The Wake - Issue 2 - Fall 2019

fortnightly student magazine

volume 19 — issue 2

Period Party on the Plaza

p. 7

Starting Fights at Formal Restaurants for the Masses

p. 14

Learning @ Lakewood

p. 8

Q&A: Benjamin Dakota Rogers

p. 16

Protecting Minnesota’s Natural Treasure

p. 11

Closing the Curtain on Diversity

p. 18

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Art by Tori Harder

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Send us your creative work!

VOLUME 19, ISSUE 2 EDITORIAL:

Want to be featured in The Wake?

We accept art, photography, poems, short stories & more!

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

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

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

Send your writing submissions to: eic@wakemag.org Send your art submissions to: art@wakemag.org

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

Anxi, Megan Bormann, Esther Chan, Hannah Dove, Tosin Faseemo, Evan Ferstl, Meili Gong, Kylie Heider, Jemma Keleher, Ian Knoll, Š2019 The Wake Student Magazine. All Rights Reserved.

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

Angela Perez, Sylvia Rani, Marley Richmond, Kathryn Richner, Nadia Shaarawi, Isabel Teitelbaum, Sophie Tiahnybik, Anthony Timm, Erin Wilson Art

The Wake was founded by Chrin Ruen & James DeLong.

1 Meredith Song, 2 Selena Philaphandeth, 3 Laura Kuchar, 4 Eva Berezovsky,

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

5 Luciana Divito, 6 Morgan Wittmers-Graves , 7 Mary Ellen Ritter,

The Wake Student Magazine 126 Coffman Memorial Union 300 Washington Avenue SE Minneapolis, MN 55455

8 Isabelle Snyder Q&A photos courtesy of Benjamin Dakota Rogers Us + Them, Lover, Charli, and Please art from original sources Cover & Feature art by Joe Price

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wink! one page magazine

Us here at The Wake know Tinder is a hot commodity.

We asked our Art Director, Morgan, to find some of the standout profiles.

Here is a super sneak peak into her diary.

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OCT 21 - NOV 4

INSIDE

UPCOMING EVENTS

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Letter from the Editor

10/23

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Period Party on the Plaza

Study Night

Art Attack 2019

5:00pm - 8:00pm The first 100 students will receive a free drink ticket for Misfit Coffee.

11/1: 5:00 - 10:00 PM 11/2: Noon - 8:00 PM 11/3: Noon - 5:00 PM

Weisman Art Museum

Northrup King Building

10/25 & 10/26

11/2

Fall 2019 Free Films

Walker Around the World

Spider-Man: Far From Home Showings at 7:00pm & 10:00pm

Free First Saturdays feature free gallery admission on the first Saturday of every month, plus performances, games, art making, and films from 10 am to 3 pm.

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Learning @ Lakewood

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Eggroll Queen Music Cafe

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Protecting Minnesota’s Natural Treasure Starting Fights at Formal Restaurants for the Masses Q&A: Benjamin Dakota Rogers

A

Coffman Memorial Union

10/26

11/1 - 11/3

The Walker Art Center B

A

Saturday Farmers Market 9:00am - 1:00pm

18

Closing the Curtain on Diversity

19

Body Positivity Exclusivity

20

Signing Off

21

Rediscovering Simplistic Joy

The Whole Music Club

22

Six Reviews

10/31

Mill City Farmers Market

10/26

C

DRAMA 7:30pm, $5 for students

B

Arty Costume Party Cocktails & Costumes: 5:00pm - 7:00pm Haunted Garden Tour: 6:00pm & 7:30pm Only Lovers Left Alive: 7:00pm Free

C

Walker Art Center

THE WAKE

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Letter from the Editor Welcome to fall, Wakies. The season of change is upon us. Are you facing Resistance?

In “The War of Art” by Steven Pressfield, Pressfield describes a concept called Resistance. Resistance is a force against the human creative mind with a single purpose: to keep things as they are. It will attempt to stop the actualization of an individual and paralyze their creative process through rationalizing, inspiring fear and anxiety, emphasizing other distractions, and heightening self-doubt. It is more dangerous to one’s life experience than any other entity because it works from within, persuading an individual to accept the stagnation of their creative condition.

Despite this, Resistance is a good sign.

In order to have Resistance, one must first have a Dream. A Dream is a glimpse into the uninhibited aspirations of the mind. It is a vision of what one might do or produce. These ideas could be for anything—an art project, a career, an act of kindness towards the world—anything that arises from the pool of thoughts in the subconscious mind is subject to Resistance. It follows the Dream like a shadow. Our strongest defense against it is recognizing Resistance for what it is and making a conscious decision to pursue the Dream.

So as we descend through the last few months of the year and the autumn wind beckons in the energy of change, let’s vow to put our Resistance aside and seek out growth with our full attention.

Thanks for picking up an issue of the Wake. I hope you embrace this transitional period of the year with openness, curiosity, and the intention to pursue your Dream.

Sylvia Rani Cities Editor

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OCT 21 - NOV 4

CITIES

MN Climate Strike: There is No Planet B The kids aren’t alright—and neither are we, until we do something about it.

BY HANNAH DOVE The kids on the light rail are young, holding Fortnite backpacks with tall lanky limbs. They’re also holding signs decorated with planets, plants, and slogans pleading politicians to not destroy the very ground we walk on. Some are holding their parents’ hands as they walk towards the throng of people marching forward, heads high, some solemn, and some laughing with their friends. They stop at the green at the bottom of the St. Paul Capitol building and look up to lock eyes with a petite girl waiting up at the podium.

Isra Hirsi is 16 years old and is the executive director of MN Youth Climate Strike. She’s also been going to protests since the 1st grade.

“Take out your phones,” she directs, and a sea of iPhones emerge from the crowd. “Now I want you to text MNStrike, that’s capital M, N, Strike, to 333-39. Follow the instructions from there.”

It’s September 20, 2019, and all over the world people (mostly youth) have walked out of their workplaces and schools and taken to the streets to demand action on climate change. This date was not purely serendipitous: the United Nations Climate Summit in New York was a mere three days away.

This is not only a stand against those committing violence against the environment and those who suffer most from climate change, this strike is also the start of the intersectional age of environmental activism. The youth are the first to ask: whose voices are being heard, and whose voices are being drowned out by those in power?

These remarks are not meant to comfort the privileged—they are meant to speak to the environmental racism, classism, and sexism prevalent in the environmental movement. What the youth of the MN Climate Strike understand is that we can no longer ignore the disparities in the fight against climate change: not the indigeous peoples fighting against the Line 3 pipeline, nor the unequal air pollution and trash incineration within North Minneapolis, nor the poor people of color whose voices are not listened to.

All of these organizers are eloquent, driven, and spending their childhoods begging for a future. As dozens pile into the capitol building for the die-in, bodies smushed against each other, the building snaps into silence. A written sign sits on the floor in my periphery: “You’re Killing Us for Profit.”

THE WAKE

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Period Party on the Plaza Ending period poverty through education, advocacy, and service

BY MARLEY RICHMOND If forced to choose between buying a meal or buying necessary menstrual hygiene products, which would you pick? This is an issue faced by many menstruators worldwide, one which Period.

MN, a local chapter of the nationwide nonprofit, demonstrated at their Period Party on the Plaza on October 2nd. At the “Menstruation Station,” students added their thumb print in red paint to a poster and were then asked to choose between a free donut or a napkin. This simulated the often overlooked and stigmatized issue of “period poverty,” one which Period combats through education, advocacy, and service. Their Period Party on the Plaza was a mix of all three!

Period seeks to normalize the discussion of menstruation while showing that there is no one “normal” way to menstruate. At their Period Party, tables on menstrual health and sustainable menstrual products offered information for both those who have periods and those who don’t.

Period partners, Planned Parenthood and the National Council of Jewish Women, also had stations educating on safe sex and registering students to vote. The Period Party held a menstrual product drive, collecting products to be distributed at one of seven local homeless shelters with which Period.MN partners.

Period also uses advocacy to support representatives fighting period poverty through policies such as those to end the luxury tax on menstrual products (the “tampon tax” or “pink tax”) and to provide free menstrual products through all public middle and high schools. To support this cause, join Period—and many other co-hosts— for the National Period Day Rally on Saturday, October 19 from 2–3:30 p.m. on the Northrop lawn.

Help end period poverty so no one else has to answer the question, “food or menstrual hygiene?” when the stakes are higher than a free donut.

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CITIES

Melanized: Justice, Joy, Race, and Tap Dance Davon Suttle’s tap performance protests systemic racism and celebrates POC-created art forms

BY MEILI GONG If you haven’t seen anyone tap dance for social justice, you don’t know what you’re missing.

Melanized is a multimedia tap dance performance-protest. Produced, choreographed, and performed by Minneapolis-raised tap dancer Davon Suttles, Melanized takes on the question: What does it mean to live as a person of color?

Before seeing Melanized, the only tap dancing I’d seen was Gene Kelley’s merry 1952 performance in “Singin’ in The Rain.” I had read on the Melanized website that the show discussed historical injustices like the ethnic genocide in 20th century concentration camps, redlining, and police brutality and wondered if tap dance could carry such weighty subject matter.

Melanized crumpled up my narrow, cheesy conception of tap dance and tossed it backstage.

Dancers Davon Suttles, Noah Brewington, and Nina Maxwell brought relentless energy throughout the show, and their passionate steps worked just as well in outcries of injustice as celebrations of afrocentric and south asian culture. When redlined districts rose from the ground, their small, fast footfalls rustled with fearful uncertainty. When the voice of a TV newscaster announced Dontre Hamilton was shot by a police officer 14 times, Suttles, Brewinton, and Maxwell’s feet cried four-teen-times.

Davon’s use of layered media in Melanized also helped carry its content. In the first act, a three person chorus stood beside the stage singing gospels. A projector above the stage read poetry. The sound system pumped the room with jazz. In the second act, which spotlights American jazz and konnakol—a type of Indian scat song form focused on spoken percussive rhythms—Davon even joined the audience, letting Brewington and Maxwell sing with the trumpet and saxophone of “Ceora” by Lee Morgan.

Melanized was poetry, film, dance, percussion, gospel, and jazz— and it worked.

Davon is one of few MN based tap dancers representing afrocentric culture.

To keep up with his projects, check out his instagram (@ davonsuttles).

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Learning @ Lakewood Maybe consider cremation?

BY SOPHIE TIAHNYBIK Lakewood Cemetery may not seem like a setting in which to have thoughtful, curious events, but this weekend was different. It can be quite a shocking experience to enjoy such a traditionally somber place, but with the help of these thoughtfully curated events and lectures, it wasn’t hard. In their Learning @ Lakewood series, speakers take on rather taboo topics such as death, burial, cremation, grief, and remembering, and open them up to the public to discuss. By giving some knowledge, support, and genuine curiosity to these ideas, they have created something powerful and useful to everyone.

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The Considering Cremation event was rather small, and there were a few speakers who took us through the process of cremation, the pros and cons, and a tour of some of their facilities. Lakewood does about 1,400 cremations a year.

One of the speakers noted that more than half of Americans want or are interested in cremations. Dare I say it’s a hot topic… However, not only is cremation more space efficient, it also allows your loved ones to legitimately take you along after you have passed on. Bodies can even be turned into special things such as plants, jewelry, or even fireworks.

Not to mention, Lakewood Cemetery’s grounds were absolutely gorgeous. The crypt, a building where they hold cremated remains in beautiful marble drawers, is similar to a modern museum. Even though this event was held on an exceptionally dreary and rainy morning, the luscious green grass and grandiose oak trees were bewildering all the same. It’s easily a lovely place to remember someone you loved.

The speakers ended the event with some ideas on death. They noted how it was important for all of us to be there, acknowledging our fate in this world. It was quite clear that everyone in the room was acutely aware of death. This may have been because they were all chronologically closer to death in a perfect world (most in attendance were much older than me). However, death is all around us, and no one knows when that magic moment of ceasing to exist will occur. I couldn’t help but leave this event feeling weirdly supported and calm about the future. Learn @ Lakewood has more events like this one with varying subject matters including Mediation on Embracing Death and Dying and Winter Solstice Tea Ceremony and Grief Circle.

OCT 21 - NOV 4

CITIES

Eggroll Queen Music Cafe Your new favorite spot in Falcon Heights

BY SYLVIA RANI All hail Mai Vang, the egg roll queen of the Twin Cities.

After a series of trying events, the resilient queen has finally secured a permanent home for her delicious cooking and community-focused mission.

After Vang unexpectedly lost her hearing in 2013, she began making egg rolls to cope with her stress. She sold them at local fundraiser events and grew her business until she could get a food truck. Operating during warmer months of the year, the Eggroll Queen truck brought jumbo-sized homemade egg rolls of all different varieties to community events around the Twin Cities. Then one day, while raising money for her grandmother’s funeral, Vang’s food truck caught fire and was rendered unusable. The devastating incident put her out of business for months. That is, until fellow food truck owners Amy and Will Cave from GrillWorks started up a GoFundMe page for her. Thanks to the strong support of her community, Vang surpassed her goal and was able to get a new food truck up and running within the year.

And her business victories didn’t end there. As of the grand opening on October 5th, Vang finally got her own cafe in Falcon Heights, where she can serve her delicious egg rolls all year long. Eggroll Queen Music Cafe also hosts regular open mic and live music events. Vang’s business has certainly come a long way—from selling egg rolls in her living room to becoming a sit-down restaurant and center for community gathering. And with such a wide variety of egg rolls (the Queen even offers philly cheesesteak rolls), there is no doubt an egg roll to suit everyone in the kingdom.

You can visit the Eggroll Queen Cafe at its new location: 1579 Hamline Avenue N. Try the strawberry cream cheese dessert rolls— you won’t regret it!

THE WAKE

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“Gods and Monsters” Offers Scary Good Art The annual exhibit gives horror fans a chance to explore and display their creative side

BY IAN KNOLL Horror and art are an often overlooked combination.

Although works by Ensor, Goya, and Bosch chill to the bone, “Mona Lisa” doesn’t cry blood, Bob Ross never painted a hellscape, and the only similarity I can find between “I am Legend” and The Museum of Modern Art is that they both have “Starry Night” in them. While it’s by no means the Louvre, the annual “Gods and Monsters” exhibit at Artspace Jackson Flats is here to scratch that trembling itch for ghastly art.

Put on by the “Otherworldly Arts Collective,” the show is a chance for horror artists in the Twin Cities and beyond to display their macabre art. With forms ranging from woodcuts and sculptures to digital art and painting (with a multitude of mixed media in between) and inspirations from classic horror, cinema, shows, games, or the artist’s own dark imagination, anyone with an interest in horror will find at least one piece that murmurs unspeakable monstrosities to them. And if you do, you can probably buy it too—most work on display is for sale either in their original form or as prints, alongside a variety of other mementos. My personal favorites among the hundred-plus pieces ranged from the chilling to the absurd.

Somewhere in the middle were the paper-cutting portraits of classic Universal Pictures monsters by Damian Schaab (the highlight? Invisible Man, of course). Meanwhile “Illumination of the Third Parable” by Josh Hames, which depicts a wizened old man and the phantom that looms over him, is as vague yet ominous as the name suggests. Somewhere else entirely is the sculpture “Crawfish till the Bitter End” by Jackie Platt (I’ll leave that one up to the imagination).

Between packed crowds, frightful costumes, and the at times nightmarish and gory art, the atmosphere on opening night was a bit overwhelming for the horror casual like myself, but the hardcore aficionados no doubt found themselves right at home. For those wanting a more laid back opportunity to take in this eldritch exhibit, the gallery is still open weekdays until October 26th.

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ART

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Art by Lauren Bastian

OCT 21 - NOV 4

FEATURE

Protecting Minnesota’s Natural Treasure A community banding together to advocate for the beauty in their backyard

BY ISABEL TEITELBAUM

THE WAKE

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FEATURE FEATURE

Hidden in the Midwest is more than a million acres of preserved land, full of wildlife, housing more than one thousand lakes- a landscape made up of the highest point in Minnesota, decorated with some of the oldest rock in the world, greenstone, and approximately 1,500 miles of canoe routes.

This wilderness area is better known by its close friends as the Boundary Waters Canoe Area (BWCA).

One of the newest threats to this cherished area is the proposed sulfide-ore copper mining within the BWCA watershed. Potential contamination from mining would pollute any connected water flow, and just one of the four proposed mines is predicted to pollute the area for up to 500 years. If approved, these mines would pose a significant risk to the long-term preservation of the BWCA, and the implications of such an approval impact a large majority of the Midwest.

Historically, ecosystems surrounding sulfide mines have always been affected by some form of pollution, typically caused by some kind of spill. For instance, the Ray Mine in Arizona produced pollutants that traveled 11 miles downriver. The sulfides released during mining interact with air and moisture to produce sulfuric acid and seep into nearby water sources.

Extraction of sulfide from the water, once it’s been exposed, is difficult and expensive. In some cases, contamination of water by mining was so devastating that the site continued to pollute for an indefinite number of years. Contamination of drinking water poses a large threat to public health.

The fight to protect BWCA has had support from various groups. Advocates range from college students, to local artists, to scientists, to physicians.

Water pollution not only affects the wilderness, but surrounding community members and their health.

The U.S. Forest Service and Bureau of Land Management received a letter from Minnesota physicians and other allies in 2017 about the health concerns of mining. Cancer, heart disease, and neurological development are just a few of the known effects of exposure to environmental toxins from sulfide-ore mining. The physicians and allies expressed their worry that the mining waste would makes its way into humans through drinking water, fish, and other wildlife.

While the artists of Doomtree Collective have been exploring their solo careers during a couple of years of hiatus, they came together this June for the Wild Waters concert in Duluth. “Getting to play in this state, with a list of bands and artists from the state—that always feels good,” Mader said, “Like a big celebration of the people and the community, as well as raising awareness.” Doomtree and eight other Minnesota-based artists participated in the event. The local lineup shows how deeply Minnesotans connect with the wilderness and are responding with such strong conviction.

The event was successful in raising awareness and gaining media coverage for the cause.

However, only a portion of the money raised from the concert went towards preservation efforts—a lot less than people would like to think. But there was a heightened sense of comradery for those who may have felt more distanced from the fight to protect the BWCA.

Bands, producers, and singers have started using their music as a platform to fundraise and advocate for the BWCA. Aaron Mader, better known as Lazerbeak, is based in Minneapolis and is working with the BWCA. Earlier in his career, he wrote lyrics inspired by the environment and has always been sympathetic towards protecting wildlife. He is one of seven artists who make up the Doomtree Collective.

“Getting to play in this state, with a list of bands and artists from the state—that always feels good,”

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OCT 21 - NOV 4

FEATURE

“to think that this pristine wilderness I have had the privilege to grow up with may not exist for future generations.”

Anna Nordin, a guide at Menogyn, a camp near the BWCA specializing in canoe trips, works to break down the barriers of who has access to the outdoors and that perceived distance from the issue. She strives to make environmental programs “accessible, inclusive, and welcoming to all identities.” Nordin feels at home in the BWCA and wants to help others to feel the same.

YMCA Camp Menogyn is just outside Grand Marais and within walking distance to the BWCA. Nordin said some of the campers had never spent a night outside before Menogyn. The camp is a chance to strengthen, or create, a relationship with the environment. It’s important for people to experience all that nature has to offer. BWCA offers an array of scenery, from lush tree lines to burn areas, displaying its diverse ecosystem.

from the waste, adding it to a mixture, and putting it on a liner before covering it with vegetation.

Though this is a better option, it’s not known how well this waste method would work in Minnesota’s climate. It has been used mainly in southwest climates. Metallic sulfide mining has never before been permitted in Minnesota, because it’s found to be too risky for the environment and mine workers. The majority of the current copper sulfide mines are in areas of the southwest with limited precipitation and are reasonably safe for groundwater resources—a contrast to the Midwest. The BWCA would be the test subject for dry stacking in a Midwest climate, with potentially permanent repercussions.

Agatha Pokrzywinski*, a Duluth native and Wild Water attendee, has taken a trip to the BWCA almost every summer. Pokrzywinksi sees the benefits of the mining as temporary while the damage could be permanent. “It is heartbreaking,” she said, “to think that this pristine wilderness I have had the privilege to grow up with may not exist for future generations.”

As pollution continues to threaten untouched land, access will become more limited. This will make the divide in outdoor accessibility greater and allow only the fortunate and privileged few to enjoy what is left—if anything. The precious land left will most likely become an exclusive and expensive place to visit. It’s important to protect it for the health of our planet and future generations.

A newer and safer method of dealing with waste, dry stacking, has been proposed. This method differs from the commonly used tailings basin by adding extra levels of protection, removing water

THE WAKE

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CREATIVE WRITING

Starting Fights at Formal Restaurants for the Masses

BY ANXI

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It’s an atrocity just being here.

Zeyun looked around the fairly lit restaurant, analyzing her surroundings.

A date. She thought with spite. What a waste of time.

Having just returned from a spontaneous yet formal lab meeting, she hadn’t had much time to dress in standard fashion, so she compromised by quickly changing from straight-cut black slacks into black skinny jeans, switched out formal short heels for chunky, heeled Doc Martens, while keeping her longline, quarter sleeve red blazer and tight knit, cotton undershirt. For a sparkling touch, she threw on a simple bar necklace, simple dangling pearl earrings, silver watch, moon bracelet, and three gold-banded rings on her pointer, middle, and ring finger.

Her aesthetic a majority of the time was a sophisticated morphing of snobbish, academic professionalism with subtly rebellious, arrogant grunge. She achieved this at one of its higher success points today.

Sipping on the complimentary water while she waited for her date (as she had come precisely fifteen minutes early- she always did that), her eyes snapped from one couple to the next, analyzing.

There was one couple smiling sappily at each other, seeming to have forgotten their food as it lay, half-eaten, on the table between them. A double date of younger adults was on her left, where all four seemed passionately wrapped in hushed conversation. A businessman sat by himself, face illuminated by his phone as he ate his salad. Three girls, two with their back to her, where also intently wrapped in conversation. A group of five boys behind her were talking somewhat loudly about a calculus class they were taking. She seemed to be the most formally dressed out of all of them- not that she found that uncomfortable- simply something she took note of to analyze the reputation of the restaurant in relation to the diners. She’d never been here before. The clothing worn by her surrounding persons definitely had a wide variety of formality despite the elegant setting.

A waitress walked up to the clothed table.

“Here is your table, sir.”

Zeyun’s heart iced over. The strange feelings, actions, and countenances she’d picked up on had led to this.

She swallowed bitterly, heart pounding with vehement dislike, however she still had enough heart to keep sane.

The boy who had just pulled out the chair to seat himself in across from her had a confused, almost shocked expression on his face, though he too kept silent. Judging from the way his eyes widened to the point of fully reflecting her cold gaze, his feeling was mutual.

Zeyun was on one side of the clothing spectrum, this boy was on the other.

He had a styled, dirty-blonde bedhead (as usual), a subtle, silver triangle earring on his left ear, nose piercing, two gold chains resting lazily on his neck, brightening the crisp ivory of the buttonup shirt peeking out from under his obsidian coach jacket. His black pants contrasted nicely with the shirt, she begrudgingly noted, but the pop of color from his green Vans did bother her.

In addition to his casual outfit, Zeyun pulled from her photographic memory the tattoo on his forearm, his slightly raspy voice, and his once-greendyed hair.

She looked at him and he looked at her.

Ellie and Fatima, as well as their friends all the way down to his friends, all knew that these two abhorred each other with an almost maniacal passion. This blind date had been a joke.

There wasn’t any specific reason they hated each other, really, she simply thought he was too loud, too rowdy, too stupid, and perhaps he thought she was too snobbish (she wasn’t, in her opinion), too preppy, too cold-hearted. They hated each other for being complete opposites.

“Friends played a funny trick on us, eh?” He asked with a thick British accent after a while of the two looking at each other.

“Yeah.” She said curtly. “Can’t get out of it, though.”

“That so?” He retorted. “Aren’t you, like, a world class mathematician and a king at psychological manipulation?”

Zeyun looked at him harshly, trying to string together a response that wouldn’t cause a scene.

“Sure.”

Silence followed.

“Are you guys ready to order?”

Both of them, staring loathingly at each other, looked up at the same time, traces of spite still in their eyes as they averted their gaze.

“Give us a minute,” He said. His voice was warm despite the way he had just spoken.

Zeyun nodded icily.

The two of them picked up their menu for the first time that night. Their table was silent.

Might as well try, at the very least, to make this realistic.

And just, you know, use him as practice.

But it was him who spoke first, perhaps also coming to this conclusion.

“Well, we’re stuck here for an hour, let’s get it over with, eh?”* *This is an excerpt. Check out wakemag.org for the entire story.

OCT 21 - NOV 4

ART

GRAVITY

& HYDROTHERAPY

THE WAKE

Photos by Erin Mackaman

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Q&A

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Benjamin Dakota Rogers

BY TOSIN FASEEMO Benjamin Dakota Rogers is a folk singer from Ontario, Canada. He just released an album called “Better By Now.” Read on to find out how he got started in music and how he developed his spontaneous songwriting method.

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: What initially sparked your interest in music ?

Benjamin: Initially, my grandfather. The first time I met him, I was seven years old and he came down from Timmins, Ontario. His father had just passed away and he brought down his violin; his dad was a popular fiddle player up there. There was some sort of sibling dispute over who the violin should go to, and so he just took the violin and brought it down to give to me. I don’t know why, he just did. And that was the first time that I met him. Then there was a violin in the house, and I was super excited about that I guess, and I asked my parents to put me in lessons. They bought me a much smaller violin that fit me and they put me in lessons a couple weeks later. I took lessons all the way up until grade twelve. And I was really really into fiddle music and violin, and then around grade twelve I started writing songs... with the intent to sing them for other people, and it just became what I do. I fell in love with writing songs,

but originally I fell in love with playing the fiddle, and from there, I learned how to play the banjo and mandolin and all the other folky instruments.

: Is there anything specific about folk music that drew you in?

B: It’s what my family listens to. It’s pretty honest; it’s not like electronic music or stuff where like if you’re not good enough to play the stuff you just don’t get to play it. Like on a violin, right, if there’s a really complicated song, unless you’ve practiced and you’re good at it, you won’t be able to make it sound like that. Anyone with a computer now can find a way to make something beautiful, but there’s an honesty that comes from acoustic music in general. The songs I write are fairly story oriented, a lot of them. I think I enjoyed it and I just kind of fell into it, and then I found more reasons to love it because it was part of my life.

OCT 21 - NOV 4

Q&A

: Do you have any musical influences?

B: A lot of the early music I was learning was all out of these books on old traditional fiddle songs, and I think that influenced me more than I realized for quite a while. Other than that, lots of modern stuff coming out of the states, like Gregory Alan Isakov, Langhorne Slim, Joe Purdy, and The Milk Carton Kids.

A lot of that stuff is what I fell in love with. I don’t know if they influenced the way that I play, the way I write, or the way I sing, but they definitely inspired me to be a folk musician. They are just really beautiful artists and musicians who are creating something that makes me want to create something that other people want to listen to.

: What’s your songwriting process like?

B: I write most of my songs really late at night. I turn on a microphone and I’ll write the lyrics and the guitar part at the same time and just record like half an hour of me making things up. Sometimes, there’s fully finished songs and sometimes there’s nothing usable. I try to write almost every day. It seems to come mostly from how I’m feeling that day. I just kind of spew that into a microphone while playing guitar and sometimes it’s something that I really like.

: Do you like performing live?

B: I really love it actually. It’s funny, I would say my favorite thing about getting to be a musician is writing songs. I think it’s just writing new songs and then getting to perform them in front of people. I love it so much. We played a really, really terrible tour this spring. A bunch of things fell through and we weren’t making any money, and I still loved being on tour because I really loved playing. I’ve always really loved playing that’s how all of this kind of ended up coming about. Yeah, I love performing and playing. It’s wonderful.

: So you just released an album, “Better By Now.” The album art is really cute; it kind of looks like a polaroid picture. I was just wondering, who is the little kid on the cover, and why’d you choose that photo?

B: That’s actually me. My mom took that picture. It was in the middle of summer and that was my bath, she took that picture when I was just a little kid and I saw it when I was going through some photo albums around the time we were making the record and I sent it to my manager and he was like, “ah, this is great!” It became the album cover because it was kind of cute and it was cool. I just thought it was nice.

: Do you like interacting with the crowd? I know some performers are really into that. But I guess with folk it’s probably different since you’re telling a story.

B: I don’t know. I love getting people to sing along and dance and just enjoy themselves and have a good time… It’s a show that we’re playing, but I don’t want it to be a show like something we put on; I don’t want it to be some persona thing. I just want to be like, “here’s some songs that I wrote.” So what I do, it’s not an incredibly interactive thing. I really love when I can get people to sing along and be part of it, but I just want to sing songs that I wrote and share music that I think is nice.

THE WAKE

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6

VOICES

Closing the Curtain on Diversity Performative diversity in a school taught to critique

BY NADIA SHAARAWI A recent memory: I’m in class, taking a course within the Hubbard School of Journalism (otherwise known as the “J-School”), and we’re learning about value propositioning in companies. To teach this concept, my professor showed a video on a company that she thought would best communicate this concept. The video features a white woman speaking about her career in journalism and how she wanted to do work covering issues on poverty. As the video continues, she speaks on how, in pursuing this work, she ran into a problem: she had never known someone in poverty.

So what does this savvy, “wanderlust” seeking woman do? Moves to Uganda. She starts a sandal company and sends Ugandan girls to a university with the money she makes from their sandal work (all while inspirational music plays in the background).

The video epitomized a white savior complex, portraying the trope of the classic white woman too delusional of the inequality in her own country that she honestly believes she possesses the knowledge to reduce poverty in other countries, specifically in Africa. Even more uncomfortable was the discussion afterward weakly led by my professor. I ask in class why this founder chose Uganda to base her cause of solving poverty, and my professor answers that she does not know why exactly. She asks why I posed that question in the first place, and I explain that it’s a confusing jump to go from needing to meet someone in poverty to meeting someone in Uganda. She acknowledges this.

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“So that feeds into the white saviorship complex,” I mention.

“Maybe.” She said.

After becoming confusingly defensive of some of the points raised in class, she noted that she was not anticipating this type of conversation, wrapping up by saying our generation likes to be critical of the things we consume.

No, Jane.* It’s not a generational thing. You showed a video ignorant of its white savior-ship components, and when the moment came for us to have an honest discussion over it, you deflected.

This situation was predictable as the Journalism school has an almost 90% white adjunct faculty.** There are only four members of color out of 35 members of staff. The school recently added eight fellows of color to support diversity, but these fellows only come to advise courses temporarily.

And yet, the J-School claims to champion diversity.

Peruse any class syllabus, and there is a section dedicated to accepting diversity that is specific to HJMC. UMN also offers countless workshops dedicated to educating staff on diversity. However, those are just short-term solutions, certificates, and stamps of approval. The issue is that they seemingly stop there—merely performing in diversity rather than participating.

when our very own journalism school is taught by an overwhelmingly white staff? This performative form of addressing diversity exposes itself in the classroom—for example, when staff are incapable of handling critical conversations because they lack that perspective, which essentially alienates students of color.

And this is the ultimate consequence for the lack of minority representation in professional settings. When staff are blatantly uncomfortable with critique in classroom settings, it is usually on the student to bring to their attention in a perfectly crafted manner to avoid accusations, no matter the discomfort they may have endured experiencing the issue. Couple this with vapid messaging that the J-School prioritizes diversity, and the student is almost made to feel out of place for raising any criticisms in the first place. How disappointing it is to see this lacking in a school of journalism, of all places.

50 years ago, the African-American and African studies department was built out of protest for the lack of minority representation on campus.

We should demand better. Conversations and critiques dissolve when the impression of diversity is prioritized rather than its structural incorporation.

And, any way you slice it, a near 90% white adjunct-faculty in a school that claims to champion diversity is a problem.

Diversity is useless without inclusion, incorporated diversity begins with people of color in positions of authority. It is where you are actually able to recognize the value that comes from a minority perspective from inclusion through staffing, rather than the appearance of inclusion to the public.

How can that even begin to be accomplished

OCT 21 - NOV 4

VOICES

The Misleading Facade of Dorms A case against residence halls

BY MARLEY RICHMOND It comes as no surprise that an unprecedented number of college students experience forms of anxiety, depression, and other mental health concerns. According to “Heathline,” anywhere from 33–40% of college students are diagnosed with significant mental health problems, and up to 85% report feeling overwhelmed and experiencing other symptoms of anxiety; residence halls are one significant source of this distress. Often hailed as a quintessential part of the college experience, small, sad, and impractical dorms are hardly the most conducive environment for academic success or emotional wellbeing.

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Body Positivity Exclusivity Why the body positivity movement needs a body inclusivity movement

Although many students find a community within their dorms, social struggles can be an added pressure to an already stressful, transitional period of life. From awkwardly telling your roommate that you don’t want a giant Game of Thrones poster on your wall to realizing your homophobic roommate has been praying for your conversion and salvation, “roommate problems” run the gamut from annoying to unsafe. A study reported by “The Atlantic” has found correlation between such high-stress, smallroom environments and substance abuse, increased violence, and withdrawal. Overcrowded dorms can also lead to outbreaks of influenza, meningitis, the stomach flu, and other communicable diseases.

BY KATHRYN RICHNER It’s no secret that the definition of beauty seems to be predefined in most modern societies. The body positivity movement comes as a god-send for those who feel that beauty, modeling, and Instagram popularity is restricted to people with the ideal body. It’s a social movement that challenges beauty standards and encourages positive body image. It’s sparked a rise in the popularity of models both in social media and mainstream fashion who strive to prove all bodies are beautiful.

So while the close quarters of a residence hall may promote a sense of community, they also create detrimental circumstances and extra burdens for students, often failing to live up to expectations. Whether no one came through the door you left open all of welcome week, or you get sick of living in 130 square feet of space, there is a bright future ahead of you: moving out.

Having space to move around your living quarters can (and will) revolutionize college life post-residence hall. Truly, cooking in a real kitchen will never feel so liberating. If you find yourself spending every waking moment away from your cell dorm, hold onto this hope in the months to come.

While more brands have started to adopt the idea of this movement, a slight increase in weight is the only thing that seems to differ their models from other brands. Models still conform to an extremely narrow ideal of beauty such as an hourglass shape, flat stomach, high cheekbones, and size 14 or smaller. Similarly, while Instagram has shown rising popularity among users who break beauty standards beyond weight, the most popular influencers still seem to fit conventional standards, featuring smooth, blemish-free skin, full lips, and perfect hair.

It seems like the modeling world is only ready for one narrow change to its coveted recipe for a beautiful person.

Is body positivity just for people who fit society’s standards in every aspect except weight? While it’s a strong message, weight isn’t the only attribute of a body. Women and men are ashamed about countless aspects—whether it’s their height, hair, face shape, skin type and color, eye size, or lip fullness because mainstream media does not reflect their physical features. There’s a crucial need for representation that demonstrates that truly everyone is beautiful, no matter what they look like. Let’s stop body positivity exclusivity, and be confident in showing the world that every feature of your natural, unedited body is beautiful regardless.

THE WAKE

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19

VOICES

Signing Off An explanation of me, you, and the stars

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BY KYLIE HEIDER “But I’m a Pisces!”

It was something I found myself saying often and without shame, a catch-all to excuse my erratic, sensitive behavior. I lay lamenting, prostrate on the floor of my friend Claire’s dorm, my body overcome by a feeling, a tightening in my chest, which contorted outward and filled my shoulders and my spine to settle delicately inside my fingertips. I had a crush. A Leo. A lion, apparently, confident and straightforward, rebellious, passionate. And me, a textbook Pisces: daydream-y, creative, gentle, intuitive.

I couldn’t help but wonder: could it ever work?

Maybe this situation sounds familiar to you.

Maybe you too have found yourself suddenly and inexplicably preoccupied with the will of the stars and the tension held within their celestial alignments. There are literally millions of accounts across Twitter and Instagram dedicated to what signs behave in what ways.

They post memes of overemotional water signs and chaotic fire signs. They post the signs as screencaps of comedy specials or characters from TV shows. They post poignant revelations as guidance for the future. New multi-million dollar apps like Co-Star and The Pattern have cornered the mobile horoscope market. In the last few years, social media has incubated a phenomenon of astrological ideology in its’ largely Gen-Z user base,

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prompting a stratosphere of youth culture in which astrological identification acts as a cornerstone of social identity. Asking,“What’s your sign?” comes only a few steps after, “What’s your name?” As my friend Isis’ take on the topic stipulates, “We’re all just trying to understand ourselves and each other.”

Because who wouldn’t want a cheat code to the human personality? We all desire a compass for navigating the core traits of those we are surrounded by, guiding us through the mechanisms of our relationships.

Ancient Egyptians are credited as the first astrologers. Later, they transferred the practice to the Babylonians, then finally to the Greek tradition that is most widely seen today.

In essence, the pseudoscience of astrology is based on the assignment of specific personality traits to certain dates of birth in accordance to the positioning of celestial bodies. Young people have been raised on the attachment to these vague, prescriptivist personalities, starting at the turn of the millennium with personality quizzes in teen and tween magazines. As the 2000s went on, we found new ways to identify ourselves in a larger pop cultural entity, whether it be Hogwarts Houses or the seemingly infinite Buzzfeed quizzes to test which Disney Princess we were. The resurgence of astrological identity within pop culture is the most honed, magnified incarnation of these superlative diagnoses of personality. With the

mass introduction of the digital social network into the lives of the public, our relationships with ourselves and others began to take on a new edge of performance in the arena of social perception, and our attention spans rapidly deteriorate. Perfectly suited for the era of the internet, astrology fills the gaping void between the craving for true connection and the necessity for celerity. It tells you what to do and how to feel, and we fulfill its prophecies by noticing and performing the traits we are assigned, making it “work.” All you need is a birthday, and every wonder you’ve had about yourself, your friends, or your Leo crush can be instantly gratified.

It’s hard to say whether the resurrection of astrology as a belief system, at least at the casual level, is a good or bad thing. On one hand, its resurgence is simply a reflection of people’s earnest yearning to understand each other. On the other, it exposes our unwillingness to achieve this in a way that is based in reality. Perhaps if we allow ourselves to be cognizant of the complex emotional facets that are present within all people we encounter, and not just because they were born at a certain time, we can come to realize a more truthful sublimity that can be found in vulnerable human relationships. After all, people aren’t just one thing.

OCT 21 - NOV 4

VOICES

Rediscovering Simplistic Joy Who says you need to suppress your childlike excitement?

BY ESTHER CHAN

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There’s no doubt about it—now that we’re in spooky season, it’s officially the most wonderful time of the year. Honestly, I already can’t wait until it’s socially acceptable to start blasting Christmas music, freeing its festivities to gleefully dance through my ears. Some might consider me crazy for this premature giddiness over pumpkins, turkeys, and evergreens. And they’re probably right.

For all my bravado and defense of the holidays, I am my own worst critic when it comes to berating myself for daring to be so excited about something so mundane. It’s confusing to consider when it became such a shameful concept to be excited. I’m not referring to the anticipation of a new career opportunity or the chance to watch that underground band or the whatever “grown up” and acceptable-to-beexcited-about event. It’s the pure excitement that parallels the childish giddiness we all once possessed—a giddiness inspired by the simplest things—that eludes us now.

Not to be existential, but when did it become the expectation that adults abandon childish joy and embrace the bland, unhappy, and “productive”? It’s unsettling to think about the last time we actually felt that childlike wonder, that fluttering in our stomachs from first crushes, Christmas mornings, field trips, snow days, and birthday cake.

I blatantly confess the embarrassment and childishness of my own giddiness over the holidays. But I’m beginning to recognize that the ability to be so excited towards the future, about something so simple, is a blessing that I treasure reverently. If anything, it’s a reassurance that I’m still capable of that level of wonder and excitement—that the disenchantment of the world hasn’t quite overswept me yet.

Emotions make us human, and I maintain that joy—the true, pure, uncomplicated kind—is one we ought to cling to, tightly, ceaselessly, with two fists on, and never let go.

Goodbye, Freshman Fifteen Banishing the idea that gaining weight is a tragedy

By JEMMA KELEHER We’ve all heard it: “I shouldn’t eat this. I really don’t want to get the freshman fifteen” or “Wow, the freshman fifteen really hit her hard.”

Despite its deceivingly benign connotations, in reality, the term “freshman fifteen” has harmful implications and plays a hand in promoting negative body image issues in students.

Furthermore, it perpetuates the idea that gaining weight is the worst, most humiliating thing that can happen to someone.

One of the most prevalent issues in our society is convincing individuals that gaining weight is shameful. This repressive culture is the exact thing that promotes eating disorders and severe body image issues. Consequently, students who do gain weight are defined by it. They’re no longer seen for their accomplishments and attributes; they’re seen and remembered for their apparent “failure.”

The truth is, who cares if you gain weight? Attending college is a momentous transition, and it is completely natural for a body to experience changes during such a stressful time.

Your life is completely altered; you live on your own now, you make your own decisions, and you have full access to dining halls that are pretty much all-you-can-eat buffets.

In addition, you’re experiencing new things and crossing unseen frontiers in your life. Your focus at this time should be living life, having fun, and learning new ideas—not scrutinizing what you eat in order to abide by society’s rules.

Put this into action and work to ditch the phrase all together.

Stop posting about your workout routine to avoid the freshman fifteen, and stop beating yourself up for eating a full meal and treating yourself to ice cream afterwards.

Dismantling the system of shame that suppresses people into self-hatred for their bodies has to start with individuals, and when it comes to change, there’s no better place to start with than yourself.

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THE WAKE

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SIX REVIEWS

Charli Lover Taylor Swift

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Us + Them Roger Waters

BY ANTHONY TIMM Pink Floyd’s Roger Waters is back with “Us + Them,” a concert film from his recent tour of the same name.

To start things off, the sound mix is dynamic and immersive. You can hear Roger’s fingers trail across his bass’s fretboard. His backing band shines, especially during the concert’s lengthier excursions, such as “Dogs.” Of particular note is the singer Lucius’s powerful rendition of “The Great Gig in the Sky.” Songs like “Pigs” and “Money” sound the same as they did in the 1970s, but Roger’s band plays underneath large screens displaying President Trump’s most deplorable quotes. It can be argued that such imagery dates these otherwise timeless songs, but this retrofitting helps the audience realize the message that Roger tried to convey all those years ago with Pink Floyd, and what his warnings against greed, isolationism, and misguided wars mean in terms of today’s discourse.

BY MEGAN BORMANN Taylor Swift’s journey consists of over a decade of transformations, both personally and musically.

Now with her new album, titled “Lover,” Swift has emerged on the softer side of the pop genre while still providing her unapologetic and fearless energy. “Me!” was one of the first singles that dropped, and with the nostalgic beat of drums and collaboration with Brendon Urie, it’s an anthem of high spirits and fun.

The album is a big departure from previous versions of Taylor. This Taylor is more mature, socially aware, and comfortable with the celebration of herself and her accomplishments.

She explores personal aspects of her life, like her mother’s battle with cancer, in the song “Soon You’ll Get Better,” featuring the Dixie Chicks.

Along with a melancholy instrumental backtrack, listeners get to see the raw, human side of Taylor Swift.

With tracks such as “You Need to Calm Down” and “The Man,” Taylor stays true to her role as an activist for both women’s and LGBTQ+ rights.

In “The Man,” Swift sings, “I’m so sick of running as fast as I can, wondering if I’d get there quicker if I was a man.” Through this song, she’s shining the spotlight on how she’s viewed as bossy or selfish for going after what she wants, something society applauds most men for. Swift recalls the double standards and misogyny that she has encountered personally as a powerful woman in the music industry.

The concert’s encore was cut from the film, but in its place is an after-credits sequence. It consists of rehearsal and backstage footage. The content of this segment of the film is comparable to that of a YouTube video, including those Roger re“Lover” advocates messages about self-love, acleased on his channel before and during the tour. ceptance, and humanity that the world desperDespite this, it is enjoyable to watch. ately needs.

Charli XCX

BY ANGELA PEREZ “Charli” is not a usual pop album. From the chart-topping pop song “1999,” featuring Troye Sivan, to the almost electric, EDM-like “Click,” this album incorporates a variety of music genres.

This album is a reminder that Charli XCX is the queen of experimenting with her music.

There is a song for every mood, and each one sounds unique. “Warm,” featuring Haim, is a heart-warming song that reminds listeners that unrequited love doesn’t always have to be sad; it can be hopeful. “Shake It,” featuring Big Freedia, CupcakKe, Brooke Candy, and Pablo Vittar, makes you want to do exactly what its title says.

From the bouncing instrumental, to the delivery of the features, you have no option but to shake it. “1999” is an upbeat song that evokes nostalgic feelings about the iconic 90’s.

Over half of the songs on the album feature another artist and there isn’t a single feature that’s skip-worthy. The featured artists all come from different genres of music, which makes it impressive to hear how all the songs come together.

Charli XCX’s assistance from other experimental artists such as Nomak, Lotus IV, and Dylan Brady of the musical duo 100 gecs, results in beats that are catchy but also intense and confrontational.

Charli’s ability to juggle both mainstream and odd dance pop is what makes this album, and her as an artist, so fresh and exciting for new fans.

Overall, the film gives an excellent concert experience for those who missed Roger’s tour. Some elements lose the grandeur they had in the flesh, but there are plenty of moments to savor on the silver screen from a true rock visionary.

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OCT 21 - NOV 4

SIX REVIEWS

6

Please Pet Shop Boys

BY EVAN FERSTL Synth-pop had changed by the mid-1980s. The quirky, robotic, novelty genre had been refined into a polished, attractive brand of production-heavy dance music. Neil Tennant and Chris Lowe, together known as the Pet Shop Boys, would become the face of this new synth-pop.

Sleek and seductive, their music would catch on incredibly well, especially in their native UK. “I’ve got the brains, you’ve got the looks, let’s make lots of money,” a lyric off their debut album, “Please,” gives the game away succinctly. But making money isn’t a bad thing, as long as the music holds up.

“Please” is an incredibly front-loaded album.

Synth-soaked energy punctuates every note on the first five tracks, which include the record’s most popular song, “West End Girls,” and its best song, the heartbreaking “Love Comes Quickly.”

Unlike other dance acts at the time, the duo’s lyrics prove astute and powerful, especially on “West End Girls” and “Suburbia,” a pair of songs which shatter the illusion of idealist urban living, proving the Pet Shop Boys were not afraid to make the masses dance to songs about crime and poverty.

Unfortunately, things take a noticeable downturn on the second half of the album. Starting with “Tonight is Forever,” the music is stripped of any semblance of creativity and languishes in the worst tendencies of generic dance music.

Though the two would enjoy major success lasting well into the decades to come, “Please” proved that the Pet Shop Boys would never be an album-oriented band.

THE WAKE

Tall Girl

BY ERIN WILSON “Tall Girl” follows a high schooler named Jodi, played by Ava Michelle, as she navigates her social life at six feet tall.

The movie has received criticism online for presenting height as a terrible form of adversity, especially since Jodi lives in a mansion. At the beginning of the film, she says, “You think your life is hard? I’m a high school junior wearing size 13 Nikes.” This has been the brunt of several well-deserved jokes. The movie’s plot is confusing, the script is awkward, and the acting is dry.

After spending most of the movie crushing on the popular foreign exchange student, Stig, Jodi realizes she likes the guy who has been in front of her the whole time—a tired plotline.

Many of the scenes feel dramatically unrealistic. At one point, Jodi goes on a group date to an escape room. The couples stop working on the puzzle and start making out. Not only was this awkward, but escape rooms are $30 a person, indicating terrible writing.

The dialogue feels forced and the acting is without chemistry. Teen films typically rely on the actors to create relatable characters, but this movie doesn’t accomplish that. Scenes meant to convey humor or romance fall flat, adding the movie to the long list of low-quality teen movies Netflix has produced.

“Tall Girl” is a confusing mess of poorly executed romantic comedy clichés and cringe-worthy jokes. Its 101-minute runtime would be better suited to a movie that accomplishes something.

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SNL Season 45 Premiere

BY SOPHIE TIAHNYBIK “Live from New York, it’s Saturday night!” The magic words are back, baby! It’s season 45 and the premiere was quite delicious. This was a star studded episode. The episode featured Larry David as Bernie Sanders, Maya Rudolph as Kamala Harrison, Woody Harrelson in Pajamas, and of course, Alec Baldwin as Donald Trump.

The cast was beaming, excited to be back after a long summer.

In the most epic character break since Jimmy Fallon, Aidy Brynant struggled to keep her composure when a stage crew member accidentally came out to remove her jacket. Cecily Strong replied to her break by saying, “well said” (well said indeed). And Billie Eilish performed upside down! Did anyone expect anything less?

Arguably the most popular segment, Weekend Update, had a lot to catch up on: impeachment, death by juuls, and a woman getting stuck in a camel. One thing stood out during the episode: Pete Davidson was nowhere to be found. Colin Jost picked up on the missing BDE, saying, “A man who drove his car to a music festival still cannot remember where he parked his car a week after the show,” following it up with, “We hope you make it back soon, Pete.”

Finally, SNL welcomed three new cast members (two really, because one is a racist)! They are Bowen Yang, Shane Gillis, and Chloe Fineman.

The new trio served well as twins and had a sparkly entrance into SNL.

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