The Wake, Issue 9, Spring 2013 by The Wake Magazine

Valentineâ&#x20AC;&#x2122;s Day

Single vs. Taken p. 12

vol. 12 | issue 9 February 11 - 24

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LETTER FROM THE EDITOR Wake readers: I need your help finding my friend a date for Valentine’s Day.

So, on behalf of all your Valentines here at The Wake, here is this tour de force poem I wrote for you:

This friend is very attractive, and has a colorful personality. This friend is very educated, and is as equally interested in politics as they are in pop culture. They are an excellent writer, perhaps the best in all of the Twin Cities, and they have a diverse taste in music (yep, even David Bowie). This friend is also a huuuge cat person.

Roses are red, Violets are blue, I read The Wake, And so should you!

Do you know who it is yet? DUH, it’s The Wake! Seriously. The Wake is not just a magazine for people who like cats, and Valentine’s Day is not just a holiday for people in relationships. But if you don’t combine The Wake and cats with your Valentine’s Day, you’re not doing it right.

Alyssa Bluhm Managing Editor

12:10 Editorial Editor-in-Chief

Production Manager

Alex Lauer

Sean Quinn

Managing Editor

Graphic Designers

Alyssa Bluhm

Cities Editor ©2009 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 the students of the University of Minnesota. The Wake was founded by Chris Ruen and James DeLong.

Sara Glesne

The Wake is published with support from Campus Progress/ Center for American Progress (online at www.campusprogress.org).

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 alauer@wakemag.org.

Business Business Manager Chee Xiong

Sean Quinn, Katie Schalow, Sondra Vine

Advertising Manager Matthew Cermak

Art Director

Advisory Board

Dan Forke

Voices Editor Justin Miller

James DeLong, Kevin Dunn, Courtney Lewis, Eric Price, Morgan Mae Schultz, Kay Steiger, Mark Wisser

Social Media Manager Tara Mrachek

Sound & Vision Editor

Web Editor

Zach McCormick

Sam Gordon

Obituaries Editor The Wake Student Magazine 126 Coffman Memorial Union 300 Washington Avenue SE Minneapolis, MN 55455 www.wakemag.org

Production

Kelsey Schwartz

Staff Writers Courtney Bade, Tommy Finney, Tyler Lauer, Logan Wroge

This Issue Cover Artist

What's Inside?

FLUX Senior Fashion Show

Orphan Kitten Project

Kara Hakanson, Alex Lauer

Changing Dinkytown

Illustrators

USlam Poets

John Barnett, Bonnie Fredrickson, Lindsey Puccio, Sean Quinn, Justin Sengly, Jennifer Yelk

Guantanamo

Dan Forke

Photographers

Contributing Writers Sam Anderson, Herbert B. Ferguson-Augustus, Courtney Bade, Sarah Barchus, Sarah Birnstengel, Sarah Brownson, Matt Cermak, Molly Green, Jerod Greenisen, Beth Ireland, Kara Hakanson, Alex Lauer, Tyler Lauer, Zach McCormick, Kelcie McKenney, Sean McSteen, Sarah Mevissen, Alex Montesa, Brian Pricco, Juan P. Ramirez, Christopher Rother, Sam Schaust, Mary Scott, Kate Trescony, Cat Yanish

Valentine's Day: Single vs. Taken

David Bowie Tribute Shows

Southside Desire Q&A

City of Beer

Cities Ellie Hottinger Your collection went through a change from the idea of imperfect beauty to romanticism—can you talk us through that?

senior fashion show By Alex Lauer

Get to know the designers before their collections hit the runway.

Sandman comics, those are some of my favorites. I read all that over the summer. There’s a bunch of others, sometimes it’s TV shows, sometimes it’s a movie—I’m a big Batman geek.

Issa Mello

Sherry Sanden Will

If you could collaborate with anyone, who would it be?

What is one sentence to describe your collection?

Based on my collection, I think it would be really cool to do children’s wear for Hot Topic. But I kind of want—I think every company needs a children’s wear line because retail is going into such a lifestyle-consumer aspect now. I mean, Aldo could do children’s shoes that are high-quality, reasonably priced, and super fashionable. Gap already has their children’s line but it’s been expanding into Banana Republic and—Old Navy has it too. Every branch, I think, needs children’s wear available if brands are going to continue this trend that they’re doing with lifestyle consumers.

It’s for professional women who want to wear appropriate clothing at work, but have a unique flair to it.

Lucie Biros What are some of your inspirations for fashion in general, beyond this collection? A lot of them are literary—not necessarily the actual descriptions of a place or of a person in a book, but the feeling I’ll get from it, the themes in it. Others would be Neil Gaiman, The

What inspired you to go this direction? Some of my research I had done regarding beauty for women. Also, I have done a lot of traveling so I was inspired by colors by artist Gustav Klimt who is an Austrian artist and he uses vivid colors.

If you could collaborate with anyone, who would it be?

What inspired you to go the way of designing for an “everyday girl” rather than something over-the-top? I’m very inspired by just the word “design.” I think design is meant for everyday use—for the average person. I really try and design for wearability and something that you wouldn’t wear just once but you would wear over and over and over. I’m really passionate about that idea of design, and so I try and incorporate my design of clothing with that aspect.

Before I became an apparel design student, all my life I wanted to be an engineer. So I think wearable technology plays to both of my—they’re not necessarily strengths—but both of my hobbies, both of the things I love to do. I think if I had to choose one over the other it would definitely be wearable technology. It’s definitely more satisfying for me.

Mai Yang

Issa Mello Rockstar, Urban, Cool

45th Annual U of M Senior Fashion Show

Lucie Biros Dark, Angular, Dramatic, Androgynous Sherry Sanden Will Colorful, Professional, Quality, Feminine, Luxurious

Saturday, February 16th Rapson Hall, 89 Church Street SE Shows at 5:30pm AND 8:00pm

Mai Yang Feminine, Sophisticated, Tailored, Elegant, Classic

Tickets: Balcony: $12 General: $25 VIP: $55

Ellie Hottinger Organic, Modern, Romanticism, Wabisabi, Ethereal, Feminine Kaila Bibeau Romantic, Dreamlike, Sexy, Ornate, Alluring

fashionshow.design.umn.edu #FluxFashion

ALEX LAUER

february 11 - 24

Kaila Bibeau

Since I’ve already done a collaboration with NASA, I think—I would love to do it again, or with Nike. But if I had to pick one designer, I would actually go for Elie Saab. I’m kind of all over the place. But Elie Saab has very similar aesthetics to me and his technique is amazing. If I could learn his ways I would be a happy, happy girl. [laughs]

What are a few words to describe your collection?

Within wabi-sabi [a Japanese concept of imperfect beauty] I focused in on this idea of a dying flower. It’s sort of wilting and it’s something that you would look at and wouldn’t really term it as beautiful—because these petals are wilted, they’re crumbling, it’s turning gray and brown—but wabi-sabi tells us that that’s when it’s at its most beautiful state because it tells a story now and it’s constantly changing and it’s imperfect. It has these new textures and colors that make it really beautiful. So I started experimenting. How could I translate that flower into my clothes? I made these destroyed petals out of fabric, burning and cutting and painting and trying to make it really textural. Then I found a couple techniques that I really liked and used that everywhere, but the color palate and everything still reads as very feminine.

Check out full designer interviews and more about the production online at wakemag.org

Cities

Orphan Kittens not Orphans Anymore

Vet students save hundreds of kittens through the Orphan Kitten Project By Grace Birnstengel

There are more than 500 student groups and activities here at the University of Minnesota, but only one that deals with The Wake’s (and the Internet’s) favorite thing: kittens. The Orphan Kitten Project involves around 50 veterinary students from the U’s College of Veterinary Medicine who foster and help stray and abandoned kittens find homes. I met with three of the OKP’s eight officers, along with two foster kittens, Pickles and Fritz, and one foster puppy, Gidget. Third-year vet student and OKP officer Erika MacKinnon explained to me that when the group formed around 2002, it received kittens only from the Humane Society and bottle-fed them until they were old enough to be adopted. Last year for

the first time, OKP teamed up with Rescue Pets are Wonderful, “RPAW,” a nonprofit group based out of Anoka that is dedicated to finding homes for rescued cats and dogs. It has been a crazy year for the Orphan Kitten Project. Until this school year, only five vet students fostered at a time. Since linking up with RPAW, OKP has been able to foster adult cats, pregnant cats and even puppies. Fall 2012 semester alone, 144 cats were fostered and then adopted through OKP. Even Ricky Rubio, point guard for the Minnesota Timberwolves, became involved. Rubio fostered a kitten for a month and a half after being persuaded by a friend who is a U of M vet student. OKP officer and first year vet student Kelsey Bertamus described the day-to-day responsibilities of OKP, beginning with communicating with RPAW about the number of kittens currently being fostered. Officers make frequent trips to Animal Control and the Humane Society to save kittens from being euthanized. OKP then gets the kittens up-to-date on vaccinations and disperses them to adoptions throughout the metro area at PetSmart or Petco stores. “It is also important to us that we maintain our large foster base, answer their questions, and make sure that they have supplies and are keeping up with vet care,” Bertamus said.

Not only does this process positively impact the kitten population, but the vet students receive the benefits as well. Fosterers and officers of the OKP gain experience relating to animal health and welfare. “A lot of vet school is class. Working with OKP gives vet students a unique experience where you can learn from the health problems of the kittens,” first year vet student Kaitlin Monson said. “It’s directly applicable to what we’re learning, and what we’re going to be doing for the rest of our lives.” Orphan Kitten Project officers pride themselves most on being the only group, next to RPAW, that will take any orphaned animals, especially when the other option for these kittens is to be put down. “Our groups [RPAW and OKP] only turn to euthanasia if absolutely necessary,” Monson said. “I would say 85% of the animals we take in would be euthanized had we not taken them.” What’s the main qualification for fostering a kitten? Desire. Contact OKP at okpfosters@gmail.com or Orphan Kitten Project UMN CVM on Facebook to get set up with a kitten. If you need help re-homing cats or kittens or find homeless animals and need help, contact OKP. “We can’t ever guarantee that we will be able to help, but we will always try,” the officers said in agreement.

KARA HAKANSON

Try it! You might like it!

Find a new study spot, get out of your comfort zone By Kara Hakanson

I hope you all had a relaxing break and survived being with the relatives for a month. Now it’s back to the books and back to finding that perfect study spot. I left off last semester with the comfy atmosphere of Espresso Royale in Dinkytown. To find the choice spot this week, you just have to walk around the corner.

LOCATION: PUBLIKA Publika just opened a few months ago, so I had to go see what it was all about. When I first walked in I knew it wasn’t going to

be a stereotypical coffee shop experience – squishy chairs, The Current playing through the speakers, and bearded men reading some classic novel that everyone is told they’re supposed to read. Publika takes coffee to a whole new level with Dogwood roasts. For some drinks, you can choose the percentage of sugar (120 percent is on option, by the way). Since salted caramel mochas are my weakness at Starbucks, I thought I’d try it here since they make their own mixture. If you like sipping sugar, I wouldn’t recommend this drink. You can actually taste the coffee and bursts of salted caramel only hit my taste buds every other sip. I went back and tried their mocha and was much more pleased. They also supply Chatime Bubble Tea. Personally, bubble tea freaks me out. Chewing on the pearls reminds me of eating squid. Pearls aren’t the only option for a unique addition to your drink—you can also get pudding, coconut, and more. Having pudding in your drink is something I would never dream of, but it’s so crazy that I know I’ll try it eventually. The drinks don’t universally impress, but OH MY GANDALF

THE FOOD. Get a panini. It will change your life. I got a mozzarella, pesto, and sundried tomato one and it was hot and melt-y and just—yes. They have a breakfast menu as well and you can do combos, like a panini and soup, for a cheaper price. And of course, like all coffee shops should, they have baked sweet treats. One thing that turned me off was the music. The first time it was this super weird instrumental stuff. It made my reading assignment seem super dramatic and made it hard to concentrate. Another time I went in I realized the singer was talking about Jesus and Israel, so I’m not quite sure what that was all about. But then I went back another time and the music was great. So if you’re particular about what notes hit your ears, I’d bring your ear buds and listen to your own playlist as you chomp on that panini. Publika is nothing like the stereotypical college coffee shop, but if your sinuses are feeling plugged from the dust of the usual spot, head on over for a breath of something fresh and a plethora of daring drinks.

www.wakemag.org

Cities

‘Campus Beyond Coal’ Moves Beyond Coal A New Name Means a New Mission By Beth Ireland

Student groups aren’t always taken seriously, and sometimes there’s no need (Campus People Watchers, anyone?). But other times, with a universal cause and a sense of urgency, a group of college students can really get things done. The group formerly known as Campus Beyond Coal is one such group— “formerly,” because they achieved their original intended purpose, to such a degree that they are changing their name. CBC launched less than four years ago in fall 2009 with a single dream: to wean the University of Minnesota off coal completely. Erik Lundborg, the current co-chair of the group, explains that coal is so bad because it is the most potent commonlyused fossil fuel. “It is incredibly carbon-dense, dirty, and hazardous to health,” Lundborg said. “It destroys ecosystems in fragile areas, and it is awful for the health of miners.” Additionally, coal emits toxic heavy metals, and must be imported into the state at a heavy cost (Campus Beyond Coal’s preferred alternatives include solar, wind, and geothermal energy). The University powers itself with steam that is first heated

Is Dinkytown in Trouble?

Developer plans to reshape neighborhood draw controversy By Cat Yanish

For over 75 years, House of Hanson has been a part of the Dinkytown landscape. But now, that is set to change following recently announced plans to raze the building it shares with the Book House and the Podium and build in its place a six story condominium, complete with underground parking for renters and street-level retail spots. Until 2011, the House of Hanson was the only grocery and convenience store in Dinkytown. House of Hanson offers its customers friendly, non-uniformed service in stark contrast to it’s nearest competition CVS. House of Hanson’s current owner is Laurel Bauer, a Dinkytown native and third generation owner of the business.

february 11 - 24

with coal and natural gas and then piped to the many buildings on campus. Steam even crosses the river to West Bank on the Washington Avenue pedestrian bridge. At the time CBC launched, the University was burning 40,000 tons of coal in Minneapolis annually to power the steam plant along the banks of the Mississippi River.

Judging by the clout the committed team of students has had at this university and beyond, fossil fuel companies may be forced to take notice. This past fall, Eco-Conscious Campus petitioned Xcel Energy to close the largest coal plant in Minnesota and replace it with wind and solar power plants. They found support from the Public Utilities Commission of Minnesota.

A year after its launch in the fall of 2010, CBC petitioned hard on campus for the University to stop using coal for good. A core team of 20 students found 5,000 signatures from students, faculty, and staff in support of the cause. The blitz campaign worked, and the University was moved to action. It implemented a new plan to replace coal with biomass, except on the coldest days of winter. All told, this would reduce the coal usage by 85%. It was a big victory for CBC.

Aside from making an impact on environmental issues, their success has also had an impact on other University of Minnesota students. New groups have popped up with goals of influencing environmental issues, including Fossil Free Minnesota and MPIRG’s environmental committee.

So big, in fact, that they are now increasing the scope of their operation. Having secured a largely coal-free campus, they are in the process of changing their name to Eco-Conscious Campus. “Obviously, the name change is a major change as it represents a shift from a one-resource-specific mission to a broader scale environmental battle,” said Lundborg. Eco-Conscious Campus’s focus areas will be environmental quality of health, sustainable and organic food, and fossil fuel divestment. The University has investments in the stock market that are a “notable source of support” for fossil fuel companies, Lundsborg said. “The goal is to reduce investments to make fossil fuel companies take notice that our engines of innovation won’t stand for yesterday’s fuel sources,” he said.

The project developer behind the plans, the OPUS Group, has already purchased the spot House of Hanson currently occupies, but plans would include the takeover of spaces occupied by The Book House, the Podium, and Duffy’s Pizza. This would present a sweeping change for the corner of Fourteen Avenue and Southeast Fifth Street. Nearby businesses are also wondering if the loss of street parking would affect their customers as well, reported the Star Tribune. Even though chances of stopping the development seem slim, some in the neighborhood have stepped up to make an effort before it’s too late. A group called “Save Dinkytown” has launched an effort to stop big business from removing all historical character from the neighborhood. One of its organizers, Matt Hawbaker, said, “Development needs to be responsive to the needs and concerns of residents and businesses that have worked to make Dinkytown what it is: the cultural and economic center of off-campus life around the U of M.” Save Dinkytown has launched an online presence on Facebook and Wordpress and is working to build opposition to the OPUS plan stating, “We, along with Marcy-Holmes residents and students, deserve a voice in the process.” In the 1970s developers hoping to build a chain restaurant in Dinkytown were met with student protesters who staged a

Eco-Conscious Campus, Fossil Free Minnesota, and MPIRG all focus on replacing fossil fuel usage with clean and efficient energy. The combined force of these student groups might be just enough pressure for Minneapolis to renegotiate its contracts with Xcel Energy (which expires in 2014) and Centerpoint Energy (which expires in 2015), both of which rely heavily on fossil fuels. Cleaner energy is renewable and does not have the disastrous climactic effects of their counterparts, but is not equal in power to their “dirtier” counterparts. To make changes for the future, Lundborg says, “There will need to be a painful recalibration in how we use energy, and that makes renewables the only sane long-term focus.” But as the student group has shown, passionate dedication can make big change—even difficult change—possible.

stand-off with police, resulting in four arrests. The protesters were successful in defending their cause—the fast food restaurant was never built. This time, Dinkytown may enter a new chapter of development. The store fronts that currently occupy the block slated for development represent a college town ideal that harkens back to the 1970s: a guitar shop, a bookstore, and a family-owned grocery store all present aspects from a different sort of college life. Their value might lie in nostalgia for times past, when students got together to protest to protect small business that provided charm and character to the neighborhood. The needs of Dinkytown have since changed and in some respects, stayed the same. Dinkytown must protect its character from the generic and unaesthetic plans of big business, and in order to do that it will need residents, students, and business owners to stay involved in development plans. Dinkytown will likely have to accommodate changes and demand for more housing as well as grocery and retail, but it doesn’t have to trade in all of its character in the process.

Connect with “Save Dinkytown”: SaveDinkytown.com

Cities

How to Punch a Shark USlam Poetry Biting Back

mic before beginning the actual competition. Two students braved the cold and stage fright to read short original writings off of notebook paper and a phone, respectively. The actual slam followed. Armed with whiteboards, volunteer judges from the audience scored each performance from 0.0 to 10.0, a 10 being called as exciting as a “chance encounter with a unicorn.”

By Mary Scott and Sarah Barchus On a dangerously cold Thursday night, a group of U students filled up a room in Rapson Hall to answer the question: what is a poetry slam? After a brief open mic, two rounds of competitive poetry reading, and a captivating selection of readings from a featured local poet, former USlam member, and U of M alum Michael Lee offered us a simple answer:

It’s just like punching a shark in the nose with a book. About a dozen students took a swing or two during the evening, many new to this rhythmic and intense form of writing and performing. Following a loose time frame just like a hiphop show, USlam warmed up the audience with a short open

Eight slam poets read their original work from paper or memory to a growing chorus of snaps and cheers. The poets combined perceptive writing with performance and addressed topics ranging from a Dr. Seuss childhood to concrete jungle blues to hopelessly lost love. The poems were both intimidating and intimate. Lines like “I didn’t fall in love with you, I fell out of love with everyone else,” and, “the closest thing you’ll get to a near-death experience is actually dying” won snaps and cheers from the audience. It’s this energy that separates slam from the poetry you find on Valentine’s Day cards or in a textbook and keeps audience members returning round after round The U has sent finalists to CUPSI (Collegiate Unions Poetry Slam Invitational) every year since USlam’s creation in 2010. Lee describes members as a “ragtag group of poets” who come from “every corner of the University,” including the most recent slam winner: Patrick Maloney. A Physics and English double major, Maloney has helped to revitalize the program after most of its members graduated last year. Loyal to his art, he spends 20 to 30 hours tailoring threeminute poems. This same dedication fuels his ultimate goal of getting to this year’s championship in New York City.

Ibé introduced himself by excusing “the mess on his head,” a camouflaged fur hat, explaining that he is an African in Minnesota. What came from his mind next was far from a mess, and his outside perspective brought insights on American culture. Ibé’s poems spoke of both the base and beauty of his homeland while also challenging the American perspective. One of his poems spoke of lines drawn, not based on race, but on financial privilege, declaring that “green is the new color.” Another poem questioned the ethics of the idyllic melting pot. Ibé said, “America will mispronounce your name and make you feel wrong when you say it right.” Slam poetry itself is all about saying it right, Maloney explained. The difference between slam and other poetry is that showmanship is crucial for a powerful performance. He said you have to get pumped about slam poetry. And it was evident that when the performers were amped up, the audience was excited with them. “In other poetry, other people tell you what’s good,” Maloney said. But with USlam, he said, “It’s our poetry.” This sense of community was reflected in the doubled audience numbers since this past year’s slams. If 10.0 poets like Maloney and Nunemaker continue to share their words, the community will likely grow by the tenfold.

Find out about the next slam on their Facebook page: www.facebook.com/USlamTC

Maloney along with fellow poets and U of M students Kyle Wong, Mason Nunemaker, and Sarah Ogutu all placed in the top five spots at the January 31 slam and qualified to compete for the final round on February 7. Only Nunemaker is a returning poet from last year’s team, and he is yet another example of a dedicated poet, who said he considers poetry slam the one thing in the past year that has affected him most. Slam poetry is a large movement with reach far beyond the U. Ibé, the featured poet of the January 31 slam, is a wellknown slammer in the Twin Cities, originally from Guinea. KARA HAKANSON

KARA HAKANSON

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Voices

Guantanamo

Legend, Inhumanity, Reality By Tyler Lauer

say tomato, I say tamato. These individuals, acquired by the U.S. military, were initially allowed none of the protections provided by the Geneva Conventions (aka the right to be treated humanely). This was justified because the inmates were deemed terrorists not connected to any standing foreign army. The Supreme Court eventually allowed detainees to petition for habeas corpus. I don’t see America in a debate on torture. I see America in debate over the legality and morality of Guantánamo. Obama made it clear in his first campaign that closing Guantánamo would be “easy” and a priority once elected.

On January 22, 2009, President Obama issued an executive order pertaining to the closure of Guantanamo detention facilities, stating in Sec. 3 of the article that it would be closed “no later than one year from the date of this order. If any individuals covered by this order remain in detention at Guantánamo at the time of closure of those detention facilities, they shall be returned to their home country, released, transferred to a third country, or transferred to another United States detention facility in a manner consistent with law and the national security and foreign policy interests of the United States.”

There was a time before Guantánamo Bay’s detention facilities. I know this as a fact, but it’s still hard to imagine. It seems to be just a part of the culture now. A necessary evil—because how else do you defend against evil? Or rather, how do you fight an enemy? I know there was a time before, when we didn’t need these detention facilities, the 90s for example. But a time without Guantánamo... I’m not sure I can truly comprehend that, and it now seems like Obama can’t either.

Fast forward to 2013 and Guantánamo remains open with more than 100 detainees (aka people). Ambassador Daniel Fried of the U.S. State Department was assigned as a Special Envoy to facilitate closing of Guantanamo Bay through the settling of the remaining detainees’ cases. Some four years into his appointment, on January 28, 2013, it was reported that Fried was to be reassigned and his office shut down, his duties now to be absorbed by State Department but not by any individual.

I was already a sixth grader when the September 11th attacks occurred. It seems old enough to possibly understand, to make some sense of the atrocity. Maybe I couldn’t have understood such hate or such loss, but I could acknowledge its existence. I remember heading to school, my dad glued to the television. I could tell he was unsure of what to do at that moment. Looking back, I wonder if he was considering not sending me to school. Minnetonka Middle School West ended up being perfectly safe, but you never know.

Each generation following September 11, 2001 will find it harder to think about a time before the War on Terror

September 11th set the mood needed for this facility to arise. As a sixth grader I didn’t realize the implications of the attacks, as I’m sure many Americans didn’t; they simply couldn’t. No one could. Something had to be done, but the exact moves to make in seemingly impossible situations are always in a fog. It’s hard to see through when no one has paved the way and left a torch to help guide you. Each generation following September 11, 2001 will find it harder to think about a time before the War on Terror.

It seems like Obama is finally resigning some hope. What he claimed to be an “easy” fix, cleared up in “one” year at most, has proven to be fraught with should-havebeen-foreseen details. Congress has been blocking trials in civilian courts and money hasn’t been made available to help in the transferring of detainees to other countries. I have no doubt that one day Guantánamo will close, but what I see in Fried’s reassignment is not just the futility of getting anything done quickly in our current political system, but also our unwillingness to truly work towards a time when the War on Terror isn’t looming. It’s not that we don’t want to move into a new era, it’s just that we can’t. Now I feel like I can somewhat convincingly wrap my head around Guantánamo. For better of for worse (and by that I mean for worse), the War on Terror has been synonymous with sites like Guantánamo, Abu Ghraib, Bagram, and unknowable “Black Sites.” I can’t understand a time without these but I can believe that there was a time before them. It’s like truth: just because you don’t know it yet doesn’t mean it’s not there.

Under the Bush administration in early 2002, a section of the Guantánamo Bay naval base was apportioned as housing for terrorists and individuals linked to the Taliban and al-Qaida. “Housing” paints it in a prettier light; maybe concentration camp would be more apropos. You BONNIE FREDRICKSON

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Voices

A Martyr for Open Access?

The alternative to the high price of knowledge and innovation By Molly Green

There are 1,584 Golden Gophers subscribed to the r/uofmn subreddit on the social news and entertainment website Reddit, and likely hundreds more students here at the U every day who enjoy the free flow of information that the online forum provides. Admittedly, much of the content linked to Reddit is a waste of time, but that isn’t the idea— it’s that the information flows freely and it is available for anyone to view, comment on, and post. Even without an account, Reddit is completely open for those of us who just choose to lurk.

justified to hide research and information behind a pay wall? Some argue, “Well, how else will the researchers make money?” And with the system we have right now, they don’t. The money is all in the hands of the publishers. So the publishing companies hold the rights to the research, and they make the money off of the subscriptions. Knowledge is power. Publishers hold the knowledge, but are they really who we want holding the power? Of course not! When corporations are standing in the way of our education, something needs to change. The researchers who put in the time and effort should hold all the power, and a system of open access would do that. Open access would mean that everyone—not just researchers and universities, but literally every person with access to the Internet—would have access to read and reuse scientific information. The collective information from all the medical research done pooled together would be like, “Hello, cure

The idea of free and open information was something that one of the co-founders of Reddit, Aaron Swartz, fiercely advocated for. About a month ago, Swartz committed suicide just weeks before he was to go on trial for downloading millions of scientific journals from the subscription service JSTOR. He did this not with the intent to hoard the information for himself, but to distribute it to the world freely and openly.

for cancer.” It would eliminate redundancies in research and scholars around the world would be able to work together more efficiently to advance technology with a velocity previously unseen. This could be as revolutionary as the inventions of the printing press and the Internet. The scale of knowledge sharing on this magnitude could have such unforeseeable positive outcomes for humanity that it really is critical that we take advantage of it. To disregard it would be to hit the “slow” button on the advancement of our species. Many scholars and researchers are completely in favor of this open access system. In response to the death of Aaron Swartz, many posted their academic research on the web, free for all to view, along with #pdftribute, in honor of Swartz’s efforts over the years to achieve free and open access to knowledge. In the meantime, I encourage all students to advocate for free and open access to information, and maybe check out Reddit if you have nothing to do.

JOHN BARNETT

The costs of these subscription services vary, but generally run university libraries tens of thousands of dollars every year. Not only do these costs hurt schools like ours, they hurt the entire scholastic community. How can it be rightly

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Voices

Hipsters Not Even Hipsters Anymore

There are a lot of you, get over it Juan P. Ramirez

Our society is dived in many subcultures: punks, rockers, emos, nerds, etc. But there is one subculture where even people who are part of it deny their membership. They think they should not be considered as a subculture of our society—HIPSTERS. To begin with, I want to clarify that I don’t have anything against hipsters. I just think they should face reality, and accept that this underground world they want to live in is getting more popular every day.

Facebook or Twitter. For those who don’t know, the hipsters of the 21st century loves new technological devices like Apple products, such as the iPad, iPhones, and Mac computers. This means there is a good chance they have a Twitter and a Facebook account where they post about their favorite brands, artists, pictures and events. Hipsters are known to be obsessed with fashion and design. They buy clothes that might look old school like grandpa sweaters or those shoes made to look dirty and worn. The thing is that most of these clothes they buy are from stores like H&M, ZARA, Urban Outfitters, and Bershka. Now, two of those stores are in the Mall of

America, so I guess they are not as underground as hipsters might think. The other two may not be in Minneapolis, but they are all over Europe and just a couple of blocks away from Fifth Avenue in New York—far from being underground. Hipsters brought back to the 21st century what people used to call the “nerdy glasses” in the 90s. Yes, I am talking about these big-framed plastic glasses. Even though some hipsters might have a 20/20 vision, they like to wear glasses. Those who can afford better buy the Ray Ban Wayfarers. This type of glasses is the modern version of the “nerdy glasses” used in the 90s. But, as far as I know, Ray Ban is a mainstream brand too, so why do they wear them? Music is another important part in the hipster’s life. They love local bands and the DJs or independent labels that nobody knows about. But once they listen to one of those artists on the radio, they will stop listening to them. The reason behind this is simple: that artist is part of the mainstream culture now. What I don’t understand is that these “underground” artists they like have a Facebook fan page, a Twitter account, post all of their music in SoundCloud, and promote all their events like it was the last one on earth. It seems like these artists want to be part of the mainstream culture, but the people listening to them don’t. Are the artists aiming for the wrong audience or is the audience just listening to the wrong artists?

Hipsters tended to be early adopters. They used to sense what was worthwhile before it became popular. Many bands and clothing trends became famous after hipsters went to their unknown performances or wore them as part of their fashionable outfits. However, once that item or band became mainstream, hipsters start looking for something else. They tend to frequent independent art galleries, movie houses, and vintage shops. Hipsters try to be original by liking things nobody knows even exists and some of their most common sentences might be, “I used to wear that before everyone else did,” or, “I’ve been listening to that band for years before they played it on the radio.”

All these contradictions in the hipster subculture have led me to one simple conclusion. The hipsters of the 21st century are simply not an underground culture any more. Because of the Internet and social media, mainstream culture learned what type of music hipsters listen to, what clothes they like and which places they tend to frequent. Nowadays, hipsters are just one more mainstream subculture of our society. Though it is still true they have their own lifestyle, we all know about it.

Well, all this used to happen during the 90s and early 00s. But now that we are in the 21st century, it is hard to be one of these underground people. Small designers, bands, and artists are promoting whatever they are doing through social networks, like LINDSEY PUCCIO

Taxes and U:

New tax plan aims to raise more money for education Cat Yanish

University of Minnesota students and provide necessary funding for important research at the U to continue.

in broader ways. Like all Minnesotans, students may notice the new tax on haircuts, taxi rides, high-end clothing, and cigarettes.

Not everyone is applauding the budget ideas however. Republican critics claim that everyone will pay more under the new plan and that increased taxes for business services will hurt Minnesota jobs. Some Democrats have expressed skepticism over the cigarette tax, claiming that it places an unfair burden on many of the poor who are smokers and unable to quit.

Students on campus showed mixed reactions to the newly proposed cigarette tax. Allison, a senior art major said, “I started smoking when I was 16 and the price has always gone up, but it hasn’t deterred me at all really. I just don’t think it’s the government’s place to tax me or punish me extra for smoking.” Another senior student said, “Don’t get me wrong, I like smoking as much as the next guy, but I see cigarettes as a luxury item in that they’re not essential for health, so it makes sense that they would be taxed for something like education.”

Governor Mark Dayton’s recent budget proposal might spell good news for the University of Minnesota. The proposed tax changes would direct more money into Minnesota’s education system. The governor’s plan includes lowering Minnesota sales tax overall, extending sales tax to most services as well as clothing items over $100, and hiking cigarette taxes by almost a dollar a pack.

Outside of the Minnesota legislature, the potential clothing tax on items over $100 has Mall of America business representatives concerned they will lose tourist shoppers. Minnesota is one of a small number of states with no sales tax on clothing, and changing that could mean less out-of-state shoppers would make a special trip. These issues will be debated in the coming weeks before a final budget is accepted by legislators.

While some of these changes may be felt by University students, most are aimed at high-income earners, who will now be subject to a higher income tax rate. This plan aims to close the current $1.1 million budget deficit, while spending more on education— from pre-kindergarten to colleges and universities across the state. This measure would likely reduce the tuition burden on

If the budget is passed without major changes, students are likely to notice its effects. The revenue raised by the new tax structure would allow the U of M to commit to a two-year tuition freeze—a welcome change for many students who have been at the U long enough to tire of yearly tuition hikes. Some students may find they qualify for more financial aid in the form of state grants. Some of the changes will affect daily student life

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For the University, the governor’s plan signals more willingness from government to invest in higher education. Now, the U’s President Kaler will work with the state legislature by submitting a spending report for the U to ensure taxpayer dollars will be well used. When Kaler spoke with The Wake in January, he explained money from the state would be used to freeze tuition for two years and the rest would be put into funding research projects. As it stands, the governor’s plan outlines ways Minnesota can help foot the bill for a state with a stronger education system and lighter burden on students and families.

Voices

The Dimming Political Icon A Road to Republican Redemption Herbert B. Ferguson-Augustus Clint Eastwood is timeless. Whether it was The Good the Bad and the Ugly in 1967 or Gran Torino in 2009, Eastwood has become synonymous with order and justice. The Republican Party was once the Eastwood of politics, standing for fiscal responsibility and accountability. However, the party is fast becoming irrelevant.

win. Richard Nixon ran on a pretext of resolving the Vietnam War, and Ronald Reagan campaigned for fiscal responsibility in Washington. Both innovated; Reagan launched the Job Training Partnership Act of 1982 and Nixon created the EPA in 1971. Both presidents created new initiatives to resolve the country’s woes. Conversely, the party today has committed themselves to blocking initiatives rather than creating them. Immigration reform presents the Republican’s their comeback in Congress and for the presidency. Republican Senator John McCain led the way by advocating the bipartisan bill currently on the floor. If the Republican Party follows suit they could dislodge the Democrat’s monopoly on the Hispanic vote—the midterm elections are coming up, after all. To do this, however, they have to claim the bill as their own and run with it.

Today, the party is more the Eastwood seen at the last Republican National Convention: an old man talking to a chair. Infamous statements like Todd Akin’s “legitimate rape,” Newt Gingrich’s “Spanish is the language of the ghetto,” and Mitt Romney’s “47 percent” have

vilified the party. Worse still, the party moved to the far right as the public moved to the moderate left, hoping they could counterbalance the president. Although they sustained the Republican support base among Christian fundamentalists, laissez-faire capitalists, and Tea Partiers, they estranged every other kind of voter, thus dashing their hopes at controlling Congress and the presidency in 2012. Republicans were once more like the Eastwood in Dirty Harry, a party not afraid to change the rules of the game in order to

When it comes down to it, if Republicans want to stay relevant they have to call upon the Space Cowboys of the party: the moderates who have long been marginalized but have time and time again proven they can get they can get the job done. Congressional representatives like Lindsey Graham and Susan Collins represent the party’s future, not Rick Santorum or Paul Ryan. Collins is a slick environmentalist not afraid to oppose her own party even when it comes to gay rights; Graham spearheaded immigration reform while challenging Obama on Healthcare. However, none of these faces are new. This means they understand how congress works, something the party seems to have long forgotten. Right now the Grand Old Party is just that, with emphasis on the Grand and the Old. Yet Eastwood is also old, but at 79 he is still acting, still directing, and still a timeless icon. Republicans can do the same, they just have to recognize that they have a different audience now. So go ahead Republicans, make America’s day.

Arguably leading the way in reforms is the only way Republicans could possibly oust the Democrats from Congress. Gun control and health care offer the perfect outlet for this strategy. Instead of trying to repeal healthcare, the party could advocate a voucher system, which would appeal to progressives and the working class. Furthermore, if the Republicans advocate reforming the ATF, they would force Obama back on the offensive whilst blocking any additional gun control laws. Ultimately, the Republicans should articulate policy, not spout philosophy. SEAN QUINN

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Sound & Vision

Station vs Station Two David Bowie Tributes Vie for Wednesday Night Supremacy

By Matt Cermak – Wake Magazine’s Resident Bowieologist

It’s difficult to argue that any one artist has inspired more creativity than David Bowie. His impact on art, fashion, and music is undeniable. Hundreds of thousands have been dazzled by his performances in concert and millions more have purchased his albums. Unfortunately for fans, he last performed live in 2006. Additionally, Bowie turned 66 on January 8 and says he currently has no interest in touring. With it looking less and less likely that he’ll embark on another tour, it seems that providing fans with their next best option may explain why Bowie tribute shows are so popular. But more than just popular, they are prevalent. In Minneapolis alone, these shows occur several times a year. The biggest, “Rock For Pussy,” is an annual David Bowie tribute and benefit for Feline Rescue, held every June at First Avenue. But on the seemingly arbitrary date of January 30, something very strange happened. Two David Bowie tributes occurred at the very same time, on the very same night, and little more than a mile away from each other. Yes, two shows honoring the same man at the same time. With no clear explanation, even Bowie himself might consider that freaky-deaky. On his birthday, Bowie decided it was his fans who deserved the gifts. He came out of a long-assumed retirement and released the surprise new single, “Where Are We Now,” as a teaser for his forthcoming new album, titled “The Next Day.” Considering the ferocity of Bowie fans, delivering such a bombshell on the birthday of Ziggy Stardust himself was bound to cause rabid enthusiasm. This might begin to explain why both the Cabooze and the Varsity Theater decided to host tribute shows. But why were both shows on the same seemingly random Wednesday night in January? Furthermore, which tribute was the best? To answer these questions, I attended both.

SOAP Performs David Bowie At The Cabooze SOAP, the Cabooze’s resident band on Wednesday nights, played the landmark Bowie album, “The Rise and Fall of Ziggy Stardust and the Spiders From Mars,” followed by a plethora of Bowie’s greatest hits. SOAP is known for these kinds of tributes: one of their trademark features is performing an entire album from the selected artist. SOAP’s manager, Brad Solheim, commented on behalf of the group: “We chose ‘The Rise and Fall of Ziggy Stardust and the Spiders from

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Mars’ for this one, an album that undoubtedly had a significant impact on all of us the first time we heard it.” This year marked the 40th anniversary of the album’s release, which has consistently been hailed as one of the greatest albums of all time. Suffice it to say, the group had its work cut out for them. “When we do tribute shows as SOAP, we try to go big and do the artist justice,” Solheim said. “We try to create a complete environment for our fans to be engulfed in. You walk into the Cabooze that night and you feel it, you feel David Bowie all around you.”

SOAP certainly succeeded in this respect. With a large backdrop mural, lighting effects, and the entire band dressed to represent the many eras of Bowie style, the group nailed the presentation. But it wasn’t all about the look; SOAP also emulated Bowie’s sound across its many genres by including several additions to their line-up. An additional guitarist, a three-piece horn section, two female back-up singers, as well as several male guestvocalists rounded out their usual four-piece band. The lineup really shined, especially on some of Bowie’s more demanding Philadelphia-soul tracks, such as, “Young Americans.” While it was a surprise to Solheim and the band that the Varsity scheduled a tribute on the same night, it doesn’t surprise Solheim that tributes to Bowie are so popular. “Bowie’s music is timeless and so unique, there’s no other artist out there that sounds like him,” he said. “From musicianship to the lyrics, he’s in a world all his own.”

Transmission Presents: Changes At The Varsity Theater The host of Transmission on 89.3 The Current, DJ Jake Rudh, was the headliner and organizer of the show at the Varsity. He echoed Solheim’s sentiments on why there are so many tributes. “[Bowie] has touched so many people with his art across multiple generations and genres of music,” Rudh said. “What inspires it for me is that he inspired many of my favorite artists through the years. It’s how I was first introduced to him.” Even though the shows were both Bowie tributes, the scene was much different from the Cabooze. DJs played sets of David Bowie songs, remixes, covers, and songs by related artists against a backdrop of music videos. Instead of watching a band play David Bowie’s music, the Transmission show was a dance party focused on pulling attendees out onto the Varsity’s ample floor. At first, the show was reminiscent of an eighth grade dance, complete with a ring of wall-hugging fans awkwardly lining the edges of the main room. However, a few brave dance-pioneers later, and an avalanche of Ziggy Stardusts and bulgy LabyrinthBowies descended to fill the dance floor. The many universityaged attendees among them reflected the timeless nature of Bowie’s music and its ability to appeal to audiences born decades after the release of his landmark works. This is not to say that the crowd was exclusively college students. Bowie fans of all ages were at the Varsity having a blast getting down to their favorites. “That’s the power of Bowie, being able to appeal to folks of all ages,” Rudh said. “The thing I enjoy most are all the young faces I continue

to see. There are fans who bought Bowie’s debut record when it first came out coming down, as well as their children and even grandchildren. I know, because I meet them. His music continually finds new fans.” I talked with crowds at each show. Few seemed to know about the existence of the other event and both crowds seemed to be having a good time. It was far from the Bowie Battle Royale I had expected. But, which was the best way to pay tribute to David Bowie? Well, it depends on the Bowie fan. For those looking to dance, the Varsity was perfect. For those looking to hear their favorites performed live, SOAP put on a great show. It seemed that even with two events happening at the same time, there was plenty of Bowie love to go around. Like SOAP, Rudh was unaware of the other show until mere days before. “I thought it was great that more than just Transmission was celebrating the man,” he said. “I think he can be celebrated anywhere from a living room or car to the most intimate bars or largest arenas. That’s the unique flexibility his work has.” Rudh was right. No matter which event you ended up at, you’d be hard pressed to find a better time on a freezing-cold Wednesday night in Minneapolis.

Sound & Vision

And the Oscar Goes To...

that’s actually worth your time. In a few cases, the influence of a

Academy Awards still feature some spectacular films. “The

nomination can even bring smaller films like Beasts of the South-

Oscars have gotten a bad rap for mainly recognizing big studio

ern Wild or Slumdog Millionaire to a wider audience. But if you’re

pictures,” says Mische-Richter, but $237 million projects like

watching the awards to root for the underdog don’t be fooled—

Avatar just wouldn’t happen without major studio funding. The

the process of nominating winners isn’t exactly democratic.

flip side of that coin, then, is they aren’t acknowledging equally valuable, if less lucrative, independent work.

But Does It Really Matter?

Here’s how it happens: according to their website, the Academy

Kate Trescony

of Motion Picture Arts and Sciences has around 6,000 mem-

Luckily plenty of people are working hard to further inde-

bers in 15 industry areas. Split evenly that leaves 400 spots for

pendent film as well; just don’t expect them to see them on a

actors, 400 for directors, and 400 for each of the remaining

televised awards show anytime soon. Search past Sundance or

Whether you’re rounding out a “Best Picture” bracket with Life

groups, each who vote only in their area of expertise: actors

Toronto Film Festival winners for a list of great small-budget

of Pi or are convinced it’s a math documentary, the Academy

nominate actors, editors nominate editors, and so on. That may

movies or, if you’re looking closer to home, the MSP Internation-

Awards are practically a rite of passage come February. Last year

seem like a fair number of voting actors, but compare that num-

al Film Festival kicks off in April at St. Anthony Main.

77 million viewers tuned in, and while its popularity rivals the

ber to the current Screen Actors Guild membership of 105,000,

Super Bowl, there’s no denying behind the red-carpet glamour

and it turns out less than half a percent of working actors vote.

it’s the same ultra-exclusive group in the spotlight each year.

Is it any wonder we see the same names year after year?

FAVE

BOGUS

This elitist bent has some wondering—do the Oscars still recognize great film, or are they just another 21st century production

These politics can in turn hurt the Awards’ ability to recognize

of style over substance? The answer lies in looking at how the

which films will have a lasting impact. Studies in Cinema and Me-

Awards affect us, the moviegoers.

dia Culture student Satchell Mische-Richter cites Ghandi’s win over Spielberg’s E.T. in 1983 (which of the two have you seen?)

Not surprisingly, the show’s February airdate puts pressure on

and Alfred Hitchcock’s lack of a best director nod as times when

studios to release their award-worthy films near the end of

they failed to predict which cinematic achievements would

the year. This is great for us in December, but in the next few

endure over time. Still, without studio funding the Awards’

months studios scrape the bottom of the barrel to fill screen-

influence can secure, big projects like Avatar or Titanic probably

time. It may be a cinematic crime, but it’s no accident Scary

wouldn’t get off the ground—you don’t get a James Cameron

Movie 5 has a March 2013 release date.

film without paying a James Cameron salary.

Still, the Oscars can definitely help you find a big-budget picture

Bottom line? They may be fishing in a tiny, elite pond, but the

Star Wars, Meet Lens Flare

So where do J.J. and Disney hope to take all of the anxious Jedi

transition from animation to live-action can be—” CEO Michael

geeks? For Disney: straight to the bank (of course). However,

Eisner waves his hand across his chest. “J.J., this is the writer

our infamous director commented that his additions to the

you’re looking for.” Abrams: “This is the writer I’m looking for.”

series would hopefully “tell an incredibly personal, intimate, and

And that, as only a true sci-fi nerd can expect, is how Michael

emotional story against a backdrop of conflict and battle that’s

Arndt was chosen as the scriptwriter.

Help us J.J. Abrams, you’re our only hope! By Sam Schaust Create a hit science fiction original television series—check. Resurrect a beloved universe for diehard Klingons and Starfleet

planetary and explosive.” Disney—this being completely hypothetical, but one fan could imagine—responded with “J.J., we’ve

It’s interesting, in retrospect, to overview the collection of potential

got just the guy to write this vision of yours. He’s bankable; he

directors in contention for this highly regarded position. Those

can write sad, funny, edgy, and even complex characters. His

considered were Wes Anderson (Moonrise Kingdom), Sofia Coppola

last movie was animated and starred a round up of toys that

(Lost in Translation), Joss Whedon (The Avengers) and even James

try to break out of a pre-school. How’s that sound?” “Umm…

Franco who promised to perform every position from the lead

No offense Mister Eisner and Disney studio executives, but this

actor to the editor and makeup and theme tune writer. Ultimately,

universe requires careful consideration and, for writers, the

Disney denied him the opportunity because they felt “he talked a big game but couldn’t deliver the goods.” Nice guy, though.

fans—check. Ring in a new trilogy of intergalactic battles between the Dark Side and the Rebellion—check?

David Lynch, reportedly, was one of the first to be offered the director’s chair by George Lucas—this, which also happened in

Yes, it’s true. J.J. Abrams, the man who might as well print “Nerd

1977 after his cult hit Eraserhead was released. Yet, to imagine

Leader Supreme” on all future business cards, has been crowned

the mysterious figure behind the dark, twisted wet dreams that

the director of Star Wars: Episode VII by Disney, Lucasfilm

are Twin Peaks and Blue Velvet could have sensitively handled

studios and George Lucas himself. The announcement came as a

Return of the Jedi is unfathomable. All of those light saber-

surprise on January 25 via the official Star Wars website consid-

wielding fans muffin-topping out of their too tight Star Wars

ering only a week earlier Abrams had denied the job. This means

tees would have torn Lynch’s film strips to plastic shreds.

the brains behind LOST, Super 8, and Mission: Impossible 3 will now be helming both sci-fi behemoths Star Trek and Star Wars.

Let’s hope Jar Jar Abrams doesn’t suffer this same potential fate.

Abrams must be seeing stars with both of these dense universes

After all, the nerdgasm of the century is about to commence—

under his kaleidoscopic vision. JENNIFER YELK

so may the force be with you, King Abrams.

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Sound & Vision

Q&A:

Southside Desire By Zach McCormick and Courtney Bade

What’s in a name? If it hadn’t been for an intriguing cover and an eye-catching nom-de-rock, I may have never picked up Southside Desire’s debut album at a local record store. As old-school as thumbing through stacks dusty vinyl, but modern as finding a download card inside, their sound sits somewhere in between Twee and R&B with echoes of a Garage Punk background. The Wake caught up with as many of the members as we could for a chat about Soul Music and Lizard People during their DJ night at the Nomad. The Wake: So, I’ll admit it, since I’m from the Southside, I first found out about you guys because of your name, which is totally great. Who all here is from the Southside? Marvel Devitt [Lead Vocals]: Me, I am. Gloria Iacono [Backing Vocals]: I am. Joyce is. Damien Tank [Drums]: I live there now. I went to South High. Trevor E. [Bass]: Yeah that’s where I met Damien. We’ve gone almost a year with only playing shows in South Minneapolis. W: No Northeast shows yet? Trevor: Not North, not Downtown, nowhere. Damien: No Northeast, no St. Paul. Trevor: Our first non-South Minneapolis show was gonna be in Milwaukee at the end of this month. We like to say that’s intentional. W: What kind of bands inspired you to form this group? Marvel: Well, I’ve seen a lot of and I’ve heard a lot of groups that are kind of popping up now. Like the Alabama Shakes is one, we LOVE the Alabama Shakes. I think that the feeling wasn’t so much a pointed, “THIS is what we want to be.” It was kind of just like, “Man this is happening.” We have such a rich music scene here in Minneapolis and it’s so tight-knit and small, but so, so full of new energy and people doing all these things. There’s a huge void, I mean people under a certain age, how many soul groups, neo-soul, soul revival groups, are there in town that you know of? I think this is gonna be the year that it happens. But, I can’t really say that there’s one group. It’s kind of more and more becoming obvious in other places in the country that this is coming back up. And I think worldwide too. I think that Amy Winehouse’s take on the girl-group Phil Spector sound was a big part of it on a major level. I think it’s something that’s been boiling under ground for a while and it’s about to pop out in our city hopefully.

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W: You don’t see a lot of 7-piece groups up here. How did you form such a large band? Did it come together all at once, or over time? Gloria: Well, we’ve all kind of played together in different configurations over the years. Me and Trevor and Damian were in a band together, and Paul and Damien were in a band together, and Trevor and Damien had been playing for years and years. And Marvel and I, for years and years. W: Why have 3 backing singers? Not a lot of bands do that anymore, and it’s a lot of extra people to cram onstage and pay at the end of the night. Trevor: Nobody gets paid in this band [laughs]. Marvel: [Laughs] Yeah nobody really gets paid... It’s like you mentioned, you don’t see seven-piece bands anymore. Maybe part of that is that getting so many people on the same schedule. When you’re busy and in a band, my goodness is that tricky. It’s a big commitment. It’s a very big commitment to practice twice a week and play at least four shows a month. So the people that are doing this, all of us, we’re here because we’re really into it. We believe in it. But yeah, having that wall of vocal sound is such an important part of this group I think it would be nothing without that. W: For the backup singers here, what attracted you to that job? It’s harder than it looks!

Gloria: Well, this is the first band that I’ve just been a singer in; I play bass in a different band right now and I play guitar in Running Scared. I don’t know. I just wanted to get better at singing. Arranging has been a challenge for me. I do a lot of the arrangements for the background vocals, and I don’t know, it’s just fun. Jenny Hatfield [Backing Vocals]: I did a lot of choral singing as a kid and teenager, and I was also the obnoxious person that would just harmonize with songs on the radio. So I just really love it and I would much rather be a backup singer than a frontman. Marvel: It’s so hard, you have no idea. Nobody understands me! [laughs] W: How does your songwriting work? To my ear, it sounds like they might start from more of a singer-songwriter type format. Marvel: Yeah, that’s pretty much it. I’m the kind of person who always has lots of ideas but heck if I can keep ‘em. So I rely quite a lot on using some kind of recorder to capture an idea. So if I’m waiting for the bus and I have a crazy thought I pull out my phone or something and use the voice recorder on it. Everyone thinks I’m crazy and I sing a little thing. Trevor E: You record demos on the bus? Marvel: Oh yeah definitely. I’m like that crazy girl who’s like singing to myself and everyone’s like, “Oh... What’s up with her…?” I mean really, on my phone right now I probably have thirty little snippets, between fifteen and thirty little snippets of songs that I’m working on. You know, like eight at the

Sound & Vision same time. I’ll go through everyday and decide which ones I want to work on. So, I take our acoustic bass and I write the stupidest, simplest bass line and I get the lyrics down, and I create the structure of the song. Before, I was writing with an old Wurlitzer keyboard, which belonged to my mom when she wanted to start a soul band when she was sixteen. W: So where did you make your debut record? What was the recording process like?

statement that you really want it, that we really mean this record that we put out, yeah it’s more expensive and it’s taking the long route, but that means we fought against resistance to put it out. We mean it, we really mean these records. W: In addition to Soul and R&B, I hear a lot of Garage and Punk in your guys’ music. Was it tough to dial back the aggression for this band?

Marvel: Albatross Studios, Mike Wisti is the engineer. It’s kind of an awesome basement-dungeon studio. There’s lots of Simpson’s memorabilia, there’s a little black-and-white television that’s always playing the Spanish channel, lots of bowls of candy. Jenny: There’s so much to look at. Trevor: Yeah, it’s a pretty stimulating little basement. He’s got a 24-track, two-inch tape machine. Everything’s kinda dusty. We’re actually going back into the same studio next week. Damien: Yep. We’re gonna put out a split 7-inch with Black Diet. Marvel: And we love them. And Mumsy, who sings with them, also sings with us and she couldn’t be here tonight. But Mumsy is also in the band.

Damien: It’s definitely the strongest influence in my playing and every band I’ve been in before this was pretty much a garage rock band. And so absolutely there’s a ton of influence. When you’re trying to play quiet, everyone’s trying to play quiet. Every touch you make on the drums becomes more meaningful. So like, hitting those little ghost notes between the accents become really important and it’s audible. So you have to really be paying attention to what stupid little things you’re doing, so it’s definitely presenting a new challenge where the challenge used to be just playing fast with lots of cool fills and stuff. Which is great! Absolutely amazing! And this is a whole completely different challenge. Paul: It’s the first time I’ve cared about intonation. Like about holding a note correctly or something. Damien: Yeah, I care more about where I hit the cymbals now than I ever did.

W: You guys are involved with Piñata Records, what’s the relationship between that label and the band?

W: You seem to be a bit specific about not being a nostalgia band. Why is that?

Trevor: Yeah, we kind of started it as just an imprint to put on the record that we put out, and then we made a Facebook page and it got legit when our friends in the band Narco States hit us up like the day after we made the Facebook page. Those dudes were the first “Like” on the page and they were like, “Hey man, can we put a 7-inch out?” Which came out, the release party was here last week. They got a four song, 7-inch EP on it. It’s really good. We’ve got a couple of potential projects on Piñata coming out; I think the next release is the split 7-inch.

Damien: I think it is a negative thing. Because whenever I see “throwback” or “50’s throwback” or “do-wop throwback,” it sort of feels so belittling. I mean, it’s not a bad thing, but it just doesn’t sound like it’s moving anything forward, whereas I feel like the music we make is a collection of influences, that collectively, is moving things forward which is how all good music is I think. So, I like to say that our music is influenced by and inspired by, but not limited by, certain songs of the past. Marvel: Well yeah, it’s a representation of where we come from, but we’re moving towards the future. Gloria: Always twirling [laughs].

W: Why release the album on vinyl? That’s definitely the more expensive and difficult route. Paul Puelo [Guitar]: Well, the fidelity is arguably better. Trevor: It’s way more fun. It’s way more exciting, too—like, I could burn CDs. But you gotta be seriously committed to put out a record. Like a vinyl record: that’s official shit. Marvel: Also, after the lizard people have destroyed the earth, and all of our society has crumbled, and the weather has destroyed things... I have a lot of CDs from ten years ago that I hadn’t really fucked up. But they’re gonna be deteriorated and fucked and no one’s gonna hear what’s on them. A record? I got stuff from my grandparents’ collection that I can still listen to, ya know? I want to create things that are true artifacts of music in our city. Like I said, a snapshot of our time that the lizard people can’t take away from us. And I think accessibility can dilute artwork and dilute the things sometimes. To make a

W: So, what are Southside Desire’s goals for 2013? Damien: We’d like to make it to CMJ in October and do a few more out-of-towner shows to try and increase our ability to get accepted to CMJ. We’re putting out a “Killer Beach Party” Benefit Compilation with a bunch of our friend’s bands.

Since Trevor and the rest of the band were spinning some seriously choice cuts during the night of our interview, we figured we’d have them curate a mixtape for you, culled from their favorite vinyl in their collections.

>>>>>

Dangerboy & the Road Vultures: Young Local Angry Funky BLBC rock. I loved this band and love this record. I think most of us that grew up in Minneapolis went to a Dangerboy show or 2. Mostly basements or garages, and once at the 7th St Entry. You can still find bits of DB&TRV’s in local bands like Tornado and Mary Allen & the Percolators. Bought at Extreme Noise Prince – Controversy: Early Prince is the best music ever. Its perfect, note for note. This record in particular is my favorite. My fatherin-law turned me on to it years ago. The whole thing is amazing front to back. If you are someone who just has a few Prince songs, buy this album and do yourself a favor by listening to it. Bought at Treehouse Jimmy Castor Bunch- Butt of Corse: Great Party Music. So much fun and dance-y. Bought at Hymie’s The Replacements - Pleased to Meet Me: Not my favorite Mat’s record, but it was the only one I brought with tonight. Great songs, still awesome. I just like Tim best. Inherited from my father’s collection. Cody ChestnuTT- Landing on a Hundred: Cody ChestnuTT is a genius. Look him up. I got this for supporting Cody’s Kickstarter campaign. The Weird World of Blowfly - “Its a Weird World, full of Weird People.” Inherited from DJ Matt Walsh. Dorothy Moore- Misty Blue: Damien found this one at Hymie’s. Great soulful record. Awesome version of “On the Dark End of the Street.” Flying Burrito Bros do a great version of that song as well. Damien bought this for me, I think at Hymie’s. Roger- I want to be your man 12” Single: The 2001 Major Motion Picture “Pootie Tang” enlightened me to the wonders of Roger & Zapp. Everyone go get some Zapp!!! Original Vocoder! or “Auto Tune” as the kids call it. Bought at Electric Fetus Raphael Saadiq- The Way I see It: Raphael Saadiq is incredible. This record is very beautiful and Motown. I’m so glad I bought this on vinyl. Bought at Down in the Valley. E.L.O. – Eldorado: Best Wizard of Oz themed concept album... ever. Lorado Tornado, baby. Bought at Hymie’s Flying Burrito Brothers- Guilded Palace of Sin: This record blew my mind the first time I heard it. Gram Parsons is one of the best country singers ever, but let’s not forget to give Chris Hillman the credit he so rarely receives for playing soulful harmonist to GP’s manic tear-in-your-beer country balladeer. Inherited from my father’s collection. Twin Cities Funk & Soul - Easily the best $20 I spent in 2012. I missed the show because of work or something not nearly as important, but this funky artifact will always be with me. AND, the best part is that all of the music on these records still holds up as amazing. Bought at Hymie’s

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17.

More Than Just a Smooth Beat:

A Look into Local Hip-Hop duo, Duenday.

TIM MCGUIRE

By Sean McSteen

west Minneapolis but it was not until the latter half of their high

their growing popularity. Good Problems shows the level of se-

school career that they began to make music. “Carter started to

riousness Duenday has taken upon their music, and as Thornton

It was Friday night, the temperature was hovering unsteadily

make beats, then I started to make beats,” Thornton said. “Then

said, “We want people to recognize that we are professionals and

I started rapping and then Carter started rapping and we pretty

this is a job for us as well.”

above negative degrees and the few layers of liquid warmth placed gently over my shoulders before heading into downtown Minneapolis was fast dissipating through my veins. Running across the newly slick roads in Minneapolis, blocking the path of silently spinning tires, I would be lying if I said I did not have my doubts about what the turn-out would be for the show I was about to walk into. I was there to see the headliner of the show, a local hip-hop duo by the name of Duenday and I was very intrigued to see what kind of atmosphere their sound harbored. Walking into the 7th St. Entry, I heard the distant cry of a heavily distorted guitar around the corner. This surprised me as I had expected to walk into a room with throat-shaking bass reverberating off the walls and a sea of slanted, flat-brimmed baseball caps rippling to the rhythm of the deepest baritone. Instead, what I was met with was an excellent representation of how diverse and

much drove each other into doing this whole thing.” Duenday was officially formed around 2005, but it wasn’t until 2010 with

As Duenday grows both in skill and audience recognition, their

the release of their first full-length album that the duo began to

music will only progress. As Thornton speaks on the future of Du-

make a name for themselves. Playing with local artists such as Big

enday, he looks to the potential of what Duenday could be, saying,

Zach and More Than Lights, Duenday was able to break into the

“I hope to really up my production game and my lyrics game… And

Midwest music scene, gathering a fan base entirely of their own.

I’m just trying to get more of a basic stunning performance and visual. I want it to be an actual production rather than just two guys

Since 2010, both Initial MC and In2Wishin have evolved their

rapping the entire show.” After speaking with Matt, I came away

musical capabilities, working to create more intricate levels of

with a better understanding of where Duenday as a group came

depth within their music, which is visibly evident in their newly

from as well as where they would like to go with their music. Those

released album, Good Problems. Every aspect of Good Problems

in attendance of Duenday’s CD release show also clearly displayed

reaches a new level that surpasses the group’s past work. The

the duo’s ability to reach people of all beliefs, interests and back-

production quality gives one insight into just how much the group

grounds, gaining a diverse following all with a common interest in

has grown. With beats that range from a blend of classical guitars

and appreciation for original Minnesota storytellers.

intermingled the Minnesota music scene has become.

and dub-like techno to West Coast-style rhythms that sounds as though they could have come straight from one of Tupac’s seem-

Being able to branch multiple genres of music and attract a varied

It would be impossible to try and list the different types of peo-

ingly endless unreleased tracks, Duenday has reached a new level

combination of subcultures is not an easy feat, and from talking

of understanding when it comes to musical production. And with

with Duenday, listening to their albums both new and old and at-

thoughtful rhymes and smooth flow, Duenday has put together

tending their concert, I have high hopes for where the group will go

an album that I believe will gain popularity and act as a catalyst to

and how they will expand musically in the upcoming years.

ple that were in attendance because within the environment of the performance, there was only a single crowd, strangers connected through a shared experience. Through the purposeful order of openers spanning multiple genres of music, the various

show. After wailing guitar solos and smooth vocals changed to hip-hop, the stage was again cleared as Duenday was next to 2nd St NE

perform. The beat dropped and hands flew to the sky as Duenday took the stage. Playing off the good vibes from the crowd,

35W 18th Ave NE

Broadway St NE

35W

Monroe St NE

Initial MC (Matt Carter) and In2Wishin (Matt Thornton) paced 94

the stage, rapping with a crisp, polished flow to every corner of

Central Ave NE

subcultures assembled were brought together through a single

the room. The energetic crowd could not get enough of them,

E Hennepin Ave

and in turn Duenday never seemed to lose their energy, spitting every verse with the same strength as the last. After seeing their great performance on Feb. 1, I was excited to speak with Thornton later that weekend. I met Matt Sunday evening at a Dunn Bros. close to my house. Having finished a tu-

35W

University of Minnesota

394

toring session—one of two jobs aside from hip-hop that Thorn-

ton works, the other being a substitute teacher for Minneapolis

ive

rsit

yA ve

Public Schools—Matt had been in the area and was able to sit down for a quick interview. After listening to Thornton give his personal insight into the music, I was able to gain an even better a ath

w Hia

understanding and appreciation for the music itself as well as for

Ave

the huge amount of effort that is required of them to truly turn

their ideas into fruition.

Duenday first began making music when Matt Thornton and

Min

Matt Carter began collaborating in high school, working from the

35W

hah

ground up. The two had grown up in the same area of South-

18.

february 11 - 24

City of Beer Four Beer Geeks, Four Minneapolis Taprooms

-Zach McCormick

BREWERY LOCATION MAP ON PREVIOUS PAGE

711 15th Ave NE

Sound & Vision 2

2716 E 38th St

By Alexa Montesa

The Twin Cities are in the midst of an unprecedented boom in our local craft brewing industry that’s quickly drawing national attention. Maybe it’s our long, depressing winters or our hearty Midwestern constitutions, but the beer we make right here in our own back yard is earning a reputation for being some of the best in the WORLD! The Wake assembled a crack team of Beer Geeks to profile four new taprooms on the scene and we welcome you to try them all. Just make sure you take a picture and tweet us @The_Wake. Cheers!

Indeed Brewing Company

Northbound Smokehouse Brewpub

By Sarah Brownson Nestled behind what appears to be a warehouse, Indeed Brewing Company isn’t exactly easy to find. Simplicity is surely the theme of this local brewery with dim lighting, empty walls, and a rustic interior that could be much more inviting if the hanging lights were on. Indeed doesn’t make food, but rather supports the local food trucks by allowing them to come in each night and serve their food out the back of the brewery. The prices are comparable to surrounding bar and grill prices. After tasting all the brews, I feel the most notable are the Day Tripper pale ale and Stir Crazy winter ale. Apricot in color, Day Tripper is a little cloudy. It has a great head and was poured at the perfect temperature. The pale ale is citrusy both in smell and taste; the taste was the most aggressive in its earthy and hoppy flavors. Day Tripper is very light and coarse in texture. Stir Crazy is the featured winter ale. A dark, heavy beer with nutty and robust malty flavors. This beer had an earthy flavor with hints of espresso. Smooth in texture and wellblended flavor make this winter ale an easy favorite. Indeed also features Midnight Rider American Black Ale, and occasionally offers beer infusions, nitros, and casks. A distinct take on the way they offer beer to go, and association with the 1% for the Planet green movement, Indeed is a unique and memorable experience. With better location or a bit of help to find the place, Indeed could really succeed.

From where an old vintage furniture store stood to a newly renovated brewpub, Northbound Smokehouse has made its mark in the Powderhorn neighborhood. Since its opening in September, it remains a buzzing place each and every day. This spot offers a full menu with the onion rings and fried chicken sandwich both using beer batter made from house brews! You can even get a sample of each of their four year-round house beers and two rotating seasonals before you decide which one is your favorite. The Honey Wheat Ale is one of their year-round beers that sells out quickly. Golden in color, it’s a light and crisp ale that’s brewed with honey from Owatonna. This is a pretty balanced beer that goes down very smooth. Another popular choice is the Big Jim IPA, another year-round beer. The brewers of the beer name this as a Minnesota IPA. With its classification as an IPA, you would expect the balancing malt backbone and intense hoppy finish—and this one does just that. The added hops later in fermenting give it its own kick though. A nice, brown-colored ale with a medium body that can be enjoyed by many. As it is a thicker beer, you are left with a bigger impact of the flavor. The locally brewed beer, people, and setting make this place very enjoyable. It’s mellow and clean, while giving you the chance to talk to the brewers themselves about their passion for beer.

Harriet Brewing Company 3036 Minnehaha Ave

By Sean McSteen The Harriet Brewing Company in South Minneapolis is an excellent location if one is looking for quality European style beers made in-house and a relaxed, intriguing environment. As their brewery and tap house are connected within one large warehouse, Harriet Brewing gives the community a fantastic local spot for live music and excellent beer made not 50 yards away. The two beers I drank while perusing the countless pieces of artwork across the walls, lit by a calming hue brought on by soft orange and red lighting, were the East Side European Style IPA and the Coffee Elevator, which was a coffee-infused German lager. The East Side IPA was a beer that expertly mixes the full, base line flavor of a Belgian ale with the strong, hoppy taste that is prevalent amongst the best of IPAs. My prior experience with Belgian ales is relatively black and white in reference to enjoyment, but the East Side IPA was one to be relished and will be purchased by me in the future time and time again. Purposefully choosing the Coffee Elevator per the recommendation that it was on the opposite end of the spectrum of the beer I had just drank, I was thoroughly impressed with the complexity of flavors. Mixing a darker German lager with rich coffee tones, Harriet Brewing Company has created a beer that should be enjoyed in the same way as a fine wine, sipping slowly and appreciating the layered complexity of the flavors that come forth.

Dangerous Man Brewing Company

1300 2nd St NE

By Jerod Greenisen Among many pleasurable aspects, including great craft beer, Dangerous Man has a winning attitude when it comes to neighborhood pub. The space is open, well lit, void of electronics, and mobility is never an issue even when every seat in the house is full. Everything about the space invites conversation—they’re your neighbors after all. Dangerous Man could be more about the minor idiosyncrasies when it comes to everything else, except the beer. Patrons are allowed to bring their own food because DMBC does not make any. It encourages a partnership with other NE businesses and a transparent community commitment. DMBC also crafts their own sodas, perhaps to cater to a family crowd as Northeast has a high demographic in that regard. Stylistically DMBC knows what it is doing—almost too well. There is a barrage of consistent branding on nearly everything. The overall aesthetic of hammered tin and copper curtailed with an ornate chop-block mosaic behind the taps makes the greatest statement. If you could guess, there are also pine needles and rugged cabin-like furnishings. It is difficult to understand if this is a play on recent ironic conceptions about manliness and the rugged Minnesotan, or if DMBC is serious about beer culture as a craft of the bearded frontiersman displaced by the trending urbanization of living recently. DMBC is trying to participate with a trend, and nailed the trend with one heavy, macho stroke of the hammer. What does this mean for beer culture in Minneapolis? Is DMBC contributing many new things to the overall culture of this city? Yes, but if DMBC does anything wrong I feel DMBC does not bring anything new to the environment. The beers are not uniquely DMBC, they do not have any wow factors. Rather, they are attempts at standard brews. The flavors are straightforward and powerful—try the Extra Dangerous Bitter and the Matchbox Coffee Porter. DMBC does one thing for Minneapolis’ exploding craft beer scene—they contribute and reinforce craft beer as an identity for Minneapolis, especially Northeast.

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19.

3REVIEWS RUPAUL’S DRAG RACE SEASON 5 BY BRIAN PRICCO

TORO Y MOI - ANYTHING IN RETURN BY JEROD GREENISEN

Tuck yourself and make sure your weave is glued on tight because the fifth season of Rupaul’s Drag Race has finally begun and these queens float to the top. No, seriously, they’ve already had to pose underwater! While some sank and others floundered, it made for a slippery first challenge.

Chaz Bundick’s third album as Toro y Moi is something that functions not only as a fine addition to an artist’s catalog, but as a milestone of growth and development over a career. To the listener, and more importantly the consumer, this album makes a statement: this is more than glossy ear-candy to soothe your guilt over sweatshops and child labor.

Thanks to higher production values since the first season, Rupaul has been able to bring drag culture out of the dark and into the shade offering us another class of sassy drag queens and a “Pit Crew,” a duo of men dressed normally in nothing but colorful speedos, who aren’t exactly hard on the eyes. In the premiere of the show’s fifth season, the names of the contestants range from Alyssa Edwards to Honey Mahogany, Detox to Penny Tration. If the thought of a little Penny Tration doesn’t already give you shivers downstairs, then be in store for even more antics and another season full of catfights and thrown cocktails perfected by Absolut. The camp has already started to pitch its tent as the queen’s first main challenge begins with them surveying Hollywood from a tourist bus waving to D-list celebrities along the way. Much later into the episode, the queens are told they will need to put together a red carpet look using materials they find in a Beverly Hills dumpster. Rupaul looked stunning as usual in a glittery blue gown and with biceps so defined he must have stolen Michelle Obama’s trainer. Even though most shows get bad with age, Rupaul and his cast of witty queens sure don’t. Queens to watch this season: Honey Mahogany, Detox, Roxxxy Andrews

The first few seconds of “Harm In Change” and “Say That” debunk the predictions we had after the Freaking Out EP was released mid 2011. These first few songs take the energy down a few notches while bringing out the disco beats from the roller rink and that smooth R&B lyricism to bump into you somewhere between your apartment and the party.

THE GROWLERS BY SARAH MEVISSEN

Anything’s genre multiplicity and subtle sonic banners enable it to be just as diverse in application. Bundick’s gradual pace slows through the middle of the album. This could have been an intentional motif to bring the listener/shopper/party-hopper to a place of soothed apathy and inattentiveness.

You felt like you were floating somewhere on the tops of clouds. Or you felt like you were swaying back and forth in the teasing desert sun. Or you were restored back to this reality once the bodies surrounding you started to howl like wild dogs. In the time between an end of one song and the start of a new one, you’d be fully aware, once again, that you were at 7th Street Entry listening to the entrancing sound of The Growlers.

When the track “Cake” picks up out of nowhere, only the heartless could hold back from jiving to Toro y Moi’s definitive moment. “Cake” is perfect example of how Anything is a lot to handle, and yet begs not to be taken too seriously. Although Bundick’s lyricism may hit the typical college student right at home, Anything In Return is much more than simple pop or dance music. However, should you engage too much, you’ll miss the point: take it easy.

Jessica Hernandez and the Deltas started the night with a small singer, a big voice, and big hair, while Wisconsin-based Jaill gave the crowd their fair share of witty comments, perhaps a little more than was necessary. In any case, the opening acts loosened the crowd’s limbs, warming them up for the band that would lead them along the mesmerizing path into a world of hypnotic, blissful music. The Growlers were bewitching. It’s simply part of their West Coast ways. Something about their sound transports your soul far off into an unknown dream world, which somehow feels all too real. It may be attuned to the guitars’ bright tone of nostalgic sunny days and reverb waves. Or perhaps the playful groove of the bass pushing the arrangement along. Vocalist Brooks Nielsen sings almost indifferently, but an indifference that is thoughtfully melodic and purposeful; he just doesn’t try to make his vocals any more important than the accompanying instrumentals. This is why each member of The Growlers can be independent, somewhere else, but then connect together so cohesively.

JOÉL VALDEZ

20.

february 11 - 24

Released in 2013, Hung At Heart is The Growlers’ fourth, full-length album, which made up most of the set. A number of oldies but goodies were played as well. And in all, the feel of the night was not ruckus but rather relaxing.

Obituaries

Tequila Punks on the Moon By Sam Anderson

JUSTIN SENGLY

A fish keeps staring at me from behind blood black eyes. How many centuries have these huns been shitting sausage into that river. I shovel oily forkfuls and lubricate with a bottle of beer featuring a german baby boy crawling out of half full stein. I sit Across from Heidi, her bleach blonde dreadlocks dangle over her perky breasts, both careless and confidently conceal her age. She tells me she had never, will never be a wage slave. I believe her. I believe in her. She hands me a spliff and I study her fingers, under the table I imagine black Doc Martens, eight eyelet maybe fourteen, hot pink laces strung horizontal. I want to crawl up the laces. Peel off those boots and suck her steel toes one at a time, while she gets drunk on Molotov cocktails. Laughing, shouting through glimpses of nicotine stained porcelain: the Wall, risking jail time for a Black Flag record. I’ll tell her Hasselhoff would have torn it down years ago if he knew it was hiding her. I imagine this would make her pink cheeks turn red. Once a Mercedes Bens came down the street in front of her squat, stopped at a red light she climbed onto the hood, hiked up her black and crimson patchwork skirt, spread her hardy thighs and rained piss on the shiny gold calf; shouting: “One Two Three! Kill the Bourgeoise”

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21.

Obituaries

22.

february 11 - 24

Bastard

www.wakemag.org

23.

wake steak Want to get involved with the

Wake Student Magazine? 3rd meeting of the semester Monday February 25th @ 8:30 p.m.

Nicholson Hall 125 Email ALauer@wakemag.org with any questions Looking For: writers, photographers, illustrators, videographers, web designers, R. Kelly fans, you