The Wake - Issue 4 - Fall 2019

fortnightly student magazine

volume 19 — issue 4

Minneapolis feels the Bern

p. 8

Q&A: Jackie Kean

p. 16

Who Here Has Heard of Woodturning?

p. 9

Reclaiming Cuffing Season

p. 19

Spiritual Healing

p. 11

Mission Impossible: How good is Being Good?

p. 23

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Art by John Barlow

VOLUME 19, ISSUE 4 EDITORIAL: Editor-in-Chief

Tala Alfoqaha

Managing Editor

Emma Chekroun

Cities Editor

Sylvia Rani

Voices Editor

Esther Chan

Music Editor

Tosin Faseemo

Online editor

Sammi Divito

Copy editors

Autumn Sanders Hannah Haakenson

BMM EBZ

Multimedia Editor

Sebastian Alfonzo

Multimedia Producer

Courtenay Parker

Editorial Interns: Ian Knoll, Mei Gong, Isabel Teitelbaum, Erin Wilson, Megan Bormann, Marley Richmond, Kylie Heider, Prahlad Sankrti, Emma Smisek, Martha Huson

PRODUCTION: Executive Director

Macie Rasmussen

Creative Director

Kiley Nelson

Finance Manager

Nikhil Barr-Saxena

PR/Ad Manager

Claire Redell

Social Media Manager

Madison Amland

Art Director

Morgan Wittmers-Graves

Designers

Kelsey Hanscom Samantha Fischer Ellie Kestner

Web Manager

Juan Rujana

Distribution Manager

Cassie Varrige

Production Interns: Olivia May, Grace Augustin, Lizzy Rode Art Interns: Joe Price, Eva Berezovsky, Selena Philaphandeth, Laura Kuchar

THIS ISSUE: Writers

Katelyn Anderson, Isabella Azzaro, Sammi Boring, Megan Š2019 The Wake Student Magazine. All Rights Reserved.

Bormann, Tosin Faseemo, Halle Fodness, Meili Gong, Kylie Heider, Ava Kian, Ian Knoll, Kinga Mozes, Peter Nomelander, Angela Perez,

Established in 2002, The Wake is a fortnightly independent magazine and registered student organization produced by and for students at the University of Minnesota.

Nina Raemont, Marley Richmond, Sophie Tiahnybik, Avery

The Wake was founded by Chrin Ruen & James DeLong.

Art

Disclaimer: The purpose of The Wake is to provide a forum in which students can voice their opinions. Opinions expressed in the magazine are not representative of the publication or university as a whole.

To join the conversation email eic@wakemag.org The Wake Student Magazine 126 Coffman Memorial Union 300 Washington Avenue SE Minneapolis, MN 55455

Wageman, Helen Weil, Erin Wilson

1 Laura Kuchar, 2 Gavin Schuster, 3 Morgan Wittmers-Graves, 4 Selena Philaphandeth, 5 Lauren Bastian, 6 Isabelle Snyder, 7 Joe Price Q&A photos courtesy of Jackie Kean The Lighthouse, Pony, Cry, and Jesus is King art from original sources Cover and feature art by Eva Berezovsky

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wink! one page magazine

weird things we’re thankful for: • DMs from my grandma. - Sebastian

• I’m thankful for blueberry goat cheese logs at Trader Joe’s. - Tala • The hair-ties on my wrist. - Sam • The Witcher series coming out on Netflix. - Courtenay • My assortment of beanies for hiding my bad hair days (which is everyday). - Morgan • I’m thankful for bread. - Juan • The “skip intro” button on Netflix. - Esther • D.P. Dough’s thanksgiving calzone :’) - Olivia • Accidentally dying my whites light pink. - Lizzy • I’m grateful for the boys who ghost me because they keep me humble. Oh and wool socks. - Kiley • The ability to be cremated. - Macie

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NOV 18 - DEC 2

INSIDE 6 7

Letter from the Voices Editor Minneapolis Feels the Bern

8

Coffee near Campus, Ranked

9

Who Here Has Heard of Woodturning?

11

Spiritual Healing

16

Jackie Kean

18

Gifted and Talented Programs

19

Reclaiming Cuffing Season

20

The Reality of Mandatory Reporting

21 22

UPCOMING EVENTS 11/18

11/28

Briston Maroney

A

w/ Covey

Thanksgiving!!

Go eat some yummy food and spend time with loved ones <3

7th St Entry

11/21

11/29 - 12/22

Third Thursday: In Focus

Holidazzle

6:00pm - 9:00pm A free event including a photo booth installation, live music & drinks.

Thursday-Sundays Loring Park

Minneapolis Institute of Art

11/21 - 11/23 MCAD Art Sale

A B

A chance to buy one-of-a-kind art created by Minneapolis College of Art and Design students and recent graduates at unbeatable prices.

Minneapolis College of Art and Design

Marvel Movies: Art Form or Theme Park?

11/22

Six Reviews

Pink Sweat$

B

w/ Ness Nite and Moise Coffman Memorial Union, Great Hall

11/22 - 11/24 Wilco

C

C

w/ Low & Gaelynn Lea Palace Theatre

THE WAKE

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Letter from the Voices Editor It’s finally that most wonderful time of the year! The wind is frigid, the leaves are crumpled shadows of their prior vibrancy, and the first of Christmas lights are beginning to twinkle their way into existence. It’s no surprise that these changing days of season transitions and holiday advancements simultaneously haunt and entice with their tantalizing promises of wishes fulfilled but also with the wariness of discord and doom.

As the stressors pile on, we draw up the walls, silence our consciousness, and permit ourselves little more than a superficial effort to interact with the world. The monotony of routines disillusion us into believing that life can be little more than the dark, gloomy clouds reflected in the November skies. It becomes all too easy to slip into that default mode of agnosticism and dismissal for the next person to pass us.

But I urge you (and myself) to take a step back from that self-centeredness and recognize that we share this lifetime and place. Resist that toxic mindset that your life is worse than the next person’s (because let’s be honest, that perspective is tiresome and hardly unique). In such an individualistic society, remember that yours is not the only story worth telling. There is always someone who’s traversing a similar storm or has it worse than you, but even if there isn’t, who cares? Is there not a beauty in knowing that though our tribulations differ, our burdens are not ours to bear alone?

Don’t resist it. Embrace the possibilities of connections for all their ambiguity and intimidation. Recognize that, in fostering connections we entwine together a tapestry of vibrant stories—a constellation of characters bound to forever dance in harmony through this symphony called life, simultaneously tragic and broken yet alluring and joyous.

As the year winds down, I encourage you to extend your hand even if it’s with timid trepidation. Life is not meant to be a solo routine so gaze at the stars and enjoy the performance… (and I hope you thoroughly enjoy this issue of The Wake!)

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Esther Chan Voices Editor

NOV 18 - DEC 2

CITIES

Art Attack: Experiencing Art at Its Most Personal The Northrup King Building opens its doors to connect Twin Cities’ artists with their community

Minneapolis Feels the Bern Thousands gather in Williams Arena to hear Senator Sanders and Representative Omar speak

BY SOPHIE TIAHNYBIK

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BY IAN KNOLL I often find art museums to be intimidating. Wandering white-washed halls and wide-open rooms where every work is spaced at perfect intervals often feels cold, detached, and demanding of a critical eye that my inexperienced self can never hope to give. If you’re like me and want something more personal, or you’re just looking to sample some of the Twin Cities’ finest artists, Art Attack might just be your best opportunity.

Presented at the Northrup King Building, a former seed distribution plant turned Minnesota’s largest art complex, Art Attack is a yearly event that gives the over 300 artists who work in the building (and many more who don’t) a chance to display their works together. While my three hours were nowhere near enough time to see everything, works like Susan Voight’s vibrant alcohol ink floral studies, Kevin Komandina’s subdued architectural paintings, Mike Behr’s stunningly crisp landscape photography, and Alexandria Jones’s firework art (yes, literally shooting fireworks at canvas) all struck me as more compelling and masterful than my tight word limit could possibly express.

Throughout the weekend event, there were also many opportunities to watch demonstrations or take classes from artists in the building. For those more monetarily inclined, the building is also home to a variety of shops that (alongside often also displaying great art) sell anything from hand-crafted jewelry to custom built furniture.

There’s something special about seeing art presented from the very studios they were brought to fruition in; the halffinished paintings still resting on easels in backrooms and the artists close by to discuss their works were the perfect backdrop to fully appreciate the art on display. Seeing patrons drift from room to room and artists take a break from the busy presentations to catch up really gives the feeling that this is a place not for the solemn reflection of art, but the chance to celebrate its beauty as a community.

It’s a unique feeling, and one I think nobody should miss.

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“You look beautiful tonight,” said Senator Bernie Sanders as he was welcomed onto the stage. For what felt like the largest crowd since Prince was touring, thousands of people gathered and roared for Bernie. Williams Arena was shaking with energy and pure excitement in the hours before and long after he left. Prior to his appearance, performances from artists Brother Ali and New Power Generation made the rally feel like the biggest rock artist was about to come on. With their open arms and their inspiring and powerful speeches, campus core leader Sean Bearth, Senator Nina Turner, Keith Ellison, and U.S. Representative Ilhan Omar all endorsed Bernie and his message.

Even though Bernie had just suffered a heart attack a few weeks prior, he seemed to be in his typical eccentric and loud character for the event. A diverse mix of people came from all over Minnesota, ranging in age, race, and class, which was a great representation of what Bernie’s movement really embodies. People came for all different reasons—whether it was to give support, to hear his message on important issues such as student debt or climate change, or to see how he will take on other Democratic candidates such as Warren and Biden. Rather than focusing too much on the logistics of his plan, Bernie spoke most on the rhetoric he wants to have for his movement: unity. He said the only way to defeat the Trump administration is to stay unified, claiming that through unity of this movement, these “radical” ideas are very possible. “We are heading towards an oligarchic form of society, where a small amount of billionaires exercise enormous amounts of power—real change has never taken place from the top on down, it has always taken place from the bottom up,” Bernie explained. Moving the crowd into a roar, there was an overwhelming feeling of togetherness and power of the people, a testament to the future that Bernie and his supporters are working to build.

The Northrup King Building is frequently open for other shows and events, which you can learn more about (along with the artists I’ve discussed) at northrupkingbuilding.com.

THE WAKE

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CITIES

Coffee near Campus, Ranked Support local businesses while getting that sweet, sweet caffeine

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BY MARLEY RICHMOND I recently lost my travel mug and have been going through a bit of a life crisis since then. Yet they say pain is good for one’s art, so here are some of the best coffee joints near campus, rated on a five-bean scale. And, even though the Lind Hall Starbucks has my heart, these are local businesses you can support instead of chains. They’ve been assessed on their variety and coffee taste, student appeal (price, location, speed), sustainability, “workability” (attributes of a study space) and, of course, an overall vibe check.

Wise Owl Café The Goods: 3/5 College Student Appeal: 4/5 Sustainability: 2/5 Workability: 2.5/5 Vibe Check: 0.5/5 Wise Owl Café has the same bleak atmosphere as a dining hall: you’re there because you have to be, not because you want to be. It’s conveniently close when you need a boost between classes, the coffee is fine and reasonably priced, and they accept the FlexDine you somehow have left over from freshman year. But there’s absolutely no reason to sit in this space instead of the masterpiece that is the upper floor of Walter Library (unless you need the basement’s no-cellservice imposition to cut you off from your texting addiction, I guess). Still, do yourself a favor, and take your coffee to go.

Cosmic Bean Dispensary The Goods: 3.5/5 College Student Appeal: 3/5 Sustainability: 2/5 Workability: 2.5/5 Vibe Check: 3/5

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Even though I knew Cosmic Bean Dispensary has coffee and CBD, it took me way too long to realize the name of the café used that same acronym.

Anyway, if CBD is your jam, this place is for you.

They have all the classic forms, like oil and vapors, plus infused snacks and novelties like CBD bath bombs, but their coffee options are less diverse. If you’re not into CBD, this café is a little intimidating.

But the many plants and big windows here give it a nice atmosphere, and it’s a quiet area for some solo-studying. And if you get too stressed out, just add a CBD boost to your coffee!

7 Corners Coffee may not be your first thought for “coffee near campus,” but it’s a strong contender for “new weekend study space.” Just a block away from the West Bank light rail stop, this café has strong wifi, lots of empty tables, and a pop of bright yellow walls to lift you out of the homework blues. It’s clear that 7 Corners committed to a trendy, sustainable approach to coffee; they even host neighborhood get-togethers and talks on sustainable coffee farming. While they didn’t have any iced drink options when I stopped by, their latte art made up for it despite the unideal price.

Purple Onion

Bordertown Coffee

The Goods: 4/5 College Student Appeal: 4/5 Sustainability: 2.5/5 Workability: 3/5 Vibe Check: 4/5

The Goods: 3.5/5 College Student Appeal: 3/5 Sustainability: 4.5/5 Workability: 4/5 Vibe Check: 4.5/5

Purple Onion is the perfect balance between quick coffee and a real café, with better breakfast and lunch options than anywhere else on this list. It’s cute, eclectic, and brings together the families of Como with the students of the U. Whether you’re stopping by on your commute or meeting someone for a date or class, Purple Onion has you covered—and at a decent price! If you’re coming to stay, however, be prepared to wait a bit for a table and use your personal hotspot, since the wifi is generally unreliable.

Bordertown is the “turtleneck sweater with patches on the elbows” of campus coffee shops. Situated in a conveniently close-by restored fraternity, Bordertown has shaken the ghosts of brothers past.

Here you can find (admittedly pricey) classic brews and homemade pastries. With sustainable sources and compostable cups, though, your caffeinated brain can temporarily avoid spiraling into the existential dread of climate change. On the costlier end of campus cafés, Bordertown is more of a stop-and-study destination than a coffee pickup spot. Thankfully, there are usually available tables and a solid wifi connection to support your studying needs.

7 Corners Coffee The Goods: 3.5/5 College Student Appeal: 2.5/5 Sustainability: 4/5 Workability: 4/5 Vibe Check: 4/5

NOV 18 - DEC 2

CITIES

Beyond Struggle: Palestinian Liberation at UMN Students nationwide join forces to fight for liberation

BY AVA KIAN “Beyond Struggle: From Roots to Branches Towards Liberation,” the 9th annual national Students for Justice in Palestine conference, took place at the University of Minnesota from November 1–3. This annual conference has served as a place for students to attend skill-building and political development workshops, develop relationships with intersectional organizers, and learn about the intersections of the SJP movement with other social justice efforts.

This year, the event faced severe backlash as pro-Israel group StandWithUs demanded the University condemn the conference.

On Friday evening, protesters stood outside of Tate Hall, attempting to engage and photograph attendees.

Despite this, the event itself was uplifting and thought-provoking.

Students gathered for “Culture Night,” where different cultures shined through a multitude of art forms: a native group performed, displaying solidarity with Palestinians, while poetry readings and rap performances artfully articulated complex emotions through prose. Palestinian creativity flourished with artists from around the nation selling their artwork, photographs, and emblems of Palestinian nationalism, like the keffiyeh scarf.

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The next morning, workshops continued with a diverse range of topics. Led by an international studies major at Louisiana State University, the workshop titled “Commodifying Catastrophe: Recognizing Exploitative Entrepenural Practice in Organizing Spaces” discussed the moral obligation, transparency, and accessibility within Palestinian entrepreneurship that will uplift Palestinians rather than de-politicize the movement. They further explained: “We want to provoke dialogue on whether self-identifying Palestinian entrepreneurs have a responsibility to their consumers, how they can engage in their businesses in a more ethical and more responsible way.”

The conference concluded with a panel featuring three activists, who stressed the importance of intersectionality, as one speaker said, “We are doing this because it means we are more human, and when we are more fully in our humanity, we are engaging with the totality of what we’re up against.” Another panelist further explained, “Jewish people’s liberation goes hand in hand with the freeing of Palestinians,” explaining movements succeed when they make strides together. The conference tied together marginalized communities, constructed avenues for allyship, and strengthened the Palestinian liberation movement.

THE WAKE

Who Here Has Heard of Woodturning?

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It’s like pottery—with wood!

BY MEILI GONG On a date, with friends, or by yourself, the American Association of Woodturners (AAW) Gallery of Wood Art is a hidden gem of the Twin Cities art scene.

This small, three room museum in St. Paul’s Landmark Center celebrates wood art carved using lathes—machines that spin wood and allow skilled woodturners to carve smooth and round items, like bowls or vases or sculptures, from thick blocks of wood.

The current exhibit is called “Continuum,” and its call for entries asked woodturners of the AAW to reflect on the artists and woodturners who have inspired them and what they see for the future of woodturning. The whole exhibit is basically the flex of a craft in its fourth millennium and most items are for sale, so if you’ve got a couple grand to drop on a desk piece, come with your checkbook ready.

Throughout the museum, there are also displays on modern woodturning, from informative plaques on wood selection theory, to a step by step breakdown of how a chunk of wood is transformation into a beautiful bowl. My personal favorite is the fuzzy TV where a soft-spoken man with curly hair taught me about vase angles, kind of like if Bob Ross was a woodturner in an alternate universe.

An extremely nerdy outing? Yes. But let’s be real, all museums are nerdy and that’s why we love them. They take the esoteric and break it down for the public. If the museum is any good, it’s an interactive schooling, and I don’t know what could be more interactive than picking up and smelling wood, knocking around ancient Scandinavian toys, and listen to the woodturning version of Bob Ross teach sweet nothings to you on a VHS. If you are looking to start your own journey to become a master woodturner, or just want to go sniff and heft some wood, check out https://www.galleryofwoodart.org or drop by the second floor of the Landmark Center at 75 5th St W, Saint Paul, MN. Live demonstrations of woodturning happen on the third Sunday of each month.

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ART

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Art by Calvin Rauls

NOV 18 - DEC 2

FEATURE

What is it, why do it, why pay for it, & more

By: Sammi Boring THE WAKE

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FEATURE

After looking for a new place to get a haircut, Erin Anderson, a Minneapolis-based energy healer, found herself drawn to the Gem Salon in St. Paul. The pastel colors and modern decor touch drew her in. While getting her haircut, Anderson’s stylist mentioned that Gem would be doing a “re-open” house to welcome new customers after the salon had rebranded. Anderson asked if Molly Black, the owner of the salon, would be interested in having mini energy readings, such as gemstone healing, a process which involves placing gemstones on the body to draw out negative energy, at the event. After Anderson gave readings at the 2017 event, Black and Anderson agreed to have full services at the salon on a regular basis.

After taking over the former 526 salon and rebranding it to Gem, Black was excited to have a personalized experience for clients. She envisioned clients receiving these healings while waiting for hair color to set in or nails to dry.

“It was slow to take off,” said Black. The spiritual offerings were not booked consistently. At that same time, Anderson began to collaborate with the George Wellbeing Center in downtown Minneapolis. After Anderson’s focus started to shift towards her new collaboration, she approached Black about discontinuing her services at Gem. They both mutually decided it would be best that they still collaborate at events but that Anderson would no longer be a daily part of Gem. That was Anderson’s start at Gem from February 2018 to December 2018, but her journey with spiritual healing was one forged long before Gem. It has taken years for Anderson just to be able to do energy healings at Gem, George Wellbeing in downtown Minneapolis, and Healing Elements in St. Paul, Minnesota. After starting her six years and counting of rigorous training in 2014, Anderson continues to go experience every offering she learns for herself, so she can continue to learn more about various energy healing practices and use them for her clients.

Anderson regularly travels to places like Toronto and London as a part of her ongoing training. While traveling, she learns different parts of the oral lineage handed down for thousands of years from King Salomon and continued by energy healers.

“I was searching for something that I could connect with,” Anderson said.

Now as a “clairvoyant” and “metaphysician,” Anderson helps people find their “natural energy reserves.” In doing so, she has helped people deal with different types of stress, trauma, and other problems that they face.

“Emotional cord cutting” is one of the King Salomon offerings Anderson provides. Black recieved this offering to reframe a relationship, or, as Anderson described, to release a connection with a single person. “It does not have to be anyone’s fault,” said Anderson. It does not need to be a toxic thing is a person’s life. Black said it really helped her “let go of her past” and restart a part of her life. This is something that is not guaranteed from the offering—it is all in how a person is looking to release.

While working with these healings, she found a mentor at the Holistic Chamber of Minnesota, a collective of people practicing a variety of healing methods. This mentor guided her as she began the Lineage of King Salomon. The King Salomon lineage comes from 30 years of work done by Salomon and other healers where they found energy healings could help people the most.

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NOV 18 - DEC 2

FEATURE

The King Salomon offerings are ceremonial according to Anderson. For these “deep sessions,” Anderson begins with ritual, prayer, and meditation an hour before the client arrives to prepare herself for the offering. When the person receives the healing, it often involves a “choreography” of standing, moving, and turning around. Anderson uses a number of sacred tools including wands, gemstones, and symbols, each one with a meaning and a specific type of energy necessary for the healing. She uses these tools and her energetic preparation to create a “container of energy” that allows the healing to happen.

Anderson is learning new things about her energies everyday and sees a lot of hard work ahead of her. She meditates every day to make sure she is energetically clear and will make only a “positive energetic impact” on others. “Learning energetic responsibility has been really freeing,” Anderson said. To her, the ability to continue working on her journey is a gift; “I am doing the best I can to show up in the world in a way that it is integrous and as responsible as I can,” Anderson said.

The prices for Anderson’s services vary based on the duration of the session and the depth of the healing. Given the tens of thousands of dollars, hundreds of hours of training, and experience, Anderson sometimes considers charging more for her services. But she knows there is a sweet spot between what she has invested and what she feels a client will be able to pay. “We are quite used to paying for things that don’t bring us any value in the long run,” Anderson said. “Society has not learned to value things that help us spiritually.”

“This market or part of the country is only just waking up to some of this stuff.

If I was in California, I would be charging twice as much,” Anderson said.

Anderson believes the coasts are “always on the bleeding edge of innovation in personal growth.” At her 2017 residency in northern California, she was surprised to meet so many people who would request multiple spiritual sessions. They considered spiritual healing as a part of self-growth, similar to therapy, and they were willing to pay for it.

Many of Anderson’s teachings, she says, focus on things that can affect college students every day. Anderson shared that she believes spiritual healing would have helped her so much when she was in college.

Anderson felt that if she could have processed her life in a different way and learned how to meditate on her issues in college, she would have done it. Even now, she has taken her time in therapy and combined it with her meditation and spiritual offerings, which she says, has helped her tremendously.

While these teachings have taken years to learn, and there will still be plenty of more offerings to learn, for Anderson, these teachings have brought her closer to understanding energy, whether it be her own or her clients. Anderson has been able to take these learnings and help people searching for clarity in life. She continues to make her energetic impact in other parts of the Twin Cities and influence the community around her.

“We are quite used to paying for things that don’t bring us any value in the long run” THE WAKE

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ART

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Art by Tori Harder

NOV 18 - DEC 2

ART

THE WAKE

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Q&A

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Jackie Kean

BY Tosin Faseemo Jackie Kean is a Minneapolis-based indie rock band that was formed in 2016 at the now-closed McNally Smith College of Music. It’s comprised of vocalist Trenton Skalicky, guitarists Gabriel Vasquez and Michael Sousa, as well as drummer Linus Hennessee. Keep reading to find out about the band’s origin story, songwriting process, and musical influences.

: How did you guys pick your band name?

L: We wanted something that sounded cool, y’know? Something kinda like vague, that didn’t put too specific of imagery in anyone’s mind.

When someone hears Jackie Kean the first thing they should think of is us.

: How did you guys all meet?

M: Trent and I met at McNally. The first time we ever played together was when Craig invited us to a party, which is where I met Trent as friends for the first time as opposed to just spectating his existence. I think there was a band that was set to play that basement. It was kind of sad because they were down there playing and everyone was upstairs. They just kind of gave up and went to join the party. We took over their instruments and started playing and jamming; we didn’t have any form. Then the party just kinda migrated downstairs once we picked it up.

T: After that we were like, Craig’s the bassist, Mike’s the guitarist, I’m the singer, let’s start a band.

What established this band for all the members was actually McNally Smith closing. It basically

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closed down due to lack of funding. I decided right away I was gonna go to IPR, and that’s actually where Gabe was. It’s a different music school in downtown Minneapolis.

G: I met Craig first during my first semester there; he was in one of my classes and then I met Trent in a photoshop class. We kind of talked a little bit but we weren’t close. Then Craig found out that I was a guitar player and they were looking for another guitar player.

M: The thing is, when we were at McNally we had a full line up. We had Craig on bass. We had another roommate of ours, Brian, playing guitar.

But there were vibe problems with Brian. Brian would always talk about how he didn’t feel like he was a good fit. He ended up moving back home after McNally closed. We lost Craig, and at the same time we lost Brian, we lost Whit. It was a thing you couldn’t plan for.

G: Craig invited me over to jam and it was a really good fit. I was looking to get into a band because I just wanted to play music. My friend Robbie told me about Linus, who I had met once at a party.

NOV 18 - DEC 2

Q&A L: I was in like a high school band but that fizzled out, so I was open for business. I had just met Gabe that summer and ever since then we’ve been going. It took us a few months to get me acclimated and get our set list really down, but after four months we started playing shows.

have the other day. But yeah I think that Linus is right, I think we’re just looking day to day.

: What is it like when you guys get together and write songs?

L: It kind of varies from song to song. It depends on where the song comes from.

: How do you guys feel about being part of the Minneapolis music scene?

G: It’s a hidden gem. If you go to other places, they’re not necessarily going to talk about Minneapolis, but it’s one of the best music cities.

M: And I think it’s a hotbed for up-and-coming artists. I feel like Nashville, LA, and New York have a lot more of a corporate stronghold on who’s gonna be successful there. But here, I don’t think it’s like that. That is something about the Twin Cities music scene that I do think is really good. There’s a community of bands. We’ve played with a lot of the same bands at hole-in-the-wall bars. We’re all just trying to do the same thing; we’re all just trying to come up and make it ourselves and put Minneapolis on the map as an established music city in the process.

: What’s been your biggest challenge as a band so far?

M: Right now the venues aren’t putting bills together. That’s a big change that has happened in recent decades. It used to be that you’d hit a venue up about getting a show and they would have a bill that’s organized that they could incorporate you into. The bill is now incumbent upon us to put together, so it’d be really good to have an interconnectivity between different bands.

L: That’s one of our biggest challenges right now, expanding that social network among bands. If we’re being honest, we aren’t the most socially interconnected people. We hang out with each other a lot. So now we have to really be active when we’re at these shows. We gotta really talk to bands and put ourselves out there more so we can, like Mike said, put together our own bills more effectively.

M: I do think that bands are talking to one another.

That exists here more than in other cities, and we’re trying to become more of a part of that.

: So does it feel like being outgoing and social in that way is the way to find success here in Minneapolis?

T: Yeah, that’s the music industry in general.

Connections is really a huge thing.

M: It’s always who you know. Here, it’s who do you know in other bands? Who do you know as a local club owner? In a city like New York, someone huge is always rolling through there, and their team is always setting it up. That’s not always the case here. I think that a lot of bigger touring artists might pass up the Twin Cities on a tour and it just leaves a lot of room for people like us to come in and fill that space. I think we’re doing a really good job at it, and I want to talk to other people who are trying to do the same thing.

: In terms of the future, what do you guys want

for Jackie Kean?

G: I think we all want to put out music that a lot of people love, earn enough to make a living, and then just travel the country. Personally, I just want to see it all.

T: I’d say the main goal that we all have is basically just to support ourselves so we can live comfortably.

L: That’s what you hope for, y’know? But what we all think about a lot more is what we’re doing right now. Right now, we’re putting together an album; it’s gonna be like 7 or 8 songs. It has yet to have a name. The goal is to put out an album within...

I don’t really want to put a timeline on it, but sometime in the next few months.

G: What I want for Jackie Kean is that people hear our music. And, not only do they dig it, but they hear the time, effort, care, and love that we put into it.

M: Just making the music as good and as competitive as it can possibly be. And I mean shit, dude, everybody wants to blow up. I think everybody would be lying if we didn’t say that we talked about how crazy would it be to look one day and we have 10,000 plays or something that we didn’t

M: Linus always writes his own drum part; I don’t think that we’ve ever given him any input on that.

But as far as the music chords and lyrics goes, I think a lot of the time, Trent, Gabe, and I are coming together to work on that. Obviously, there are some exceptions, where somebody will have a more fleshed-out idea that they’re bringing to the table, or maybe an idea is more special to them personally, so tampering with it is gonna be something that’s a little more sensitive. Sometimes I’ll bring an incomplete idea, just because I’ve got the lines, but if I bring it to them, it’ll fill out better.

If one of us has a lyric idea that we wanna bring, Trent’s really receptive to that. Trent writes a lot of the lyrics if nobody has anything. It’s just space that’s left up for him to fill, and I think he does a really good job. We’re all comfortable giving him the breathing room to do that, because I know that’s a really important part of how our things are received. As an instrumentalist, I’m primarily focused on how I can make cool sounds.

L: To sum it all up, all of it is really collaborative. I feel like some of the most unique music comes from collaboration in multiple music perspectives coming together.

: Who is your greatest musical inspiration??

T: Well for me, The Beatles. They’re always gonna have a spot in my heart. They’re just so diverse and it’s just a great criteria for song-writing, lyrics, melody, really anything you’re looking at for a song. I’d say The Beatles are fucking phenomonal.

M & G: Jimi Hendrix.

G: For me, it’s Jimi Hendrix because he was able to make the most beautiful sounds and songs, and then also just the gnarliest, most raw, era-defining rock and roll. He just completely pushed the boundaries of what that music was at the time.

M: Yeah, I think, tagging onto that, sometimes I just marvel at Jimi. For me, I know a lot about the nuts and bolts of theory and whatnot, and I don’t really think that Jimi did. But I think that, Jimi, has managed to become, in a lot of people’s minds, and in my mind for sure, the best guitar player of all time. And that’s the thing I stand back in awe of.

L: I just kind of try to pull inspiration from whatever I listen to. I can’t pick one, I’m sorry.

Jackie Kean will be performing at Acadia Cafe on Nov. 21.

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VOICES

Gifted and Talented Programs Pushing students to excel or hurting everyone involved?

BY MARLEY RICHMOND

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The terms “honors program” or “accelerated track” and “gifted education” have been imbedded in the vernacular of the American education given more resources and opportunities than system since its conception, and date back to those who actually need the extra support. Instead Greek philosophical schools and Renaissance of separating and catering to the high-achievers, court patronage. Now, it seems like every student all students should have equal access to the has experienced modern gifted and talented resources for their individualized needs and (G&T) programs—as a participant or outsider—for personal success. better or worse. There are hundreds of forms G&T programs can take and even more methods for While these programs clearly limit the academic identifying students for these programs. Despite opportunities and resources available to perceived their popularity with parents for the perceived “nongifted” students, their impacts on participants boost they offer students, G&T programs have have long been debated and researched. For faced pushback for unfair selection policies, decades, researchers have considered the enforcing systemic inequality, and the negative potentially detrimental impacts of G&T programs impacts on participants’ mental and emotional on students’ mental and emotional well-being. health.

There are two contrasting groups of thought on this point: these programs either enhance students’ According to the Minnesota Department of social skills (including resilience, understanding of Education, gifted and talented programs have self and others, and coping with stress) or increase been established for “those students with students’ vulnerability, putting them at greater risk outstanding abilities.” However, the issue of underfor social and emotional problems and leaving representation, specifically of culturally diverse, them increasingly exposed to stress and alienation. low-income, or ESL students, is pervasive in these The truth is, there isn’t a clear-cut right answer; programs. No matter what supposedly universal research has provided empirical evidence for both. screening practices are used, G&T programs

still create two distinct groups: those who are gifted and those who are not. By providing “gifted” students with additional resources, more challenging lessons, and more highly-trained teachers, school programs take these same opportunities away from students who are already identified as lower-performing. Instead of lifting up those who are at- or below-average, the education system furthers achievement gaps by helping advanced students get even further ahead, leaving others behind. Students who already have many tools for success—whether that be personal drive, natural ability, especially supportive home environments, or wealth—are

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Gifted and talented programs prove difficult to research because of the large range of program types and student selection methods as well as the external factors impacting students’ wellbeing.

Anxiety, however, has been shown to accumulate and manifest in “gifted” adolescents even if participants did not express higher than normal rates of anxiety as children; perfectionism, fear of failure, and social isolation are causes. G&T programs can convince students that nothing but the best is enough and teach students to set the highest possible goals for themselves, whether they are attainable or not. Not every “gifted”

student can become their school’s valedictorian, for example, but that shouldn’t diminish one’s self-worth.

Additionally, students in the bottom half of their G&T classes have shown especially poor academic self perception. The big fish-little pond effect, where students judge themselves against their peers, can lead to lower self esteem and increased feelings of failure and deficiency, regardless of intelligence and work ethic. In reality, the perceived negative effects of gifted and talented programs are just one symptom of overly-demanding and competitive academic environments in schools, exacerbated by the cutthroat culture of college admissions and scholarships. Changing the culture of the American education, and supporting all students in all aspects of their health, are necessary to lower rates of anxiety and depression among students as a whole.

G&T programs ultimately fail to benefit either the “gifted” or “nongifted.” What is meant to push the “gifted” students to their full potential is actually damages participant’s mental wellbeing while widening the achievement gap for those excluded from G&T programs. In Minnesota, where the education achievement gap is one of the worst in the nation, impacts of gifted and talented programs must be analysed and critically assessed to ensure that all students have equal access to tools, resources, and opportunities for success whether they are officially labeled “gifted” or not.

NOV 18 - DEC 2

VOICES

Be the Bad Bitch Bitch, a word that once connotated brash female behavior, is now a reclamation of feminine identity

BY NINA RAEMONT As a twelve-year old, my favorite movie was “The Clique,” a cheesy and petty story about a small town girl from Florida who tries to find her way in a wealthy New York suburb as she deals with the ostentatiously well-off mean girls of Westchester.

The feud between the two main characters, Massie and Claire, begins when Claire calls Massie out for her mistreatment: Claire deems Massie a b*tch, and Massie reactively declares war.

That type of scene, in 2019, would cease to exist. We have come quite a long way since the word “bitch” has been used in a derogatory manner to provoke a woman. Because of pop-culture and the progressive feminist movement, “bitch,” a word that not only connotated brash female behavior, but also reinforced misogynistic ideals, is now the name women are slowly reclaiming as a term of empowerment.

From Rihanna to Rico Nasty, iconic female artists use “bitch” in their songs to emphasize their feminine power. The term bitch now signifies a woman standing up for herself in situations dominated by the condescension of a man, or striding into the office and telling her boss that she deserves the same salary as her male colleague, or leaving a toxic relationship because she recognizes she deserves better. This term is a reclamation of feminine identity—and who wouldn’t want to be called something that reclaims more of the power that the misogyny in society has historically stolen?

As women progressively chip away at the glass ceiling and further incarnate the identities of empowered matriarchs, these derogatory terms that once targeted the demeaning stereotypes of our gender will now emphasize the strengths of who we are.

We no longer adhere to the ideas that being powerful, wellspoken, and strong, are qualities reserved solely for our male counterparts. So call us a bitch—we dare you.

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Reclaiming Cuffing Season How to remain single and still participate in the festivities

BY KINGA MOZES Sometimes we just want a boo. And not just to satisfy our ghostly pleasures during spooky season but to choke down vegan turkey with us on Thanksgiving and hold our hand when we forget our gloves in the apartment. I get it.

Scrolling through Instagram, there’s not much else but girls in blanket scarves at the pumpkin patch and people flexing their partners.

Thus, the creation of cuffing season: a series of temptations to DM back that one guy lurking in the cobwebs of your Tinder. The endless dating app options make it easier than ever to turn those messages into dates.

By all means if you meet the right person, go. However, if deep down you know that the spark is not there, if the person doesn’t cause you to smile down at your phone and almost get run over by a Lime scooter walking to class, don’t force it. I challenge you not to compromise your selfgrowth and happiness just to have another human being to trade saliva with.

There’s a certain glow, not from the freezing wind outside, but from within yourself that radiates when you feel confident in your own skin. Often, insecurity combined with pressure from the media can drive the mad pursuit of a partner when our energy could be better spent building up our sense of self. The most thrilling part about being in college is the amount of freedom we possess to create ourselves, no matter the season. When we have our own dreams and goals pushing us, not the presence of another person, self-discovery is utterly satisfying like the first sip of a steaming hot chocolate. Consider pursuing something new this holiday season rather than someone new. If nothing else, at least you’ll be able to avoid the awkward follow-up questions about your relationship status at Thanksgiving.

THE WAKE

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VOICES

The Reality of Mandatory Reporting Why mandatory reporting isn’t always helpful to survivors of sexual assault

BY ANGELA PEREZ Campus policy states that University employees must contact the campus Title IX office if they learn about instances of sexual assault. The policy’s intention is to take prompt and effective steps to end sexual violence, prevent the reoccurence, and help remedy the effects.

While the policy can facilitate a safer and more caring environment for students, I believe mandatory reporting on campus should be handled differently.

As someone who is a survivor of sexual assault, I know first-hand what a deeply traumatic and detrimental experience it is to be a victim of. I believe that if you confide in a professor or any other professional adult, it can easily become damaging for that trusted individual to report it to a practically impersonal office.

Once reported, the Title IX office emails a survivor with resources, such as counseling or legal reporting.

Reaching out with an email is very impersonal, especially because the survivor doesn’t know the office, and feels as an out for the trusted adult. Not only is this impersonal and a betrayal of trust, it also forces a survivor to take further steps when they may not be ready, contributing additional trauma and stress to an already incredibly strenuous situation. Rather than forcing employees to report sexual assault to the Title IX office, they should be trained to inform the survivor of resources available to help them cope with the trauma of the experience, such as the Aurora Center, and encourage them to contact the Title IX office; they should not make that decision for them.

Survivors deserve the autonomy to decide for themselves how they want to cope and move forward— not anyone else. Undoubtedly, mandatory reporting is not intentionally harmful, and I’m grateful that there are policies to try and protect survivors. However, current policies may push survivors to cope with sexual assault at a faster pace or process that is unhealthy and ultimately unbeneficial to the individual.

The Trick to Adulting

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What does adulting actually look like?

BY ISABELLA AZZARO On a college campus, by far the most common phrase heard is: “Why can’t I adult?” Well, that’s a valid concern, because the real question is, “What does it mean to be an adult?”

I can’t count the number of times I’ve watched a Disney movie and felt judged by peers, family, and society in general. The moment we reach a certain age, we as adults are expected to avoid childish things. However, being an adult shouldn’t be about rejecting childhood, but rather it should be owning up to our own choices and sticking to our opinions no matter what.

Throughout various “milestone” ages, a list of “dos” and “do-nots” have accumulated where certain ideas or activities are considered appropriate for that particular age. Even back in high school, the library was divided into middle school and high school sections, and, let’s be honest, no high schooler would be caught dead in the middle school section, even if that’s where the Percy Jackson books were kept. This same pattern even extends to what we eat. Purchasing cotton candy or a giant rainbow lollipop in public will certainly warrant some strange looks from those around you. Why? Are candy preferences supposed to mature with age? Of course not!

As we get older, it seems that being an adult implies rejecting childhood ideals as a whole, but it doesn’t have to. Being an adult shouldn’t be this elusive concept we all chase—it is very attainable.

It’s not about what interests we are or are not allowed to entertain. Being an adult is taking responsibility for yourself and your actions.

If you want to buy a massive bag of cotton candy, then that shouldn’t be looked down upon, but you have to make the dentist appointment. That is what it means to take responsibility as an adult.

“Adulting” doesn’t fit into neat, stackable boxes.

Everyone has a different outlook on it, but in the end, you have to own up to your choices and ignore everyone else’s expectations.

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NOV 18 - DEC 2

Marvel Movies: Art Form or Theme Park?

Art and action movies both deserve a place in the film industry and here’s why

BY AVERY WAGEMAN In the midst of movie reboots, unending franchises, and the monopoly that Disney possesses, film director Martin Scorsese has recently voiced his controversial opinion in regards to the current film industry. He said of the Marvel franchise, “Honestly, the closest I can think of them . . . is theme parks. It isn’t the cinema of human beings trying to convey emotional, psychological experiences to another human being.”

As a fan of Marvel movies, I argue that, although they may not all have emotional storylines, the heroes themselves are complex and relatable. It’s a shame that Scorsese does not see the emotional connections countless fans create with these characters. Personally, I love these movies and the characters the actors have made them into. Honestly, I cried when I saw “Avengers: Endgame” because of the years-long connection made with its characters. Many of us have grown up alongside these characters, and unlike independent films, franchises like Marvel allow us the opportunity to see them develop over several years.

However, that isn’t to say I don’t also enjoy films like those that Scorsese has made, appreciating the creativity and depth that their stories provide. Scorsese is contributing to a valid discussion that needs to be further examined regarding the monopolization of the film industry and mass production of sequels and remakes.

The more pressing issue, however, is the lack of diverse representation and opportunities for independent artists. Franchises like Marvel don’t often allow a platform for independent artists and new voices.

Providing opportunities to women, people of color, and LGBTQ+ people as creators, directors, and actors, and including them in this discussion is how franchises can begin to produce more innovative content. I only believe Marvel can continue to create engaging movies if opportunities for new artists and greater representation in its characters is provided.

THE WAKE

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VOICES

Mission Impossible: How Good is Being Good?

Too often, charitable work is more helpful to the privileged than the needy

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BY KYLIE HEIDER Like many other students, my education is subsidized, in part, by scholarships. One of my scholarships stipulates that the student write a thank-you letter to the donor in order to receive the money. Upon learning this, I marvelled at this small injustice: why should I, after years of trying to prove my worth through measures of academia, be required to bow to the feet of these wealthy benefactors, just to receive an award which I had already been granted? Could these people do nothing thankless?

Today, charity exists as a complex moral entanglement. My own loose experience with this conundrum is a highly privileged, minute example of a much broader, more serious issue. In a world of short-term mission trips and white saviors, it is difficult to recognize when philanthropy is genuinely beneficial. In many ways, mainstream philanthropy—neo-colonial mission trips that fail to aid poverty in developing nations or billionaires donating deceptively huge sums of money to charity when in reality these sums are miniscule percentages of their wealth—are venerated by the general public; those who participate in such efforts are exalted as heroic, courageous examples of the good Samaritan. Of course, it is right to strive to use our privileges—which are often monetary—to uplift others. But when donating efforts begin to tip the scale from productive work in the service of others to self-serving acts to alleviate the guilt of the oppressor, charity begins to fail its noble intent. If the fervor of goodness that is placed on charity was placed equally on efforts to dismantle the systems, which demand such charity—be it poverty or college tuition—perhaps then a tangible change would be made.

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SIX REVIEWS

The Lighthouse

BY HALLE FODNESS As Robert Egger’s second feature film with A24, “The Lighthouse” serves as more of a surrealist period piece than a horror movie.

Robert Pattinson and Willem Dafoe star as two men assigned to keep watch over a remote lighthouse for four weeks in the late 19th century. Insanity ensues as reality starts to blend with the men’s horrifying hallucinations, and it becomes disturbingly hard to know which parts are real and which parts are figments of their demented imaginations.

The movie is unsettling from start to finish.

Egger’s inspiration from the works of Herman Melville, Robert Louis Stevenson, and H.P. Lovecraft is evident—the movie feels like a modern-day retelling of tall tales sailors might have exchanged. But the formatting choices (it was shot on 35mm film with a black and white filter and a uniquely square aspect ratio) keep the film in its time period, almost like it was shot in the 1890s. The lighting is odd and has tons of falloff, giving scenes a particular sense of claustrophobia.

Directorial decisions throughout the movie allow for an extremely gratifying viewing experience. The score works relentlessly to add a layer of dissonance to the movie, with bass-y reed instruments at the forefront. These match the deep thrumming of the deafening foghorn that is constant throughout much of the film.

This, paired with the discordant fiddling of a string orchestra, overwhelm the audience, making them think they are as trapped as the characters.

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3

Pony

mxmtoon

Rex Orange County

BY HELEN WEIL

BY ERIN WILSON

On Friday, October 24, outside the Amsterdam Bar and Hall in St. Paul, a line formed, snaking around the building and down the block.

Nineteen-year-old Maia, who goes by the stage name mxmtoon (pronounced em-exem-toon), and her seventeen-year-old opening act, Chloe Moriondo, were playing that night.

Both are YouTubers known for playing covers and original songs on the ukulele.

Rex Orange County’s latest album, “Pony,” released on October 25, is a beautifully crafted indie pop masterpiece. Each song expresses a different feeling and brings a new sound to the table, creating a balanced and versatile album perfect for dancing, driving, or crying.

The album starts out with “10/10.” On the surface, it sounds like a cheerful pop song, but it tells a darker story about the difficulty of self-improvement with lyrics like “I had a year that nearly sent me off the edge/I feel like a five, I can’t pretend/But if I get my shit together this year/Maybe I’ll be a ten,” which speaks to the emotional trials and tribulations the artist endured. It’s honest and sanguine while remaining catchy.

“Pluto Projector” is achingly beautiful, initially set to soft acoustic guitar but crescendoing to dramatic orchestral music. It’s a vulnerable and powerful love ballad, packed with emotional lyrics such as “This right here still feels like the honeymoon/When you say my name, nothing’s changed.”

“Never Had the Balls” is another star on the album, filled with lively guitar, synth, and audio of birds chirping in the background. It feels like the season of spring made into a song, while “Always” is an easy-going and jazzy tune reminiscent of summer sunsets.

Rex Orange County once again delivered an unforgettable and carefully crafted sound with “Pony”—it’s poignant, it’s powerful, and it’s perfect.

Moriondo opened with songs from her 2018 album “Rabbit Hearted.” and played a few newer songs, like “Kindergarten” and “Ghost Adventures Spirit Orb.” It was just her and her sticker-covered ukulele on the stage, which made for an intimate performance.

Before mxmtoon took the stage, a lamp decorated with paper cranes was placed next to the microphone. mxmtoon turned on the lamp a few songs in, making it feel like the audience was relaxing in a friend’s living room instead of at a bar, packed in like sardines. mxmtoon played songs from her 2019 album, “the masquerade,” and her 2018 EP “plum blossom,” remarking that she never thought she would advance from recording songs in her parents’ guest bedroom to playing live for so many people. She had the audience wave around flashlights to “late nights,” clap along to “my ted talk,” and scream along to her most popular song “prom dress.” After “prom dress,” she said she might play one more song “if you chant loud enough.” The crowd yelled “Maia!” until she ran back on stage to play “feelings are fatal” one more time.

NOV 18 - DEC 2

SIX REVIEWS

Stage Fright

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Jenny Slate

BY MEGAN BORMANN Actor and comedian Jenny Slate has made her Netflix comedy debut in her new special, titled “Stage Fright.” The show can only be described as a confusing mesh of childhood home videos, strange family interviews, and awkward laughter from both the audience and Jenny herself. Throughout the show, the audience watches Slate do her stand-up routine while being interviewed seriously about her family and her past.

The first five minutes are rough. The audience slowly warms up to Slate’s over-the-top personality and high energy. Slate takes viewers through her haunted childhood house, a tour of her bedroom, and her sex life. She cracks jokes about her time as an actress and the unrealistic body expectations women in Hollywood put up with.

It takes 45 minutes for the audience to learn why the documentary is titled “Stage Fright.”

It turns out Slate has stage fright. Not a rare problem for performers, especially comedians.

One of the strangest scenes involves Slate staring out the window of her car like she’s the main character on a teen television drama. It doesn’t quite match the whimsical tone of her on-stage performances.

Slate herself is remarkably funny in her standup routine and her easygoing jokes and humor reflect that. But somehow, the scenes with her family and in her childhood home, the place where she is supposedly the most comfortable, are awkward and forced. The messages about Slate that she was trying to convey about herself are lost in an odd mess of the show.

THE WAKE

Cry Cigarettes After Sex

BY KATELYN ANDERSON Cigarettes After Sex recently released their second album, “Cry.” It features nine songs, each with a tone dreamy enough to put the listener to sleep. Greg Gonzalez, the lead singer of the band, has a melodic voice that makes the listener want to sway along. The drums and guitars stay at a slower beat throughout the songs, adding to the calm ambiance.

Because the band’s music is comparable to ambient music or background noise, many of their songs sound the same. Many of the chords played by the guitar and bass are very alike and the drums often hold relatively the same slow beat. All of the songs discuss sex and love, and some do not hold back, such as “Kiss It Off Me.” Some songs talk about rather explicit things such as “You’re the Only Good Thing in My Life.” Not only do most of their songs sound very similar to each other, many of their lyrics are repeated.

The songs on “Cry” are slow, but they are also delivered in a way that is beautiful and serene.

This style of music is not for everyone, but it is interesting and different because it feels soothing and personal. The songs are sensual and mellow, making listening to their music feel like an intimate experience. Their soft tone almost feels like a lullaby, and it will make the listener want to close their eyes and listen to the soothing sounds of Gonzalez’s voice.

Jesus Is King Kanye West

BY PETER NOMELANDER Kanye West has changed. Maybe. After a year that saw him release two critically acclaimed projects and produce numerous others, West also found himself embroiled in multiple controversies. Whether it was at the White House or the TMZ offices, it felt like West was always saying or doing something that made longtime fans scratch their heads. In the aftermath of this backlash, West started performing public concerts he dubbed “Sunday Services,” and announced a new record that would be strictly gospel music.

After months of reworking and changing the release date, fans get “JESUS IS KING,” West’s eighth solo studio album and his first gospel record. The results are a bit of a mess. A short, strange, and shockingly soulless project, “JESUS IS KING” is a disappointing follow-up to last year’s apparent return to form.

West’s production remains as strong as ever on many tracks, especially on the choirbacked “Selah” and “God Is.” But his lyrics and vocals continue to frustrate and confuse. West sounds bored for most of the record, which is disappointing given the personal nature of the subject matter, and his lyrics are laughable at times. The less said about the Chick-fil-A song, the better.

While far from awful, the album seems thrown together at the last minute, like many of West’s recent outputs. But while those projects, particularly last year’s “Ye,” almost benefit from their quick turnout, “JESUS IS KING” suffers and unfortunately results in West’s most disappointing record yet.

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