previous projects. That previously mentioned “unpredictable” quality of Alex’s music has almost become too predictable — as it turns out, House of Sugar sounds exactly the way I assumed it would. Now that isn’t to say that it’s not impressive; in fact, House of Sugar is arguably a masterpiece in terms of its production. All I mean is that this style of production quality is right on par with Alex G’s work that has preceded it.

The preeminent track from the album, hands-down, is “Gretel,” the album’s first single.

The only way to describe “Gretel” is that it is so many things at once — but in the calmest way possible. “Gretel” is simultaneously eerie, catchy, beautiful, weird and the type of song you could listen to ten times a day forever and never get sick of. On the other hand, songs like “Walk Away” and “Hope” deal with heavy-hitting themes of addiction and loss, taking the cake for the album’s most lyrically powerful tracks.

This is a peak “my life is a movie” album. House of Sugar is filled with the kind of songs that I’d listen to when I want to feel like my life is far more intricate and emotional than it really is. If you’re looking to get lost in some dreamy, foggy sounds and simple-yet-existential lyrics, I’d recommend you check this one out.

SCORE: 8.4

H A P P I N E S B J O N A B R O T H E R WRITTEN BY JASPER NELSON

S Y S S

In 2005, the world was rocked by three New Jersey siblings: Nick, Kevin and Joe. Still just teenagers, they became instant stars in the Disney world of 2000’s pop-punk. Now, six years after their breakup, they’re back with Happiness Begins. Nick’s signature falsetto guides the record’s melodies, with Joe’s synths and disco drums serving as the backbone. While this mashup formula intrigues and functions at some points, it’s generic and cluttered at most. The best track off the album is the comeback single, “Sucker.” The driving chorus is catchy and it’s a prime example of Nick’s growth since the last iteration of the Jonas Brothers. His falsetto shines through and emphasizes the strong melody that cuts through the fairly simple instrumental track of punchy bass, thick drums and spacious synths.

The remaining songs felt safe and formulaic. The backing beat of the reggae-inspired “Only Human” works well with the complex rhythms of the melody, but the song falls short with the lyrical content. The songwriting is generic and cliché, a trend that continues throughout the record. The slow, smooth guitar track “Love Her” sounds like a wanna-be “Love Yourself” by Justin Bieber, except with a less impactful message. Joe repeatedly croons the line “But I keep on coming back to her” like they haven’t already used it in almost every other song on the album.

FALL 2019

SCORE: 4.5

The most conflicting song on the record is “Cool,” which walks a dangerous line between being endearingly tongue-and-cheek and overwhelmingly lame. While the simple boom-clap beat is bound to get hordes of fans on their feet, the internal substance of the song lacks any coherent message.

The first four lines of the song pull off the incredible feat of rhyming the word “cool” with “cool” three times. However, within this coal heap is a diamond. “Cool” features the most introspective and impactful lyrics on the album, which comes in the pre-chorus when Nick sings “When I grow up, I want to be just like me.” It’s a powerful acknowledgement of the group’s impressive career, signaling that the Jonas Brothers are happy where they are and with what they have become.

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FOR THE RECORD

M I R R O R L A N D B Y E A R T H G A N G WRITTEN BY BAILEY OWENS

Two years since the release of their EP Rags, EarthGang is back with Mirrorland. Comprised of 14 songs, running an average of four minutes and thirteen seconds per song, Mirrorland hosts five features with artists such as Young Thug, Kehlani, T Pain, Arin Ray, and Malik. EarthGang kicks off the album with “LaLa Challenge.” The vibey background elements — reminiscent of music by Glass Animals — in juxtaposition with graphic lyrics and gritty, raspy rapping from EarthGang member Johnny Venus (aka Olu) invites listeners to enter the musical dimension of their creation.

This theme is carried throughout the album, with theatrical elements accompanying the lyrics such as chorus echoes, call and answer sequences, and gunshot bangs, all incorporated with bass-heavy beats and techno undernotes. The tempo of the album varies across the songs and sometimes even within the same song. “This Side” is a prime example where the flow begins as a sentimental feel with a focus on the voices of Venus and Doctur Dot (aka WowGr8). After the third chorus, the tempo picks up the pace before slowing it back down for the final chorus.

N I N E B Y B L I N K - 1 8 2 WRITTEN BY BAILEY GRIFFIN

Blink-182 should be familiar to most who pay even the slightest attention to music, but especially to those who went through an “emo” phase at some point in their youth.

Blink-182’s prime time was in the late ‘90s to early -’00s, when the music scene was swirling in the pop-punk explosion set off by bands like Green Day and Sum 41. Considering the albums Blink has released after their eight-year hiatus following the largely successful release of their self-titled album in 2003, their heyday is over. Blink’s 2019 release NINE is respectable in that it satisfies the musical framework so typical of the pop-punk genre, but disappointing in that it doesn’t show any growth or change in the band’s style.

The best track happens to be the opener, “The First Time,” which starts the album off strong with heavy guitar and a catchy chorus. Unfortunately, the remaining tracks are relatively uninteresting. This doesn’t necessarily mean that they’re bad, but rather that they don’t introduce anything new and are far too similar to each other.

Songs like “I Really Wish I Hated You” and “On Some Emo Shit” indicate that Blink-182 and their audience seem to be stuck in time, desperately trying to relive the past. This seems to work for them, but there is still something about hearing the words “Hey Mom, I’m on my own” coming from a fully grown man that doesn’t feel quite right. Outside of this, another source of disappointment in NINE is the lack of risks taken. Blink could have made their sound slightly more pop or slightly more punk on this album, which may have, at the very least, set NINE apart or put the band back on the forefront of the rapidly expanding pop-punk scene.

All in all, NINE satisfies the elements which helped Blink-182 fit so perfectly into the pop-punk scene of the early-‘00s. In this sense, it’s a successful album, but for listeners less integrated into the pop-punk scene, or those who identified with it during their teens but not so much anymore, NINE might feel too homogeneous.

10 / EMMIE

SCORE: 5.5

SCORE: 7.5

EarthGang covers many topics within the album, highlighting pressures of social media and stardom. They focus on differentiating between who comes along for the ride when times are good, but can’t be found as soon as hard times hit. Commentary on racial tensions and violence that they, and many others, experience in today’s social climate are also present in the album. “Swivel” shows this concentration with lyrics such as “Keep your head on a swivel / Trouble lurkin’ ‘round the corner / Run up on you any minute, you’ll be gone,” with acknowledgements to friends who have lost their lives. On the same track, Dot reveals his stance on prescription drug abuse, opening up about how he wants to change his life for the better, starting by stopping recreationally using Xanax. EarthGang is about doing what you want and expressing how you feel, no matter how raw the emotion is. Mirrorland is no exception. It might not be everyone’s cup of tea due to its explicit nature and you probably will never hear it on the Top 40’s, but they’ve got guts and are willing to break from the status quo, challenging listeners to face problems within our society all while presenting it through a surreal lens with hypnotic beats and detailed nuances.

FALL 2019 ALBUM REVIEWS

LOOKOUT LOW B Y T W I N P E A K S WRITTEN BY HAYLEY SNELL

“Surprisingly mellow,” was the one note I jotted down as Twin Peaks’ latest album, Lookout Low, played throughout my apartment. Flashbacks to the rowdy mosh pits that ensued during their last performance in Madison in May 2019 mislead my expectations for the album. What I assumed would be a rowdy indie-rock album, felt lowkey and mature. The bands fourth full-length release is full of groovy guitar riffs and jagged vocals that provide a major nostalgic summer mood.

There was an element of experimenting introduced by piano, saxophone and an invigorating choir in “Under a Smile.” While I appreciated hearing something unique from Twin Peaks, the album occasionally felt inconsistent. Odd jumps in mood felt misplaced and confusing. The shoegaze style track “Under a Smile” was followed and intensely contrasted by “Oh Mama,” with its carefree, vintage rock sound. While the album felt disjointed as a whole, I wasn’t discouraged from jamming to tracks on their own.

The album seemed to find a groove with songs like “Dance Through It,” “Laid in Gold” and opening track “Casey’s Groove.” Raspy vocals were highlighted by effortless melodies and were reminiscent of rockers from the ‘60s and ‘70s, akin to the Grateful Dead. Vocals on the album were equally matched with times of instrumentals and breakdowns. Ballad, “Better Than Stoned,” was full of rattling piano, voice cracks and slightly off-pitch notes that made the song sound all the more vulnerable.

Much like the rest of Twin Peaks’ discography, Lookout Low certainly seemed like an album that is meant to be heard — and seen — live. While I listened to “Unfamiliar Sun” I couldn’t help but imagine a crowd swaying their cell phone flashlights above their heads. The title track is meant to be belted out by the army of dedicated Twin Peaks fans. Overall, Lookout Low is a great step into new territory, as the band continues to grow and evolve.

SCORE: 7.7

On introduction, “Prolix” defines the unique, panic-induced sound of Girl Band’s first album, The Talkies, appearing in September of 2019 after a four year silence. As heavy breathing is heard coming from front-man Dara Kiely, the album anticipates what listeners should expect to be a captivating and metal influenced collection of songs. Instead, “Prolix” is the only pinnacle track to an otherwise disappointing album.

THE TA L K I E S B Y G I R L B A N D WRITTEN BY KAYLA BELL

A four-man band with Irish origin, Girl Band’s first full length album, Holding Hands With Jamie (2015) is what The Talkies attempted, but fell short of being. Unlike, Holding Hands With Jamie — a thrilling, post-rock collection of songs influenced by a dense blend of the frontman’s sizzling voice and electric background of beats — The Talkies is a broken jumble of screeching scrap-metal noise and late-’60s Woodstock rock.

With songs like “Akineton” and “Aibophobia” — a mess of hard-metal vibration with barely any harmonies or melodies, let alone substance — following well-written and pure-rock inspired tracks like “Couch Combover” and “Salmon of Knowledge,’’ the band struggles to find a clear, consolidated sound for listeners to connect with.

Even more, “Going Norway” and “Shoulderblades” offer poetic insight into the band member’s struggles with anxiety, tying the albums panic-induced sound to Girl Band’s stigma-breaking commentary of mental health. I just hope that their next album offers a more cohesive blend between what is clearly an important message and the unique sound that is Girl Band.

FALL 2019

SCORE: 4.9

If there’s one important idea worth noting of Girl Band’s The Talkies, it’s Kiely’s message of mental health within the industry. Though the sound of the album lacks connection with the audience, the message shines through as the album’s saving grace. The heavy breathing opening The Talkies in “Prolix” isn’t just Kiely’s heavy breathing, but the heavy breathing of a panic attack. While brief, it is vital as the borderline hysterical hyperventilation of Kiely is enough to freeze any listener in their place, as the omnisity of the heavily diluted background pulsates and paints the picture of why “Prolix” is essential to the album’s overall meaning.

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NO DOTTED LINES TO SIGN LABEL

LESSONS

“Old Town Road” by Lil Nas X stayed at the top of the Billboard Hot 100 chart for 19 weeks — 19 weeks. The beat cost the college dropout from Atlanta $30 from a producer in the Netherlands and took only a day to record vocals and release through his Soundcloud profile.

And it broke the record of longest top-ranked song in Billboard history.

Millions of tracks are released exactly like this everyday by independent artists. Like Lil Nas X, they don’t have labels to push their songs to Spotify playlists or run strategic social media campaigns, relying instead on their own talent and agency to spread their art.

The success, abilities and goals of independent artists within the music industry has evolved dramatically in the age of the Internet. Before songs were streaming instantly from our phones, record labels had complete authority. With print being the only form of promotion and hard-copy being the sole way to distribute, labels were the ones with the resources to provide these services on a national or global level. It was common for musicians to be forced into exploitative and destructive contracts and while many attempted to hold off on signing, the reality that success was found only through record deals was soon made clear to all. Musicians didn’t have the realistic capital to afford studio time, CD printing or vinyl pressing, distribution and promotion. However, some already established musicians attempted to remedy this problem by starting their own companies that operated as either imprint or independant labels.

12 / EMMIE

LEARNING TO NAVIGATE THE INDUSTRY WITHOUT A LABEL.

BY JASPER NELSON

The difference being imprint labels operate under the framework of a larger label or music company, while independent labels are truly their own fully-autonomous firm. Perhaps the most famous of the independent labels was The Beatles, who used their previous success with EMI (Capitol Records) to breakaway and form their own label, Apple Records. While they crafted a deal for EMI to continue distributing the actual records, the musicians were free to determine their own artistic path and had all the rights to the recordings. There are numerous examples of imprint labels, as they are much more common within the industry. GOOD Music, Kanye West and Pusha T’s imprint, falls under the ownership of Universal Music Group. While the imprint label is responsible for signing artists and dictating the creative output, the larger parent company distributes the product and coordinates all the promotion.

While having a fully independent label, such as Apple Records, allows for more control and freedom, being under the umbrella of a large record conglomerate allows artists to simply focus on the music without focusing on the behind-the-scenes work such as copyrights, promotional campaigns, distribution, publishing, and more.

However, with the rise of the internet, there has been an unprecedented surge of successful artists that are not signed to any variety of label or distribution deal. Websites such as Bandcamp, Soundcloud and Datpiff allow anyone to post a track for free within their service. Chance the Rapper, a current unsigned artist, has gained fame through releasing free mixtapes on Datpiff. Distribution companies such as TuneCore, CD Baby and Distrokid serve to provide artists independent distribution for a reasonable price so that musicians can get their products on widely used platforms such as Spotify, iTunes and Apple Music. However, the advances in streaming and affordable distribution agencies is only part of the reason that independent musicians are more successful now than ever.

In 2019, success for unsigned artists depends on publicity as much as it does on the quality of the music. Social media platforms such as Instagram, Twitter and Snapchat play a huge role, as they offer a direct and straightforward way to connect to both fans and potential listeners. In the early 2000’s, fans of the rock group Arctic Monkeys set up a Myspace account that played a crucial role in establishing the band’s following and getting them a record deal with Domino Records. These platforms provide artists with ways to preview and publicize new releases, engage with listeners and create a following outside of their local area. Lil Nas X’s use of social media in pushing “Old Town Road” is a clinic in the art of internet publicity. Coinciding with the release of the single, Lil Nas X generated hundreds of social media memes on his accounts that could be copied and reposted by fans. Then, the track became a hit on the video sharing app TikTok, where thousands of people recorded themselves dancing to the song in cowboy apparel with the tag #yeehaw. This resulted in the wider #yeehawchallenge and continued viral meme-ing of the track, all of which boosted the song globally. Lil Nas X’s use of social media and meme culture was vital to his success and while most unsigned musicians aren’t producing meme-able hits, they have been utilizing similar strategies to “make it big.”

PROMOTING

COMMUNITY

To get an understanding of how current independent musicians are navigating the industry, I turned towards our own community of musicians in Madison. The community here, especially among UW-Madison musicians, is diverse in both musical styles and ways in which people try and publicize their music.

Godwill Oke is a rapper in Madison and Chicago, operating under the name Godly the Ruler. When I asked him about his stance towards music promotion and record labels he said, “For me, it’s still about word of mouth with fans. It’s about the strength of my music that speaks to people, and if they like it, they’ll show their friends. You want to create a network that can spread your art.” While he does use social media to publicize his music, he doesn’t want “to make some false image on social media just to push [his] music.” He said, “In rap there’s this aesthetic of face tattoos, colorful dreads and all that Lil Pump shit. That’s not me, and I don’t want people to view me as fake for how I present myself just for my music.” This relatively hands-off approach is partially due to Godly’s vision for his rap future, as he tells me that “record deals aren’t even in [his] field of vision.” He continues, “I can record a song in my bedroom, mix it that night and release it on all services the next day. Why do I need to subject myself to the complexity of labels?” Godly’s approach to his music is one shared by the majority of independent artists, especially those at UW-Madison, who simply enjoy recording and releasing music — when they’re not studying.

Another Madison rapper, Alexander Kain, is tackling the world of independent music in a drastically different way. Kain has started his own production company, CTB (Chase The Bag) Productions, of which produces all sources of entertainment: music, art, photography, and eventually dance, film and modeling. They want to be a part of the “music revolution that’s going on right now: catering to independent artists.” He says that the company’s main method of achieving this is by promoting through social media, as well as networking to find talented artists. When I asked Kain why he felt the need to start such an endeavour rather than simply promote his own music individually, he told me that CTB first started as a way for him to promote his own music, but then expanded to include all forms of art. For Kain, the legitimacy of CTB Productions has allowed him to expand his own opportunities, as he’s teaming up with Smart Rapper (the Youtube channel) to record his first album, as well as starting a project with First Generation, a new label/ promotional company founded by Anthony Kilhoffer. Kain’s approach to publicizing his music through this production company follows the lead of rap collectives such as Brockhampton and Odd Future, who use their strength as a group to produce music, social media content, videos and more.

The path of independent artists at UW-Madison reflects the changing environment of the music industry. As the traditional necessity and purpose of labels is being phased out in favor of stronger artistic agency, independent musicians are finding unique and creative paths to achieve their goals. They see the value in creating and pushing their own content without the hassle of record label bureaucracy, and it’s resulting the unprecedented success of independent music. It’s an exciting time to be an independent musician, so keep an eye out for those UW-Madison artists.

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“ YO U ’ R E T H E O N E ” BY E L A I N E ( S O U T H A F R I C A ) “ B BY N E V E R M I N D ” BY L I N N KO C H - E M M E R Y ( S W E D E N ) “ P H O N E S C A M ” BY D R Y C L E A N I N G ( U K ) “ TO O R E A L” BY F O N TA I N E S D. C . ( I R E L A N D ) “A L E G R I A D I V I S I O N ” BY H I C K E YS ( S PA I N ) “ S E T M E F R E E ” BY PA L E H O N E Y ( S W E D E N ) “ YO U WO U L D N ’ T L I K E M E ” BY T H E B E T H S ( N E W Z E A L A N D ) “J E V E U X T E V O I R ” BY Y E L L E ( F R A N C E ) “ S U N N Y ” BY B I I G P I I G ( U K / S PA I N ) “ D O W H AT YA WA N N A D O ” BY T- C O N N E C T I O N ( B A H A M A S ) “ F E E L S P E C I A L” BY T W I C E ( S O U T H KO R E A ) “ S O M I S O ” BY WA N D E C OA L ( N I G E R I A ) “ N U N C A E S S U F I C I E N T E ” BY LO S A N G E L E S A Z U L E S & N ATA L I A L A F O U R C A D E ( M E X I C O )

“あなたには”

BY B A S I ( JA PA N )

“ V E N O M ” BY L I T T L E S I M Z ( U K )

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WORLDS APART A PLAYLIST

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@GENDERCONFETTI

photographed by hayley snell

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written by zoe bockhorst

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THE FIRST THING THE MEMBERS OF GENDER CONFETTI DO when we meet is show me their matching glittery nail polish. With wide eyes they extend their hands in my direction, fluttering their fingertips to let their freshly painted nails shimmer in the sun. They had applied it minutes before entering the studio on the blustery October afternoon, huddled together on a bench on downtown Madison’s State Street.

“Gay in public,” remarks Elyse Clouthier, leaning back in their seat in the corner of the room as they examine their fingernails. Sylvia Johnson, the other member of the exuberant Madison-based punk duo Gender Confetti, sits on the floor, twirling their straw around the bubbles in their tea, light still bouncing off the glitter on their nails.

After two years as a band, the group has a fledgling discography of just two albums. But what their catalogue lacks in length is made up in impact each song packs. The group, which released their latest album We’re Gay in July of 2019, is unlike any I’ve ever heard before. They are a punk band with an agenda: to encourage queer liberation, shatter binaries and fight against capitalism through unbridled, unapologetic joy.

Gender Confetti lays it all out for us clearly: “I’m a gender deviant / And I won’t apologize” opens their most popular song, “Deviant.” This honesty is more than refreshing, it’s invigorating. Gender Confetti manages to deliver vulnerability, humor and poignant self-reflection across a politically-charged album, of which holds themes that range from serious to playful — “Plastic Bag” rings loud with Clouthier and Johnson commenting on the suffocating nature of gender dysphoria, in-between cheeky shouts about a friend who keeps a dildo in a plastic grocery bag.

The story about how they met is simple, but beautiful — it all began in a coffee shop. As Clauthier detailed the specifics of their first encounter, Johnson smiles along, admiring their nails.

The story goes that Clauthier was seated at a communal table near Johnson, eavesdropping on them speaking to a friend about being queer and trans. “And I’m like, trying to read my book, but I’m also like, ‘oh, this is so interesting,” Clauthier remembered. Ultimately, their excitement got the best of them and they had to interject, saying, “I can’t help but hear what you’re talking about and I think about that stuff all the time too.”

After exchanging numbers at a queer-centered pop-up bar a week later, the two decided to meet up and play a session together. And thus, Gender Confetti was born.

From the beginning, Gender Confetti was explicitly political.

Johnson remarks on their mission, stating, “We wanted to write the songs we weren’t hearing — songs about queerness.”

They pause, glancing at Clauthier before continuing, “We want to be the band that we [needed] in high school — if we had had us, we probably would have come out [then].”

And that is what Gender Confetti is. It’s not solely the fact that they acknowledge the systemic injustices of our capitalist, patriarchal and racist society. It’s their visibility and their unapologetic queerness that provides a space for people to feel accepted and to reckon with their own sexuality. “I’ve looked out in a crowd before and seen a person crying,” Clauthier remarked. Johnson added that people have even come out at their shows before, later thanking them for providing the opportunity. “A big part of being out for me is that we offer other people, hopefully, some help,” Johnson said. Being visible — “gay in public” — is part of what makes this remarkable group

powerful, making strides to normalize the queer narrative in spaces that all too often shut them down and refuse to acknowledge the love that exists there.

Notably, Gender Confetti’s songs are aggressive — after all, they are a punk band. Still, every track is undeniably joyful, striving to escape from the misogyny and substance-fueled rage that Johnson finds characteristic of modern punk. “Feeling righteous anger is important and it’s okay,” noted Johnson, carefully emphasizing each word as they speak. “But we wanted to write punk songs that were not only against the oppressive and exploitative systems that we wanted to fight … but also imagine building something that we want to live in, in replacement.”

A BIG PART OF BEING OUT FOR ME IS THAT WE OFFER OTHER PEOPLE, HOPEFULLY, SOME HELP. And it is clear that they are not only looking, but acting for the future. “We don’t just want to talk the talk,” Johnson states.

“Playing music is a lot, for sure … but it’s not all we can be doing,” they add, continuing to reflect on June of 2019, when a conservative Christian group came to protest the pride flag being flown at the Capitol building. In response, Gender Confetti hosted a Kiss-In, or as they define it on their Instagram, a “giant display of gooey gay passion and joy.” And aside from hosting reactionary peaceful protests, Johnson is presently in the process of starting a queer- and trans-centered record label, operating under the name of Maneuvers. The label, whose first production was Gender Confetti’s own We’re Gay, is geared specifically towards providing a network for queer and trans groups, comprised of queer and trans folx.

Never ceasing work for their community, the music of Gender Confetti is more than just a celebration: it’s a call to action.

Clauthier echoes the sentiment of positive change, reflecting on how “expressing anger is an important part of music and [specifically] rock...but [so is] giving hope and joy.”

It is this tenacity that ensures that Gender Confetti’s songs aren’t desolately cynical. True, they deal with somber themes such as gender dysphoria, sexual assault, and systemic oppression and racism in candid terms, but after every song ends (often on a roaring power chord and explosive drum hit) you aren’t left dejected, but hopeful. Johnson looks at the ceiling as they deliver their final comment on the matter: “There has to be a positive [end] to all of it … and that is a big quality of being resilient, which is, I think, a quality of being queer.”

Gender Confetti is here, they’re queer and they won’t apologize. Their music is angry, because it needs to be, and loving, because — for them and for everyone — love and hope, when expressed together, are stronger than any dose of hate.

“Queerness is strength,” Johnson says after a pause in our conversation. “Queer joy is queer joy.”

“And it’s beautiful,” Johnson finishes.

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VIOLET

@BRIGHTVIOLETMUSIC

photographed by ly nomad written by izzi bavis FALL 2019

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IN 2015, THROUGH A SERENDIPITOUS HAPPENSTANCE, Sam Molinaro and Ryan Cray signed up for the same music production club on campus — five years later, the pair is still producing music. In their plant-filled studio, Molinaro rolls around on a desk chair and Cray fiddles with his synths, as the duo opens up about their career, motivations and personal journeys.

With a name resurrected from Molinaro’s high school DJ days, Molinaro and Cray have produced dozens of tracks and EPs, released and unreleased, finished and unfinished, under the moniker Brightviolet. “It’s meaning more and more as we get more into it,” Molinaro comments, reflecting on the changes the two have endured since their first meeting. Originally, Molinaro didn’t feel confident producing music under Brightviolet — he wasn’t sure if it suited him, as it did back then. But since exploring new creative ground with Cray, both Molinaro and Cray have grown to love the name and envision it becoming something bigger than themselves.

“I think I’m most proud of how we’ve just continued to make it a priority,” Cray said, nodding along in a moment of reflection. The duo has consistently dedicated time to Brightviolet over the years, working side-by-side on countless projects to carve out space for themselves, and their music, to thrive in. This commitment and passion they share has allowed their sound to flourish alongside their personal narratives and now, as best friends, producing music has become central to their partnership.

Although they look to each other for support regularly, much of their space has expanded outside of themselves, drawing inspiration from acts local to the Madison, Wisc. area, such as the beloved Slow Pulp, a four piece rock outfit, and Bear in the Forest, the soft-spoken indie solo act of Alberto Kanost, a close friend to the duo. Their trek through the Madison scene has uplifted them, providing them with the tools to confidently diverge from traditional electronic music. The support of their community has lead them to create something multifaceted — something different.

With a touch of Lo-fi influence, Brightviolet ties acoustic, ambient and soft beats together with natural sounds — that they acquire individually by hand — to form their signature daydream-inducing melodies. These hand-picked moments give new meaning to the gentle notion of a handmade gift, DIY and from the heart in nature. “We just gather sounds from life and use them in our songs,” Molinaro states simply. Equipped with a condenser microphone, Molinaro collects sounds from his daily life and later mixes them with Cray, collaboratively flushing out concepts for the final cut tracks. Throughout their discography, sounds of friends hanging out in their apartment to memorable moments on a cross-country road trip can be heard, in some shape or form, hovering astride the melody.

Their 2017 single “Energy” highlights a careful consideration of sampling, telling a story in-between voices of the present fused with voices of the past. “Bicycle + Yesterday” off of their 2019 EP, Orchid, allows listeners to join in on the day to day life of the duo on a personal level, hearing a shower running, someone punching numbers on a micro-

wave, sirens in the distance, and the not-so-gentle handling of a microphone, along a cool guitar and drums. A light transition from muffled and mysterious to light and delicate, a progression seen in the majority of their tracks, reflects the immediacy of inspiration and transparency of creation for Brightviolet. Their processes intertwines life and music, showcasing a genuine motivation and charming individuality behind each piece.

Putting their differences to good use, Brightviolet carries an air of nostalgia yet appreciation of the present in every project they undertake, making careful curations that imbue each moment with a palpable love for their art and where they are in life. This journey has helped to remind Cray to focus on being true to himself. It is not an easy task to fully become comfortable with who you are and yet Cray, having found comfort in his art, has decided that he’s ready to face the task head-on, in service of figuring out who he wants to be creatively and in his personal life, too.

“The ‘Out’ theme is super fucking big in my life right now,” Cray exclaims, eyes growing wide, “I’ve been growing into being out with all that who I am.”

I’VE BEEN GROWING INTO BEING OUT WITH ALL THAT WHO I AM. A step closer in the direction of himself, Cray shares that he recently came out to his family. Having found the courage to use his experiences to write, a wave of newfound self-discovery and empowerment inspired single “All of Me,” released in August 2019. “I was like, ‘Dude,” Cray starts, glancing towards Molinaro, “we should try to make this song about a love situation between two men’ … I was in a place to want to create something outwardly not straight.”

Slowly settling into who they are, continued growth, transformation and self-discovery are agreed upon terms for the future of Molinaro and Cray and their career. Molinaro commented on breaking barriers and stepping out of the confines that limit their creative process. Developing their live performances at local venues and festivals has encouraged the duo to dedicate more time to their community and learn from those around them. It’s a work in progress, but both Molinaro and Cray are committed to expanding their artistry as thoroughly as they can.

“Music is a way to do something completely from my own hands,” Cray states. The creative process is challenging, but rewarding, allowing them to express themselves through an outlet that they find engaging. Focusing on the next steps for Brightviolet, the two hope to continue their creative process in the future. Five years from now, they hope to have a well-developed music career, dedicate more of themselves to their music and to continue breaking the molds that surround them.

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L I Z A ANNE IN CONVERSATION WITH

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I HOLD MY PHONE CLO SE TO ME, gripped tight, as Liza Ann e’s soft voice dances out of the other end, discussing the power and responsib ility that come with taking risks and how she reaps the benefits in the most humble way possible — by being herself.

emotions in detail through out her 2018 release, Fine But Dying. “We ’re all feeling and going through the sam e sort of thing and if we can just bring the m a little more to the light, they feel like they have a little less power over our live s,” she shares.

There are many contras ting sentiments present in the record, from the dark motifs in “Paranoia” to the ligh t, transitional vocals in “Get By.” Each track acts as a gentle exposure to her hea rt, letting her demeanor pour out fully in each track to produce unbridled subjec t matter and lyrics that resonate. “Every one just deserves space to feel fully und erstood and who they are as a person.

And I think with music, I couldn’t do anythin g but be fully myself and the work I’m making,” she adds.

The singer-songwriter lea rned the ropes from her aunt, aiding in her music discovery by gifting her mixtapes featuring Joni Mitchell, The Cranberrie s and Brandy Carlisle. Throughout her youth, her aunt and the rest of her family were encouraging to her creative wa ys, despite the constricting religion her community was so devoted to. As time pas sed and Anne grew, she reached the conclusion that she never wanted to be put in a place where she doesn’t have the freedom to be herself — where she is made to feel The repetitive bridge in small. Beginning her sto “Panic Attack” ry with uncer(“Th ink slowly, try to remember tainty and wild determina I’m alive / tion, Anne took My body is here and I am a chance on herself wh inside”) steers en she started us into questioning how making music in 2010 and stay grounded has not looked des pite the challenges surrou back since. Her music refl nding that ects her upprocess when on the roa bringing and desire for cha d.

Eve ry artist nge – her disexperiences personal inte cography highlights her exp rnal warfare erimentation and constantly opening one with different genres and self up to the demonstrates world can be the most em her ever-expanding palate otio nally taxing as a musician, experience, as simultaneo never being one to shy aw usly rewarding ay from the unas it may be. The more known. we understand ourselves, the better we can take those first steps towards accept For Anne, one of the most ance of ourpowerful moselves and others. Anne ments she experiences as honestly states, a musician is “I hope to be more accept when others begin sharing ing of my fluidfeelings she ity as a person and as a cre once thought were exclus ator and as a ively hers to woman. I just want to hav be felt. Sitting with her e a safe place own thoughts for myself and for anyone constantly inspired her who interacts to begin songwith me.” writing, unapologetically narrating these

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These realizations have been miraculous, glass-shattering moments, one after another, in her career as she continues to carry this energy with her when on the road, performing in front of hundreds night after night. Getting the opportunity to tread outside her comfort zone and grow in front of people has been a humbling experience, granting Anne the opportunity to put in the time and care to get to know herself, from feeling every extreme to befriending her own serendipity. “Growing in front of people is a really bizarre thing,” she considers, “because it’s like you’re having this second childhood in front of people you don’t get to sit down and have long conversations with, which is really amazing.”

Anne never wants to be one to divide a room, and if people don’t like what she is doing, they can show themselves the door.

While Anne appreciates the power of knowing yourself better than anyone, she admits that staying grounded can be tough for her. When your brain is being pulled in multiple directions and you don’t know what you’re supposed to be feeling at a particular moment, cognizance can be attained through the desire for new experiences – as least this is the case for Anne. When not pulling influence from within herself, the best lessons she has learned have been taught by others. Her touring partner through the fall of 2019, Lucy Dacus, said something that floored Anne immediately upon hearing her speak the words: “You can be grounded in a thing that’s moving.” Anne links her personhood to staying grounded through movement. Remaining soft and collected at times when that may seem like the most unreachable goal has given her peace of

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mind, and as a result, she has trained herself how to adapt to various circumstances and changes.

Different experiences shape the world around us. To make art that showcases inclusivity in its purest form requires people share their own individual stories, while never forgetting to stay true to themselves in the process. She admits there is ample room for her to improve, but Anne strives to hear voices other than her own to allow everyone to fully inhabit their rightfully owned space. “If I am not using that overflow of privilege to give light and room to realities outside of my own,” she confesses, “I don’t know what I’m doing.” In a period of revolution and cultural upheaval, we have the power to connect with others and learn from each other’s experiences in a progressive way. “I want my corner of the world, of the internet, of art, to breed safety and comfort and empowerment,” Anne explains.

Music is meant to be felt. Sound is to feeling, as night is to moon. It has always been tied to experience, in order for the rawest, most honest form of artistry to come full circle. What Liza Anne creates is a gift beyond just emotional comfort — her electric presence can captivate anyone, as she willingly shares more and more parts of herself in order to better connect to the world around her. Just as she took this opportunity with wide eyes and open arms, Anne speaks optimistically about the future and hopes to embody kindness in every interaction, creating a safe space for others to allow themselves to feel, too.

Even on days when Anne’s mind pulls her in every which way, her arrow is always pointed forward, unwavering.

@LIZAANNEMUSIC

written by ashley evers photographed by geordon wollner + ashley

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TASHA PHOTOGRAPHED

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TASHA PRETTY SOFT SUBTITLE FOR TASHA, INTRODUCING HER AND THE READER INTO THE PIECE, WHICH STARTS ON T H E N E X T PAG E .

assisted by francisco velazquez

photographed by ana ramos contreras

written by geordon wollner

@ W O W TA S H AW O W

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“I’VE DECIDED IT’S TIME TO BE OUT AGAIN.”

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THE AFTERNOON SUN STREAMS THROUGH THE WINDOWS OF THE CHICAGO WAREHOUSE, dancing through the many window panes, illuminating small patches of plaster and cement and casting a pale yellow haze throughout the studio. We drag crooked stools and chairs with ripped cushions, and whatever else we can find to sit on, along with us as we gather in the center of the room. Rolls of colorful paper, light boxes, remnants of the day before and one (healthy-looking) faux plant rest along the edge of the room, basking in the light. Surrounded by white walls and concrete floors, she sits before us, hands folded on her lap, somehow making the cool industrial studio warm.

is,” Tasha shares, finding the root of passion in her writing and well-established poetic nature that blooms in every project she undertakes. Fundamentally, “the prettiest way to say what something is” exists within her daily life and happenings around her. Voice memos of ideas and lost thoughts fill her head as she travels through the city by train, lending her plenty of time to reimagine and organize these wonderings. This process of creating art from moving, from motion, reflects the spaces we inhabit, by jumping from thought to thought, emotion to emotion. Nodding with certainty, Tasha states, “especially emotional times are inspiring.”

With eager, yet careful, consideration, Tasha leans forward slightly and occasionally allows a kind gapped-tooth smile to slip past her lips as she speaks. The Chicago-based poet, activist and artist comes from a place of truth, an indisputable virtue that manifests itself through every element of her life, almost hovering around her — an aura of sincerity. “I don’t write anything that is not true to me,” she starts, “I appreciate that about [my work], ‘cause it’s easy to just talk yourself in circles when trying to explain how you feel about something. Even if I’m not writing a song that has the ultimate answer to a question, I at least know the question is honest.” Honest writing comes from honest places; it’s more than just telling a story, but rather sharing a piece of oneself to, hopefully, find common ground amongst chaos and uncertainty — as is our contemporary world. In the end, if we have lived our truth, we are stronger for being able to recognize what is really there, allowing the rawest embodiment of ourselves to pool out into the open.

“I just really like moods,” she continues, “I think poems do that really well … When I get to combine language with a beautiful melody and with something on guitar — that’s so magical to me.” Stated plainly, these moments happen out of joy and comfort. Her debut album Alone at Last (released in 2018 on Father/Daughter Records) illustrates for us these precious moments of love and of longing completely enveloped in the joy associated with them paired with a youthful curiosity. Magic appears when we are able to recognize “alone at last” means to be seen again, to feel again, to comfortably step into a place of self-assurance and confidence. When we understand that “alone at last” is comfort, is home and is safe. When “Alone at last” is equivalent to the release felt after falling onto your bed at the end of a long day or after someone you love tells you you’re “doing alright.”

Tasha’s journey is more than words to paper, more than words to sound. Connecting to the innermost places of being, her music exudes emotions in a way so delicate you’d think it safer to walk slower, to write more carefully and to touch a little more tenderly as it plays. Her calm, smooth voice affirms: this is where you’re meant to be. Opening up our minds to the world in ways we couldn’t before, Tasha’s work uplifts and guides us, in a way, to acknowledge our feelings and the role they play from within, empowering us to communicate those innermost places outward, sharing the intimate spaces we so often hide from those around us. As she learns to share more of herself and acknowledge the existence of multiple feelings co-inhabiting a single moment, Tasha finds solace and power in her work.

“There are times when it feels easier to sing something than it does to just confront it on my own, in front of somebody else,” she confesses.

With Tasha, power doesn’t come loudly, but softly — a soft power. An idea akin to the notion of “deadly silence,” but instead gives life and is far more potent in its delivery. Her way of craft has lead her to tread near a quiet, indie-rock sound, expressed through confident chords and reflective lyrics of salvation and of love notes reminding us to take care and to be kind.

Tasha moves through feelings in “specific, unexpected ways.” Her feelings-first, composition-after course of action unwraps emotions as they materialize in front of her, breaking them apart stanza by stanza, giving each emotion the proper attention and tending it needs. “I love trying to come up with the prettiest way to say what something

It may reside within the human condition to run from the unknown, to avoid conflict and all that is unpleasant, and in the cultural shock many are presently experiencing, this all takes a toll on the mind and the body, forcing us to question how to take care of ourselves.

“The default is not taking care of myself,” Tasha confesses with a sigh, “[and] for a lot of people, in a world that demands of us work, taking care of other people and making money and always finding scarcity in every part of our [lives], I found that I had to retrain myself on how to find abundance in the things I already had and find abundance in myself and not spend every day trying to make myself more whatever the world was demanding of me. And as a black person, black woman and queer person, the world demands so much and takes so much every day. I found it was a necessary reminder for myself to take care of myself.”

“I’ve decided it’s time to be out again,” Tasha declares while clapping her hands together, her smile appearing wider than before, “and it’s fun. I don’t see myself as an ‘out person,’ but lately that’s been really energizing for me.”

Entering into a period free of seclusion, of self-isolation held together by emotional tethers that sting and burn like rope against skin, Tasha is stepping towards the light and embracing long train rides and campgrounds and long nights dancing with friends. If anything can be learned here, it is that things take time. This is a reminder that finding your way back to yourself, to understand yourself in your space, to find what makes you feel free and fine, takes time. Take care of yourself and embrace every little bit of you that you have.

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T H E V O I C E S OF A GENERATION A LOOK AT TEN INFLUENTIAL VOICES IN THE WORLD OF HIP-HOP art by geordan wollner On top of the world and always reaching higher, Virginia-native Missy Elliot has reclaimed the spotlight as one of the most respected hip-hop artists in the business.

The Berklee College of Music graduate has impacted almost every area of the music industry throughout her career. After winning five Grammy Awards, she was the first female rapper to be inducted into The Songwriters Hall of Fame. Elliot’s spunky energy has not subsided since her first full-length release, Supa Dupa Fly, in 1997.

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From performing with a female R&B group to recruiting her neighborhood friend Timbaland to aid in her early production, Missy Elliot has moved her way up to rap-royalty. More recently, after a well-received Super Bowl XLIX halftime special appearance, Elliot reclaimed her roots in the ICONOLOGY EP. Since the late ‘90s, Elliott has also been involved in a variety of campaigns that donate funds to medical research in eliminating HIV/AIDS, alongside foundations that educate youth of ways to overcome abuse. Missy Elliot continues to destroy the charts with her energetic, yet encouraging sound and will use previous projects to shape her future.

WRITTEN BY ASHLEY EVERS

Tierra Whack is an American rapper based in Philadelphia exhibiting all the qualities of an authentic hip-hop artist. With the release of her creative “conceptual art project” Whack World, an album that consists of 15 minute-long songs, she has made her presence known in the hip-hop industry among a playing field dominated by men. Whack is unapologetic in the way she openly spits about mental health, politics and her past experiences that not only hardened her as a person, but shaped her as an artist.

From writing poetry at a young age to finding fascination in the alternate realities created by the author Dr. Suess, she has constructed a style similar to his, but within the language of contemporary hip-hop: different hooks, melodic backtracks and hidden meanings. Driven by boredom, Tierra Whack creatively composes her own world that is constantly aging backwards. Her imaginative audiovisual project of Whack World perfectly captures her ability as an artist to freely think outside of the box and create projects that challenge the traditional standards of rap culture.

WRITTEN BY KAYLA CHUNG

TIERRA WHACK Fatima Nyeema Warner, known to us as Noname, is a rapper, poet and producer from the Bronzeville neighborhood of Chicago. Her career began with slam poetry, which is evident in her well-crafted, lyrical songs that call attention to cultural issues such as racism and sexism. Her name gained recognition when she was featured in Chance the Rapper’s mixtape Acid Rap on the track “Lost.”

NONAME

In 2016, Noname released her debut mixtape Telefone, a collection of jazzy, upbeat tunes. Her debut album, Room 25, released in 2018, came to us as another melodic compilation of music that features a number of noteworthy Chicago artists like Smino, Saba, Phoelix, and Ravyn Lenae. Noname’s music is quite unique in the rap industry, as her words tell a story and her beats are rhythmic and lush. Her smooth voice spews her packed lyrics eloquently, as she continues to write music that matters.

WRITTEN BY TALIA EISEMAN

New York-based rapper Shayna McHayle, better known as Junglepussy, released her first track “Cream Team” on YouTube in 2013 and soon after was performing alongside icon Lil’ Kim. If it isn’t made evident by her stage name, Junglepussy doesn’t hold back when it comes to expressing her sensual side. Much of the appeal of her music comes from her unapologetic and transparent expression of female sexuality. Not only do Junglepussy’s songs give a voice to the female sex drive, but they are composed of lyrics dripping with wit and messages of self-empowerment.

As demonstrated in her most recent album, JP3, Junglepussy has the ability to portray these messages with both fierce, confrontational raps and smooth soulful vocals. Besides messages of self-love and confidence, Junglepussy also has a knack for placing incredibly witty and often personal one-liners in her songs (“We don’t fuck, he just pick me up from Trader Joes / Carry all my groceries and lick on all my toes”). Junglepussy is everything the rap community needs and more.

WRITTEN BY BAILEY GRIFFIN

JUNGLE PUSSY

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QUEEN L A T I FA H

In the late ‘80s, a 19-year-old Dana Elaine Owens rose as our Queen Latifah. Despite her name meaning “delicate” and “sensitive” in Arabic, Latifah was — and remains — a force to be reckoned with. Bringing stories of Black women to the front, Queen Latifah taught a generation how to hold their ground, to be respected and how to be independent in the face of adversity, quite literally knocking misogyny into the ground while calling it a “bitch.”

Familiarity with Latifah’s discography is an unspoken, but never forgotten, rite of hip-hop passage. Her debut album All Hail to the Queen released in 1989 secured her place as hip-hop royalty, breathing new life into rap at the start of the Nineties.

There is no denying, Queen Latifah is synonymous with power.

WRITTEN BY GEORDON WOLLNER

You find yourself adrift; frequently drawn between a reality and a fantasy that challenges the idea of definitive. To think of the music industry as a place that pushes the boundaries of what social and political power structures can look like, Nicki Minaj dominates a fantasy consumed in a very real reality.

Coined the Queen of Rap — for good reason — Minaj has climbed the hip-hop charts steadily throughout the last decade. It is no surprise that Nicki Minaj has indeed reintroduced the female rapper to pop culture, but beyond her colorful costumes and larger-than-life wigs, a woman with a purpose to succeed in a male-dominated industry continues to outweigh the social distractions that come with being at the top — and everyone expecting the ruler to fall.

It is telling, and even fearful, to question Minaj and her influence. Her ability to open a door and build a niche that welcomes women into the genre and to outwardly criticize what the industry gets wrong. Disagree if you’d like, but there’s truly no denying Nicki Minaj is the blueprint of contemporary rap — and the greatest.

NIC KI MINAJ

WRITTEN BY FRANCISCO VELAZQUEZ

M S .

L AU RY N H I L L

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Ms. Lauryn Hill first introduced her talents to the world in 1994 with the group the Fugees. Alongside Wyclef Jean and Prakazrel “Pras” Michel, Hill brought beautiful hooks and fluid raps into each track (until the trio parted ways in 1996). Hill’s voice is memorable, from rapping on tracks like “Fu-Gee-La” to belting on “Ready or Not,” Ms. Lauryn Hill has quite the range.

Shortly after she ended her professional relationship with the Fugees, Hill released her first and only studio album titled The Miseducation of Lauryn Hill. The smooth, cohesive album is broken up with skits of American poet Ras Baraka speaking to a classroom about love. The album is raw — Hill combines the stress of fame, success and pregnancy to create each track.

The album shaped her legacy, with major artists across genres sampling her hooks and citing Hill as being a main influence to their own work.

Listening to Lauryn Hill’s honesty about her life and rise to fame is refreshing. She is unique. She is a talented soul and stands out in history. Her music is influential and her character is complicated — Ms. Lauryn Hill is real.

WRITTEN BY IZZI BAVIS

22-year-old rapper Rico Nasty is always unapologetically herself. Rico’s songs embody everything that she is — an empowering, independent badass. She preaches lyrics about staying original, ignoring the hate and paying her own bills over punchy, angry beats that are bound to instill any listener with the utmost power and confidence.

Rico Nasty has made a bold name for herself in the rap game since releasing her first project as a junior in high school, just five short years ago. Along the way, Rico has collaborated with the likes of Amine, Doja Cat, Duckwrth and Injury Reserve and, currently, is racking up a whopping 23 million Spotify plays on hit single “Smack a Bitch.” Tune into Rico Nasty when you want to feel on top of the world — she’s already up there and she’ll bring you up, too.

WRITTEN BY MORGAN DOOLEY

R I C O NAST Y Young M.A is not a female rapper. She’s just a rapper. In a 2019 interview with Hollywood Unlocked UNCENSORED, she told reporters, “I don’t do labels.”

YOUNG M . A .

Megan Thee Stallion is a new, powerful rapper who has found a way to infiltrate and make noise in the hip hop community.

She has quickly gained a huge following since the release of her first mixtape Rich Ratchet in 2016. In three short years, Megan Thee Stallion has managed to land a spot on Billboard’s Hot 100 at Number 99 with the song “Big Ole Freak” in 2019, collaborate with Niki Minaj on her widely acclaimed track “Hot Girl Summer,” and release a full-length mixtape, Fever.

Megan Thee Stallion’s music is all about provoking your inner boss-bitch. Her confident and powerful tone makes the listener feel empowered and confident in themselves. Her music deals with themes of sex positivity and being unapologetically yourself.

Her newest mixtape Fever includes tracks like “Cash Shit” that showcase Megan Thee Stallion’s rapid and machine gun verses. Stallion influences her listeners with her knock-you-inthe-face-type beats and continues to set herself apart with the composition of and messages within her music. To get back up when you’re feeling down, take a page out of Megan Thee Stallion’s book and remember: “Nine times out of 10, I’m the realest bitch you know.”

WRITTEN BY RILEY YOUNGER

She doesn’t like the idea of being recognized as a “female rapper” — she’d prefer to just be seen as an artist. “When you see a male rapper you don’t call him a ‘male rapper,” she said in the interview. Whether she welcomes the label or not, Young M.A. started making waves as a rare openly gay female in the rap industry when her debut single “Ooouuu” broke the Top 20 of the Billboard Hot 100 in 2016. Rapping about the same violence and love (or objectification) of women as her male counterparts, the rapper came on the scene unapologetically and gained commercial success.

Through her triumphs in the music industry, she stays grounded with KWEENZ Foundation, an organization launched in 2018, dedicated toward helping the East New York neighborhood she grew up in cope with the loss of loved ones as a result of street violence.

With the recent release of her long-awaited debut album Herstory in the Making, Young M.A. is generating a buzz that won’t die down -- she is not simply a flash in the pan.

WRITTEN BY JULIA ZEIMENTZ

MEGAN T H E E STALLION

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@ D E E K WA H D R A E

r T h o e W ay

l d A un d r o

Dequadr

written by francisco velazquez photographed by ana ramos contreras 38 / EMMIE

photography by written by art by bashir aden

g.” t be def fla i n e no d a b y qu an e e r n es s c

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RULES FALL IN AND OUT OF PLACE; becoming something of a routine, for Dequadray, finding restrictions in his mediums has only propelled him into trying everything, at least once.

Some may say this is what comes when you question “the weight of the world on your shoulders,” as Dequadray states in his latest single, “Mindin’ My Own Business.” In some irony, music becomes a business of technicality. “To break the rules, you have to learn what makes them just that — a rule,” Dequadray states.

It has never been the plan, at least for most of us, to be afforded the luxury to deny the stories that change us and break us. But Dequadray thrives on rejecting the classifications that force us into the inevitable truth of being our own worst critics.

We land on examining the nature of our relationships, of not being seen in the images reflected back to us. While simultaneously combining his dreams and myths into a reality that he can produce, Dequadray has created his own language.

“I think that as you grow up and consider the dreams you’ve planned out for yourself, they begin to dissipate,” Dequadray considers.

“Though I’ve always loved music as a child, puberty, and even family doubt in my ability, discouraged me at times,” he recalls.

You can find change in the smallest of places; figuratively, and quite literally, Dequadray found music after coming to college.

“Understanding that academia and being around a lot of white people, disconnected me from where I came from. It reminded me of when I first wanted to rap, how the external factors of my queerness surrounded that doubt, that I could ever be in music, not even just rap.”

Writing became a necessity, but it arose from a deep place.

“First and foremost, I identify as Black. I would say that I’m queer. And being from Atlanta, coming to Madison became, in a way, a big culture shock.” For Dequadray, much like other out-of-state students in the same situation, enduring the weather and social conditions of a cold environment, finding the support, building community and the institutional division that often may come with it is a territory that cannot be avoided.

We begin our journey with one of the most important pieces to creativity: the ideal room we envision. In Dequadray’s case, it is out of sight. “My queerness cannot be defined by a flag, it can only be defined by my disruptiveness, by me being in space and saying there is always something else,” he shares.

But this, in a way, is what defines an artist. To make space in the room, no matter how big or small, and file beyond the system that often attempts to clear them out. It becomes consumed into their lives, unless it is consciously afforded the ability to break the routine. “I am in tune with my queerness because it is anarchy. It is rolling eyes and necks, an anomaly to always be that person that is different. Not by choice, but simply by being,” Dequadray states.

To overcome the urgency of a disorderly place, everything must be learned and sustained in fragments. “My art for a long time became a place of not knowing. Of not being able to access a language I had never been allowed to,” Dequadray shares. It is what some may consider their attempt at understanding how to live in-between the page and the pen or how it can be harder to accept the things you hold close. But again, it battles a thin line, to break the standard. “I think we’re influenced a lot from our childhood,” Dequadray starts. “And for this reason, I trust that in my music, I am battling tradition and these big ideas that everyone is stuck to.”

As a result, Dequdray beats back the truth in which he no longer believes in. For different reasons now, it is only possible

to be aware of the incredible opening that the consciousness tells us to follow in suit. “But the thing about me is, I don’t write.

Instead, I approach the beat and cave the words in front of the mic,” Dequadray shares of his process. In certain circumstances, the willful ignorance takes a toll. “It is hard to create this narrative from something you don’t see,” he states. “So what happens when it isn’t Jack and Jill going up the mountain, but instead when it’s Jack and Jack?”

But at what point do we migrate from students into teachers of our own pain? Do we ever learn to how responsibly handle someone else’s suffering? Dequadray sheds light on the narrative that has long excluded the queer identity, the trans identity and the identity of something else. What makes him feel like he belongs in the world? Does this come in order or does it come in chaos? He urgently answers, “We were never necessarily in the story unless it was a spectacle. We began to show up in macro-form, after being reduced to a micro for so long.”

At some point it must become clear. We hope to find the answers we so desperately devote our time into adapting or making truth. “It can feel like you’re pulling. Especially in love, because for me, there is no fear in that, and love is not just about two people — it can resemble the work that I do or even my relationship with myself,” Dequadray states. These expectations begin to unfold into all aspects of his life, but is that part of the job, to learn and unlearn what you’ve moved out of? “I have to tell myself over and over that it is okay to take up space in the same opportunities that straight men would, because they rarely consider when they do take up space. We, as queer folk, always do,” he points out.

There is minor hope when the edges began to crack. It is almost a permission to get started, and for Dequadray, it is more than an obligation, it is his process of perfectly breaking down his work, loathing and loving it and accepting the thought of it. “I get a break. Or allow myself one, to reflect on how I treat myself, because it truly does affect how I navigate my work and my life.”

The humor in things being personal, is that they resonate and strip you of the shield you have perfectly built up. In music, it is hard to hide and be seen at the same time. But there is wonderful liberation in being separated from that fear of being free. “How do I want to grow and push this?” Dequadray questions. “If I know that ‘Minding my Own Business’ is self medicating, I know that that’s not gonna sustain me. Which makes me then ask, why do I need to mind my own business in order to self medicate?”

Seemingly, we are forced to critique the differences that are dominated by the common narrative. By altering this and freeing this language, we are provoked to make obvious the predictable codes, complicated onto each person. “You end up being your worst critic, but for good reason. I think it separates me from a lot of the artists in the mainstream. I want to be more than a persona. The same way people resonate with my lyrics is the same way I want to resonate with them. To build community, because I am just as flawed,” Dequadray shares.

It can feel familiar to be overwhelmed in attempting to figure it out, whatever “it” is. But it becomes, as Dequadray believes, a personal journey towards self-discovery. “It is not a direct image, nor does it give you the healing you planned for in the end,” he says. “But it will change, and it will be you, so you have to make it. To break the rules can mean altering everything you’ve known. But that’s the point of my music too, to fall in and out of place.”

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@ S I N G S E A S AW

SEASAW

“ I H O P E W E K E E P S U R P R I S I N G O U R S E LV E S .”

written by ashley evers photographed by geordon wollner

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THROUGHOUT THEIR TEN YEARS AS A BAND, Eve Wilczewski and Meg Golz of Madison-based indie-rock band Seasaw have grown together, both musically and emotionally.

They sit across from me, reminiscing on a moment in their shared history, when each were stuck in Illinois, at a dead end in life. Shortly after being employed at the same restaurant, the pair discovered their shared need for change, determined creative spirit and decided to run directly to the studio. “We were both in the right headspace for Seasaw to be born, because we were both at points where we agreed: ‘At this point, we will try anything,” Wilczewski shares of the tumultuous period in which they found themselves trapped for so long.

Through a mutual pushing of each other, out of their own internal comfort zones the two persevered, taking control of their paths to make a name for themselves. Wilczewski had never been in a band before, using Golz’s encouragement as fuel to lift her out of a creative slump and discover a version of herself that would not have existed otherwise. Golz could say the same thing about Wilczewski, as she expressed her personal struggles with confidence and trusting herself.

As we sit together, each speaks highly about the other with the most impassioned tone when asked to comment on the theme of what it means to be “out” in their lives. While both tend to be private people, Golz shares a song she recently wrote where she sings, “I wish I loved me like I love you,” which was written about Wilczewski, who allows Golz to truly embody her most radiant self. Wilczewski held back tears as she explains how Golz came into her life when she needed her most. “It takes a lot for some people to be comfortable enough to share even a fraction of what we share together,” she states, “and to have this working relationship – we’re almost like family.”

While the two reconcile being in a working relationship parallel to a close friendship, through constant love and support of which they are enthralled by on a daily basis, they also look for influence from other women who excel at their craft. Golz praised Karen O of the Yeah Yeah Yeah’s for her bewitching force of energy and outspoken demeanor. She greatly admires her confidence and expressive attitude beyond nature that takes shape in a new way with every piece of art she creates.

“It has been really cool to see her grow and understand that it is okay to grow and change as an artist as you move forward,” Golz reflects, “as long as you’re still pulling those true pieces of yourself and putting them out there.” Wilczewski spoke about Buffy Sainte-Marie, who remains an activist and has transitioned through many breaths in her musical career. “She bucks the stereotype of too old or being a certain way to keep

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producing music,” Wilczewski starts, “she is still [part of] current culture and making things that are important to people.”

While both are lucky enough to share each other’s company, the group was also born into the arms of the Madison, Wisc. community. Being able to collaborate with other musicians and to pull influence from the spaces surrounding them have been influential factors in Seasaw’s continued success. After transitioning from a more folk-centered to an experimental indie-rock sound, support from the locals has not wavered. It is comforting for the pair to know that change is possible and that there will always be people to guide you along your newly chosen path. “We’ve been really lucky in Madison; it is like a tiny big city...you have access to a lot of opportunity,” Wilczewski adds.

Still, a world of support also cultivates a world of criticism. Seasaw’s titular track, “Big Dogs,” off of their 2018 album Big Dogs, showcases the difficulties of traversing the music industry from a woman’s point of view. The duo’s existence is an act of resistance towards the norms surrounding music culture, which makes it more critical for the pair to lean on and support each other. Golz reflects on how grateful she is that Wilczewski was beside her, after an encounter with a rude sound technician at a festival — and how she believes the pair is stronger because of it. “We have been writing better, more in-tune music with each other and creating more interesting things,” Golz shares, “because we’ve connected on [a] deeper level after that traumatic event.”

After completing Big Dogs, the duo has taken full ownership of their identity. “It’s good to talk about, but then sometimes, when you think about all the things we’ve had to go through — it’s just something you don’t want to focus your energy on.

You just want to persevere and move forward,” Golz explains.

In the next five years, both women dream about shaking Karen O’s hand and playing Austin City Limits. The two hope to play as many shows as they physically can, in as many new places as possible. Whether it’s playing a charity event in Madison or a club show on the road, Golz and Wilczewski are a living breathing example of why it takes two halves to complete a whole. Through different perspectives and musical strengths, two things remain obvious: their impeccable coordination and the love and support they have for each other is unmatched.

“I hope we keep surprising ourselves. I’ve always said, ‘You’d have to kill me in order for me to quit Seasaw,” Golz reveals.

The two will continue savoring every moment together, letting their love for their craft light the way for what’s to come.

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S O T H I S I S L O V E

A PLAYLIST

ROMANTIC GARBAGE arlo parks

I could bite my tongue Trying not to say it That my love for you looks different I could bide my time Hoping I can fix it But it goes against my instinct

THE POWER LP

IF U LOVE ME NOW

TAG YO U R S E L F

MUNA

Oh, I wanna tiptoe through your bliss, boy Get lost the more I find ya Oh, don’t wanna miss a second of this, boy Hold tight and love me longer LOVE LANGUAGE

LUCKY STRIKE troye sivan

kehlani

IVY frank ocean And you taste like danger, but I feel so safe in your arms And I like the way that you talk slow Spelling my name with your tongue, so You don’t have to say it We’re friends at the party, I’ll give you my body at home HOMEGIRL king princess

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Baby girl, you are real The first truth that I’ve ever had You always know when I am sad You give, you give You always call me on my shit BABY GIRL

WE MIGHT BE DEAD BY TOMORROW

miya folick

soko

My girl, my girl, my girl, my girl You will be My world, my world, my world, my world You will be my girl

JUPITER donna missal

WE FELL IN LOVE IN OCTOBER girl in red

SOFTLY clairo

BLOOMING shamir

I see him behind my lids in a bright grey shirt I see him tripping running and falling, covered in dirt I see a lot of these things lately I know I know none of it is real It’s in the way that he moves, but I don’t want to choose CHOSEN LIPSTICK STAINS

blood orange

jay som FALL 2019

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MUSIC OF THE WORLD

BY HENRY MICHAELS

AS PEOPLE AND MUSIC MOVE AROUND THE WORLD FASTER THAN EVER BEFORE, YOUNG ARTISTS ARE ENGAGED IN A REAL-TIME CROSS-CULTURAL CONVERSATION, SHOWCASING THEIR SONIC ROOTS WHILE EXPRESSING THEMSELVES IN NEW WAYS THAT CAN HELP PROMOTE SOCIAL AND POLITICAL CHANGE.

NIGERIA Music plays a complex role in Nigeria. Individual self-expression has long been viewed as coming in second to music’s religious, cultural and social purposes. Strong geographical, ethnic and religious divides made establishing a musical identity difficult. The rise of Jùjú and Afrobeat in the ‘70s began to change this narrative.

Artists like Fela Kuti transformed the idea of what music could do, incorporating sounds from around Nigeria and abroad while striking a politically conscious note. More recently, Afrobeats (note the “s”) has become a chart topping force around the world. Collaborations between Nigerian artists and American stars, like Wizkid and Drake on their number one single “One Dance” brought Sony and Universal to Lagos. Despite unprecedented success, it can be difficult for artists to create their own unique sound outside Afrobeats and amid international competition.

Quietly making waves in Lagos’ underground scene is a group of artists whose style and sound is known as “alte.” Directly translating to “alternative,” the label is by no means just a music genre, but an inventive spirit that emphasizes collaboration and crossgenre mixing. There is a distinct DIY mentality, with an emphasis on self-direction and an inclusive, tightly knit circle. Alte ringleaders Santi and Odunsi act as music ambassadors, bringing in different sounds of the Nigerian diaspora without forgetting about their country’s roots. R&B, indie and dancehall are seamlessly blended together to create a bubbly, slinky sound that can fit the club as much as a romantic sunset. Odunsi’s production on Santi’s Mandy & The Jungle, and on his own singles Better Days/Wettin Day (both from this past year), submerge the listener in an aquatic fantasy.

On songs like “Sparky,” synth chords pull you in like a hypnotic riptide with each snare snapping like a crashing wave. Vivid colors and eclectic, gender-bending styles pervade music videos and live performances.

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U.K. There is a particular kind of urgency permeating the works of British youth. The looming Brexit deadline and election of Boris Johnson, have sent nationwide tensions through the roof — pitting brother against brother and questioning the very nature of what it means to be British. Xenophobia runs rampant, as a common love seems seems much harder to find than widespread distrust. The younger generation of artists seek to carve out their own identity by confronting these challenges head-on.

While social norms in Jamaica are changing, the country’s storied musical history is still center stage. Yellowman’s bouncy euphoria and King Tubby’s hypnotic swing can still be heard in the work of the new generation.

Shenseea and Hoodcelebrityy, two of Jamaica’s most electrifying dancehall talents, have shown particular versatility by blending their country’s sonic roots with a hip-hop pallet. Shenseea combines Western slang and Jamaican patois into a colorful swirl.

Hoodcelebrityy’s breakthrough album, trap vs. reggae, saw the artist bridge her Jamican musical lineage with her Bronx upbringing where she moved as a teenager, bringing a new chapter in the Jamiacan diaspora to New York’s musical world.

HONORABLE MENTIONS

TANZANIA Bumping at close to 300 BPM, singeli from Dar Es Salaam gets the dancefloor literally shaking. MC’s hit lightspeed over fast paced, twisting beats that shoot a course of adrenaline through the spine.

E S S E N T I A L S

A creative fire burns bright in Jamaica. The birthplace of reggae and dancehall is seeing a renaissance of young female artists pushing the boundaries on what it means to be a creator, as male artists have traditionally dominated the reggae and dancehall scenes. The new crop of artists are challenging this dynamic, picking up where female pioneers like Sister Nancy and Lady Saw left off. At the forefront is Koffee, the 19-year-old prodigy who is becoming the face of Jamaican music. Koffee’s charisma is contagious, radiating freedom as she bikes and dances around her city Spanish Town in the music video for “Toast.” Koffee effortlessly switches between a melodic croon and emotionally dense rapping, a style referred to as “singjay” (combining “singer” and “deejay,” the Jamaican term for MC). Don’t let her braces and short stature fool you — Koffee embodies a changing nation as a teenage woman calling out gun violence and fighting for her own future through music.

Baba Aminata Natafuta Kiki

by Bwax, S Kide Kazi Ya Mungu Haina Makosa26

by Dogo Suma Lupozi Agaba Kibati

by Bamba Pana Don Bet

by Jay Mitta

SPAIN A country synonymous with music continues its reign with a new crop of artists blending traditional styles with hip-hop and reggaeton.

E S S E N T I A L S

JAMAICA

It is not surprising that punk has made a resurgence across the U.K. in recent years.

Just as pioneers like the Clash, Buzzcocks and X-Ray Spex upended a stale and bloated corporate music scene in the first wave of punk, todays punks are trying shake music fans out of their complacency, but rather than pure chaos, they are trying to build community. Bristol’s IDLES have been at the forefront of the genre’s return, with a contagious intensity that channels dismay into an uplifting spiritual force. Their most recent release, Joy as an Act of Resistance, is an intimate response to Britain’s disoriented state. The group simultaneously attacks the deep rooted racial animosity at the heart of Brexit while celebrating Britain’s diversity, all without losing their sense of humor. Not far removed is Northampton’s Slowthai, who fuses punk-like derangement with the swagger of London’s grime scene.

Slowthai’s 2019 Nothing Great About Britain is a furious brigade on the U.K.’s social and economic turmoil narrated by the self proclaimed “Brexit bandit.” The “outsider” is a central component in Slowthai’s story, in which the high school drug dealer takes on a superhero like character against the money hungry, prejudice state.

Di Mi Nombre

by Rosalía Hookah

by Bad Gyal Empezar De Cero

by Yung Beef Mucho

by Bejo

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MOTHER OF THE BLUES + QUEER LIBERATION IN THE 1920s

written by bailey owens

An early trailblazer for women’s and queer rights, paired with talent and vocal success, Ma Rainey is touted with much respect for musical acheivements and social progressiveness.

Born Gertrude Pridgett, Ma Rainey blessed this earth on April 26, 1886 in Columbus, Georgia. From a young age, music had become her focus. By the time she was 14, then Pridgett, performed at the Springer Opera House for the production of “A Bunch of Blackberries.” In her later teen years, she married William “Pa” Rainey and thus became “Ma” Rainey. Around 1915, the newlyweds quickly left to tour with the Rabbit Foot Minstrels. It is said that while on tour with the group, Ma Rainey began to sing the blues center stage, becoming one of the first musicians to incorporate blues into minstrel music, vaudeville music and tent shows.

Shortly after their run with the Minstrels, Ma Rainey and her husband left to perform under the stage name of Rainey and Rainey, The Assassinators of Blues. When their time together ran its course, the days of Rainey and Rainey came to an end and Ma Rainey separated from her husband, leaving to form her own band under the stage name of Madam Gertrude Ma Rainey and Her Georgia Smart Sets. In 1923, Ma Rainey’s efforts as a musician paid off when Paramount Records offered her a deal, of which she accepted. That year she recorded “Bo-Weevil Blues” and “Moonshine Blues,” two examles of her first professionally produced songs, which consisted of eight tracks in total. Both songs give deptictions and insights to life during the 1920s; “Moonshine Blues” alluding to the prohibition which began in 1920, depicting the dangers of illegal sale of alcohol and the tension between police authorities and minority groups. In “Bo-Weevil Blues,” Ma Rainey sings about the devastation brought to the cotton industry during the 1920s due to a beetle that feeds on cotton and flowers, destroying many cotton farms in the south.

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After a year with Paramount Records, it wasn’t uncommon for Ma Rainey to accompany jazz musicians such as Louis Armstrong and Fletcher Henderson. In 1924, she recorded “Jelly Bean Blues” and “See, See Rider Blues,” among others, with Armstrong. “See, See Rider” is arguably one of her most famous songs, apart from renowned “Prove It On Me Blues.” In the five years following her induction into Paramount Records, Ma Rainey recorded over a hundred songs under the label.

Audiences loved her persona as a blues singer. It was said that she had a horsehair wig that “went in multiple directions” and had a big toothy grin. One of her most eccentric stylistic choices included a necklace made of $20 gold coins — a style well outside the norms of acceptable and traditional fashion for women during the 1920s. But it wasn’t her attire that drew people in, it was her raspy, yet silky and powerful voice. While fame offered her endless collaborations and performance opportunities, it was said that she felt most comfortable when performing with a simple jug and washboard band.

When the height of blues as a genre peaked and began to fade, Ma Rainey returned to her home in Georgia where she ran two successful theaters of her own until the age of 53, when Ma Rainey suffered a heart attack and passed away on Dec. 22, 1939. Though her body ceased to exist, her spirit and legacy remains. In honor of her talents, Ma Rainey was inducted into the Blues Foundation’s Hall of Fame and the Rock & Roll Hall of Fame in 1990. Dubbed the undisputed “Mother of the Blues,” Rainey’s musical contribution lead to the era of popular blues music is irrefutable. What is often underappreciated is her contribution for challenging restrictive social norms prevalent during her lifetime — issues that are still pervasive in today’s society.

IT IS WITH INTENTION AND BRAVERY TO STAND AGAINST THE MA JORITY THAT TRUE CHANGE OCCURS, BETTERING THE EQUALITY FOR FUTURE GENERATIONS. “THEY MUST HAVE BEEN WOMEN / C U Z I D O N ’ T L I K E N O M E N .”

What sets Ma Rainey apart from other blues singers of her time is that she covered topics in her songs that were revolutionary, such as women’s treatment and lack of rights to stances against heteronormalcy. During the 1920s, notions as such weren’t openly discussed and strictly taboo. Even so much as discussing these themes could arise legal problems and even land one in jail, not to mention cause a social uproar met with backlash. This did not deter Ma Rainey and she rejected traditional conformity in 1925, when she was arrested for allegedly participating in an orgy with other women. It was none other than Bessie Smith, often dubbed the “Queen of Blues,” who paid her bail and saw her out the next day. Though the risks of being found out as queer or participating in queer activities proved to be drastically consequential, her defiance purported through her actions and lyrics supported a culture of openness, girlded in a societal culture which rejected change and promoted status quo.

The previously mentioned “Prove It On Me Blues” serves as another reference showcasing Ma Rainey’s strength and bravery, covering the topic of lesbianism, openly hinting at her sexuality. The lyrics depict a time where she had gotten into a heated argument, and upon looking up, remarking “The gal I was with was gone,” boldy using female pronouns under a veil of interpretation which could have been insinuated as either a romantic relationship or a platonic friendship. Within the same song, she continues on to sing about going out with female friends, crooning, “They must have been women / Cuz I don’t like no men.” Again, reinforcing a connotation that she is in favor of same-sex relationships, but under the original pretences of “friends” the lyrics again could be viewed platonically, covertly concealing her sexuality from the law. Ma Rainey even covers the topic of cross-dressing, a common practice for queer women at the time, when she sings, “It’s true I wear a collar and tie / Talk to the girls like any old man.”

If in reality she would dress up to flirt with women, Ma Rainey reiterates many times that she had never been caught taking such measures and thus could not be punished for anything.

of queer artists, there is still pressure to maintain cis-heteronormalcy in media and music. This pressure takes form in negative comments about queer artists, which circle on social media and even hindrance from record labels regarding artistic vision surrounding queer themes. It is important to recognize the efforts which have allowed the genre of queer music the freedom to become what it is today, bearing in mind that imposition of social limitations still affect artists and members of nontraditional factions.

It is because of artists like Ma Rainey, who stood against prejudice traditions despite societal pressure and lawful risks, that artists today can sing more freely. This freedom is what fosters a more inclusive and understanding society, shown through the transition of the way artists sing about queer love. Thanks to the history of expression from Ma Rainey to current queer icons, the LGBTQ+ music genre has fought its way out of prosecution, though it continues to battle against the hate and negativity that still exists, where artists recieve backlash for being unashamedly themselves. We need to know our history so we can assess where we are today and plan for where we want to be in the future. Ma Rainey didn’t know that “Nights Like This” by Kehlani or “Chanel” by Frank Ocean would ever be listed in the Top 40’s, or that current generations would benefit from her efforts in the past.

What is certain is, without her courageous displays of musical advocation and expression, the possibilities for music today would be exceedingly limited. We’ve learned that supporting a revolution does not necessarily mean one must take drastic measures. It is with intention and bravery to stand against the majority that true change occurs, bettering the equality for future generations.

The importance of recognizing these details within “Prove It On Me Blues,” identifies Ma Rainey’s endeavors to support queerness in an era when it was considered behavior worthy of conviction.

Though there exists no concrete evidence of her sexuality, as Ma Rainey states in “Prove It On Me Blues,” her implicit adovacation for the queer community is thought to have opened the door for queer singers of today, who no longer need to dismiss their sexuality in fear of legal conseqence. Singers like Frank Ocean, Kehlani and Hayley Kiyoko, like Ma Rainey, are members of the LGBTQ+ community and often and openly reference lovers in their songs, using same sex nouns. Though it may seem like a small detail and is often overlooked, the ability to use same-sex nouns freely is an affordance for present artists bestowed by social movements of the past. While there are no longer legal pressures threatening the well being FALL 2019

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RESOURCES We care about you. We care about your well-being, your creativity, your safety and your story.

Take care. Be kind to yourself and those around you.

WELLNESS + MENTAL HEALTH HOPE FOR THE DAY mission: to eliminate the highest risk factors of suicide through outreach, mental health education, and community action. www.hftd.org

THE THIRLBY mission: to redefine this generation’s views on mental health and promote honest, accessible wellness and self-care to all through the stories of its contributors. www.thethirlby.com

LGBTQ+ AND HUMAN RIGHTS TEGAN AND SARA FOUNDATION THE TREVOR PROJECT mission: mission: to fight for health, economic justice and representation to provide crisis intervention and suicide for LGBTQ+ girls and women, through a commitment to prevention services to lesbian, gay, bifeminism and racial, social and gender justice. sexual, transgender, queer & questioning youth. www.teganandsarafoundation.org www.thetrevorproject.org SYLVIA RIVERA LAW PROJECT mission: to ensure all people are free to self-determine their gender identity and expression, regardless of income or race, without facing harassment, discrimination or violence. srlp.org

GLAAD mission: to fight for LGBTQ+ acceptance through tackling issues that shape social narratives and provoke dialogue that leads to cultural change. www.glaad.org

GENDER AND SEXUALITY CAMPUS CENTER mission: to provide education, outreach, advocacy and resources for UW-Madison student communities and their allies. lgbt.wisc.edu

EDUCATION, EMPOWERMENT + COMMUNITY DOYENNE GROUP MADISON mission: to build entrepreneurial communities that invest the power and potential of women entrepreneurs. doyennegroup.org

NATIONAL EATING DISORDERS ASSOCIATION ....... 1-800-931-2237 SUICIDE PREVENTION HOTLINE ................................... 1-800-273-8255 TRANS LIFE LINE CRISIS & SUICIDE HOTLINE .......... 1-877-565-8860

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www.blackgirlinom.com

SEX OUT LOUD mission: UW-Madison’s peer to peer sexual health resource, promoting healthy sexuality through sex-positive education and activism.

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BLACK GIRL IN OM mission: to promote holistic wellness and inner beauty for women of color, through encouragment of selfcare, self-love and self-empowerment for communities of color.

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SPECIAL THANKS TO: WISCONSIN UNION OFFICER PRESIDENT tanvi tilloo Through the publishing of our seven student-run journals and magazines, the Publications Committee of the Wisconsin Union Directorate provides a creative outlet for UW-Madison students interested in creating poetry and prose, reporting on music and fashion, or delving into research in science and public policy. We celebrate creativity on campus by providing `hands-on experience in publishing, editing, writing and artmaking.

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THE OUT ISSUE.