fortnightly student magazine
volume 18 — issue 4
Adam Rippon
p. 7
Q&A : A Cripple’s Dance
p. 16
Pixels and Hip Hop
p. 8
Coping Together
p. 21
Witch Hunt
p. 11
Bohemian Rhapsody
p. 23
Woke Up With The Wake Our annual event, Wake Up With The Wake, took place Friday, October 26th. Despite the cold temperatures and rain, staff and interns, artists and writers alike, handed out free bagels, coffee, and magazines to around 175 students and community members on the University of Minnesota campus. We’d like to take a moment and express gratitude to all who showed up to celebrate the release of our first two issues and helped make this event a success Thank you to Weisman Art Museum and Outdoor Space for allowing us to table outside your space. Thank you to First Avenue and 7th Street Entry for the concert ticket giveaways. Thank you to RadioK for the tunes. Thank you to Bruegger’s Bagels for the catering. Thank you to each and every one of you for supporting The Wake, sharing the event, and showing up!
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NOV 5-NOV 19
Send us your creative work! Want to be featured in The Wake? We accept art, photography, poems, short stories, & more! Send your work to: submissions@wakemag.org or submit online at www.wakemag.org/submissions
VOLUME 18, ISSUE 4 EDITORIAL: Editor-in-Chief
Tala Alfoqaha
Managing Editor
Chris Shea
Cities Editor
Olivia Hultgren
Voices Editor
Farrah Mina
Music Editor
Megan Hoff
Online editor
Becca Most
Copy editors
MaiLei Meyers Hannah Haakenson
Multimedia Editor
Sebastian Alfonzo
Multimedia Producer
Daniel Elder
Editorial Interns: Hannah Olund, Sylvia Rani, Esther Chan, Jimmy Cooper, Emma Chekroun, Mathryn Merta, Callum Leemkuil-Schuerman, Abbi Kiesau, Autumn Sanders, Kelsey Bolander, Tosin Faseemo
PRODUCTION: Executive Director
Jamie Rohlfing
Production Manager
Olivia Novotny
Creative Director
Megan Smith
Finance Manager
Ella Hennen
PR/Ad Manager
Sophie Stephens
Social Media Manager
Macie Rasmussen
Art Director
Morgan Wittmers-Graves
Designers
Nicole Faouen Annie Judd Semira Mesfin
Web Manager
Nikki Pederson
Distribution Manager
Cassie Varrige
Production Interns: Jennifer Ta, Claire Redell, Jack Nachtigal, Madison Amland, Shay Jerabek Art Interns: Selena Philaphandeth, Emily Jablonski
THIS ISSUE: Writers
Emma Chekroun, Kelsey Bolander, Tosin Faseemo, Sowyma Narayan, Maya Š2018 The Wake Student Magazine. All Rights Reserved. Established in 2002, The Wake is a fortnightly independent magazine and registered student organization produced by and for students at the University of Minnesota. The Wake was founded by Chrin Ruen & James DeLong. 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 talfoqaha@wakemag.org.
Ulrich, Esther Chan, Claire Redell, Callum Leemkuil-Schuerman, Jimmy Cooper, Cassie Varrige, Emily Ness, Sylvia Rani, Joe Kelly, Mohamed Ibrahim Art 1 Brighid de Danann 2 Megan Smith 3 Morgan Wittmers-Graves 4 Emily Jablonski 5 Semira Mesfin 6 Jennifer Moss 7 Priyam Shah Q&A photos by Trista Marie McGovern.
The Wake Student Magazine 126 Coffman Memorial Union 300 Washington Avenue SE Minneapolis, MN 55455
6666 art from original album cover. Cover & Feature art by Selena Philaphandeth
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wink! one page magazine
THE WAKE COOKBOOK
You already have a great taste in magazines– why not have a great taste in food, too?
Ham alla Nutella Tortilla Rollup
Cool Whip on a Bun
BY SEBASTIAN ALFONZO
BY MEGAN HOFF
1) Microwave tortillas for precisely 8 seconds at 11 hundred watts.
1) Carefully slice open the bun with a butter knife. Be gentle.
2) Recognize that you’ve hit rock bottom. Spread a healthy, even coat of Nutella (name brand) on warm tortilla.
2) Open the cool whip.
3) Even distribute slices of Market Pantry honey ham on circle surface.
3) Take your butter knife and spread the desired amount of cool whip (if using whipped cream, no need to use a knife).
4) Tightly pearl.
4) Add more cool whip. If you think you have enough, add at least two more dollops.
5) Nuke for an additional 10 seconds.
5) Close the bun.
6) Serve with TLC.
6) Take a moment and look upon your beautiful carboload of a sandwich. 7) Enjoy!
INSIDE
UPCOMING EVENTS
6
Letter from the Editor
11/17-12/2
8
Hot Funky Butt Jazz
Prescient Harbiners
9
NY Cat Film Festival
Three rotating plays, glued together by an African American contrast, and via Second Amendment violations.
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WITCH HUNT
16
Q&A : A Cripple’s Dance
19
20
22
Local Dad Still Cites Justin Bieber as the Face of Cultural Downfall Reading Reviews Before Watching Movies Review: Mitski at First Avenue
11/25 A
African Diaspora Music Showcase ft. Carolyne Naomi, Temezgen & Amjet Kemet Cedar Cultural Center
Mixed Blood Theater
11/20
12/1 - 12/30 The Wickhams
U of M Jazz Ensembles I & II Concert Tedd Mann Hall
In the warmth of the Darcy kitchen, family secrets are revealed and loyalties are tested. A tale full of mirth, wit, and the power of giving back to others.
Jungle Theater
11/23 Aaron Aye
B
w/Nick Jordan, Mina Moore A
Fine Line
11/26 Henry James Patterson, Laska, and Dreams We’ve Had 7th St. Entry
B
11/27 Khruangbin
C
w/Nick Jordan, Mina Moore Fine Line
C
THE WAKE
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Letter from the Editor Greetings, readers! Welcome to Issue 4! I know we’re in the throes of the semester, and midterms are wrapping up only for the next round to begin. Thank you for choosing to spend what precious free time you have with us, The Wake. As a student-run publication, every one of us here at the magazine understands what you’re going through. I have had to force myself to slow down this semester, as it is easy to get lost in the hustle of 18 credits and three jobs. For all other seniors out there whose lives are dictated by their Google Calendars, I am right there with you. Please don’t forget to take time for self-care, whether that’s treating yourself to coffee, hanging out with friends, or even staying in to catch up on sleep (this goes for all you students out there, undergrad or otherwise). Heck, treat yourself to an actual planner. Physically crossing things off of lists will give you much more pleasure than you’d think. Thankfully, we’re more than halfway finished with the semester, and each day brings us that much closer to Winter Break. The final stretch (pun intended) is always as bleak as the weather, but we’ll get through it. Keep studying hard, wear gloves, and read this when you have time (or when you want to procrastinate). Immerse yourself in these 24 colorful pages and forget about your three exams and two papers for a while. However, when the going gets tough, the tough drink too much caffeine and grind on. Remind yourself that winter and finals are only temporary and that you can do this. Take breaks. Call your mom. Stay warm out there. With Love, Megan Hoff Review Editor
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NOV 19 - DEC 3
CITIES
Nutritious U Our healthy campus food pantry BY SYLVIA RANI Every month, the Nutritious U Food Pantry makes food purchased from a local food bank available to all University of Minnesota students. Studentrun, the pantry does not require students to submit proof of need, and students can choose between a variety of fresh produce and grains. Given that one-sixth of University of Minnesota students report that they are worried about food running out before they can afford more, the food pantry provides a quick and reliable way to reduce this food insecurity. Access to nutritious food in particular can be a challenge for students who are always on the go, which is why over half of the weight of food distributed by Nutritious U is fresh produce. The food pantry is located on the second floor of Coffman Memorial Union. For produce, students can choose to take up to two vegetables and three fruits, with options such as carrots, celery, kale, apples, and pears. The food pantry’s website notes that they currently purchase every item of fresh produce available from the food bank, which is why some of the same foods appear every month. Students are then given the option to choose a grain and a protein, with options including egg noodles, rice, canned tuna, and pinto beans. “Nutritious U will provide healthy food to as many food insecure UMN-TC students as possible each month, in an amount that allows them to have enough food in the months they visit the food pantry, when combined with the food they get in other ways,” junior Macie Rasmussen, a member of the program’s leadership team, said. “Nutrition is a particular issue of mine, and more than anything, I enjoy the pantry’s mantra of ‘students helping students.’” The next Nutritious U event will be held on November 27, 28, and 29, and it will be open from noon to 6 p.m. on all three days.
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THE WAKE
Olympic Skater Adam Rippon Brings Sauciness and Advice to the U
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Don’t let his age fool you BY MEGAN HOFF Adam Rippon doesn’t let anything stand in his way, being the oldest (and proudest) male figure skater to make the United States Olympic team since 1936. The vivacious skater and self-described “normal disaster” came to the University of Minnesota’s student union on Nov. 3 to speak about his experiences on campus. Self-deprecating yet confident, Rippon kept the witty quips rolling throughout the talk. When asked whether he played any other sports before skating, he said that he used to play soccer. He played until he got hit in the face with a ball and then decided, “Fuck soccer.” Once he found skating, the ice felt like home, even though he was teased for pursuing the sport. Along with being one of the oldest Olympic skaters, Rippon was the first openly gay person to represent the United States at the Olympic games. He explained that his experience wasn’t different from any other athlete: “Being gay isn’t anything special. It’s just… something.” He said that it felt like a fun fact about him rather than a defining characteristic, and he has been very lucky in having supportive family and friends. The only issue he encountered at the Olympics was the 5:30 a.m. practice schedule, which Rippon joked was “homophobic.” The main message of Rippon’s talk was the importance of sharing stories. He claims this is crucial in not only helping people feel comfortable with themselves but also stopping the fear and hatred that stems from ignorance. Rippon has had to deal with this issue on many levels, from strangers to the White House: “Nothing like being a U.S. athlete and getting heckled by the president’s family… you should try it sometime.” Even though he recognizes that he has haters, he feels sorry for them more than anything else. As someone who “has nothing to lose,” Rippon is never going to let negativity stop him from being himself.
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Pixels and Hip Hop
CITIES
Interactive Theater’s “Hot Funky Butt Jazz”
A performance by Compagnie Käfig BY MONAE FERGUSON The worldwide performing dance company, Compagnie Käfig, performed on November 3 at Northrop Auditorium at the University of Minnesota. This was their second time in Minneapolis. They used original hip hop movements to showcase craftsmanship and digital pixels on a giant stage to enhance the movements during the show.
A loud, proud, and messy take on the birthplace of jazz BY JAY DOOLEY Imagine misfit minstrels, a pair of cross-dressers, struggling black jazz musicians, a befuddled black Northerner, and the ghost of a voodoo practitioner all singing about the woeful state of small-time vaudeville in New Orleans. This scene is Interactive Theater’s production of “Hot Funky Butt Jazz,” in miniature; it’s as confusing, messy, and intersectional as it needs to be to successfully capture the vibrant environment that created jazz in the early twentieth century. “Hot Funky Butt Jazz” opens with the funeral of Marie Laveau, the “Voodoo Queen of New Orleans,” played by Zena Moses. However, her death does little to stop Moses from giving a commanding performance marked by powerful charisma and endearing charm as her spirit drifts through the Storyville red-light vice district. In the Storyville Funky Butt dance hall, a “hot music” band headed by actor Jeremy Phipps’s Stringbean Russell is igniting a cultural revolution—and all the controversy that comes with it. The musical follows these musicians as they try to coexist with visiting Northern performers, brothel workers, Baptist civil rights activists, Vaudeville minstrels, and the white elite of the Jim Crow South. The production’s greatest strength is its energetic aesthetics, alongside a terrific display of musical talent from Moses, Phipps, and the rest of the cast combined with innovative staging and costumes. If the musical is lacking, it’s in narrative and development. While it tries to show a nuanced black community, many of the characters and groups are left as caricatures of classic stereotypes. The script ends abruptly, leaving the audience with another great musical number but also a jarring lack of finality. If you go, expect to turn off the part of you that needs a clean, well-defined script, and instead, let your senses dive deep into the sound and atmosphere of “Hot Funky Butt Jazz.”
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The show’s title, “Pixel,” emphasizes virtual technology incorporated in circus, martial arts, aerobics and aerial dance. The artistic direction and choreography were developed by Mourad Merzouki, who has been relevant in the hip-hop scene since the 1990s. It was an intriguing work of art in the world of dance and was free and open to University of Minnesota students to enjoy. The soothing sounds combined with rhythmic movement and lighting from the digital dots created an amazing story for viewers. “Pixel” is a look into what we can expect from choreographers collaborating with graphic design teams to create wondrous work, much like the dramatic and elaborate stage performances in shows like Cirque Du Soleil.
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Compagnie Käfig incorporates worldwide styles of dance, which can be seen as a way to boost inclusivity in the arts. Styles of dance from different parts of the world flow together elegantly, creating a seamless multicultural performance. Compagnie Käfig’s show is one of several productions in Northrop’s 2018-2019 performance season, most of which are free to students by reserving a ticket. These events can be a conversation starter for students looking to make friends, a couple wanting to try something new for a date night, or someone looking to broaden their horizons in other cultures. Whichever option applies to you, “Pixel” would be the show to see.
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NOV 19 - DEC 3
Philadelphia Modernism at MIA Basic shapes and bold colors BY HANNAH OLUND Three Pennsylvania artists showcase their best and brightest colors at the Kunin Collection Focus on Philadelphia Modernism at the Minneapolis Institute of Art. Hugh Breckenridge, Arthur B. Carles, and Morton Schamberg broke from traditional styles and explored the beauty of basic shapes and bold colors. These three artists “helped shape new ways of making and seeing art at the beginning of the 20th century,” wrote the MIA in a statement accompanying the art. The art pieces you see while wandering through the collection resemble works by Pablo Picasso and Henri Matisse. Still-life geometric paintings of people and nature jumped off the canvas in strange and confusing ways. Many of the works are creative interpretations of the nude form expressing emotions ranging from sorrow to freedom. Artist Bob Thompson had the largest variety of paintings on display. He was a Kentucky native who developed a love for visual and performance art. “Thompson’s multi-figure paintings carry a sense of joyous abandon, possibly because of his grounding in performance art but also due to his source material; his spark of inspiration often came from paintings created in the 1500s and 1600s,” wrote the MIA. Bold primary colors fill his paintings, usually of open landscapes and relaxed nude figures.
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THE WAKE
One particularly intriguing painting was Thompson’s oil painting of Adam and Eve. The large canvas shows two stark white figures sitting apart from each other. The rest of the painting is filled with a rainbow of swirls invoking a sense of all-consuming beauty. If you stand back from the painting, the colors flow together in a brilliant pattern. More intriguing though was the dark figure, only recognizable after taking in the painting for a while. The dark figure is positioned only slightly away from the representation of Eve, signifying the presence of the devil and the temptation of sin.
CITIES
Lights, Camera, Cats
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NY Cat Film Festival comes to Riverview Theater BY ALEXANDRA LARSON It was like being caught in a YouTube spiral of cat videos, except on a large cinema screen surrounded by a live audience. Enter the NY Cat Film Festival, which took place at the Riverview Theater on the dreary Saturday morning of Nov. 3 and ran until Sunday. The first of two parts, named “Nobody Owns a Cat,” featured six independent movies including sketch, documentary, and silent films. The NY Cat Film Festival followed in the paw prints of the annual NY Dog Film Festival. It opened with a medical commercial parody about the benefits of owning a cat, drawing empathizing laughs from the audience. The side-effects are “unable to get work done,” accompanied by a clip showing a cat walking across a laptop, and “trouble breathing,” in which a cat sat on its owner’s neck. The audience was all clearly in on the joke. The first piece followed a cat groomer making house calls in Manhattan; he sported high, scratch-proof gloves while washing and blow-drying the cats wearing cones around their necks. “Jetty Cats,” a half-hour documentary, is about a colony of feral cats living in southern California. One wordless piece showed a cat in Tuscany waiting outside a door for the entire two minute film. The last film documented a couple who spins loose cat fur into yarn and knits mittens. Two festival attendees, a couple named George and Ginny, said they have owned up to five cats at once, all rescued from shelters, and even a few special needs cats. “Jetty Cats” reminded them of when their daughter volunteered to feed a clowder of cats living behind a humane society in St. Paul a few years ago. Ginny flaunted a colorful purse embroidered with cats, a perfect embodiment of the show’s audience: communal cat lovers having a good time watching what they love most.
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CREATIVE WRITING
Jumper BY JOCELYN GAMBLE come down from there
he does not
coffee breath joins the skyline breeze it’s going to be alright you know
he does not hear
7th street bustles fourteen stories below i’m here to help you
he does not turn
a torso rocks backwards and forwards on shaking legs is there someone i can call
he does not answer
calloused hands clenched into fists please let me help you
he does not listen
he does not know if the voice is real please don’t do this
he breathes in
the old friend in the background steps forward just hold on
he does not move
wind whooshes through salt and pepper hair i know how you’re feeling
he does not turn
he is so tired of this conversation this isn’t what i want
he breathes out
is the voice his guardian angel or his worst enemy i love you
he is deaf to those words
coffee breathe leaves the skyline breeze i’m sorry i couldn’t save us
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NOV 19 - DEC 3
FEATURE
WITCH HUNT An intimate look into the witch’s cauldron EMMA CHEKROUN
THE WAKE
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FEATURE
how everyone starts on their path. “I accept that people are where they are, and if all they are ready for is that baseline idea,” she said. “I’m fine with that.” The goal Liz Johnson describes isn’t to be the gatekeepers of faith but to find something that brings challenges and joy to life.
They walk among you—one could almost mistake them as one of the average Janes getting a morning coffee, rushing off to class, or picking up their kids from daycare. “They” are wiccans, and the reason they are able to camouflage as Linda from English or Todd from the grocery store is because they aren’t skinwalkers, they are peers and pretty soon, if not already, they may be akin to celebrities. As “spirituality kits” hit the mainstream and rose quartz vaginal eggs join the bathroom counters of women across the nation, thanks to Goop, Paganism is becoming chic. But pseudo metaphysical trends, such as crystals, when adopted by major brands and cultures, pose challenges to understanding “witches” on an intimate level. All this is putting the cow before the cart, or, in this case, the broomstick before the witch. Metaphysics broadly relates to studies of what “cannot be reached through objective studies of material reality” or looking outside the material world to define reality. Socially, at least in the United States, metaphysical religion/spirituality is associated with most non-traditional, nonmonotheistic religions. Within this classification, Paganism is a broad religious term that contains different branches, which stem off into different types of Wicca or Celtic-based beliefs. While this is a general definition, and it is not a goal to simplify complex religions, sometimes this is not only ok, but often helpful. Liz Johnson, one of the owners of Magus Books and Herbs in Northeast Minneapolis, states that over generalized approaches to spirituality are
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Everyone has a different need from faith, and “not everyone is going to want to become a priest,” she explains. Cultures always meet up and exchange goods and then change those products. For Liz Johnson, it hasn’t been threatening to see that Paganism has entered the mainstream, it’s actually been fun. She touches on the excitement of people feeling more comfortable to reach out and blend practices with religions they’ve engaged in for a lifetime. This can involve buying tarot decks or candles to accompany more traditional prayers. “As long as what they’re getting from it helps them with their lives,” Liz Johnson said, “Why not reach for those tools?” “Hopefully people do it with respect.” There have been challenges to Pagan communities internally as well as externally. In major cities like Minneapolis, it isn’t hard to find a variety of cultural enclaves. But in more rural areas, finding that community can be challenging. “I’m not afraid to tell people” Lady Ziris (Shawnda Carlson’s magic name), a green witch with a focus on nature, said. “ I’m proud to be one [a witch].”
Often there was an element of secrecy, having come from rural Iowa. This came in the form of pretending to be Christian, something Ziris hated. There was often pressure to lay low in her community, where churches dotted every street. Now with her own growing online community, Lady Ziris thrives on nurturing others with her spiritual advice. Challenges have shifted from strict religious disdain to a new form of evil. “Pop culture moves in a circle,” she explains. “Now it’s the witches’ turn.”
LIKE AN ICEBERG Misinformation—and to an extent, appropriation— has become a real challenge in Pagan circles. The inaccuracy in portrayal of Pagan practices, specifically for witches, creates miscommunication that can be dangerous when it discounts the challenging past of being a witch. Ziris mentions shop owners who have remained silent with their religious practices for fear of running their business into the ground. Online communities like this offer opportunities for witches like Lady Ziris to flourish when surroundings are critical, but it is also a method for people new to Paganism to check-in and explore. These communities create an element of safety for witches who fear coming out and that might
She adds that it hasn’t always been this easy.
“The goal...isn’t to be the ga faith but to find something t challenges and joy to life” NOV 19 - DEC 3
FEATURE
There are practices...that the outside world may not understand. be led astray into cults or just plain negative communities. According to Liz Johnson, it never hurts to check a group against Steve Eichel’s “Six Steps to Spotting a Cult.” Aside from prevention, online communities offer a chance to glimpse the practices of other religious groups. “Some might take offense,” said Ziris. She’s even heard that people become defensive and say that they “aren’t a side show to be stared at,” but affirms that they shouldn’t think like that. Those fears are not an isolated occurrence either. Emily Johnson, a college freshman who was introduced to Wicca through crystal collections and friends, talks about the push pull between the excitement of finding community and the challenge of people who take in Wicca or Paganism on a surface level. “It’s like an iceberg,” said Emily Johnson. Essentially, there’s the top, and that is what most people are exposed to, but it takes someone passionate to get deep into the belief and dedicate themselves to daily routines and other aspects of being a witch. With finding communities, you can fall into that same challenge of only finding people at the top of the iceberg. There are practices, as well, that the outside world may not understand. For example, Emily knows crystals can’t cure you, but they do give a sense of comfort, at least to her.
become a questionable practice. Rayvin Carlson, who has been a solitary practitioner of her faith, and been involved with Paganism her whole life, comments on the multiple meanings that can be donated to being Pagan.
A BEVY OF STEREOTYPES Anybody can call themselves a witch, but there is an energy, and you need to know what you are doing with it, she clarifies. After all, Wicca itself is just a branch. When commercialization comes into play, that spirituality can adopt a whole new meaning, Carlson said. The broadness of Paganism can also lend itself to a bevy of stereotypes. “People ask, ‘Do you dance naked under the full moon?’” Ziris said. “Do you sacrifice animals?” Emily Johnson said. These may not be false for every witch but are akin to assuming all Muslims pray five times a day or that all Jewish people abstain from pork—some do, but not all. Because Paganism is a real living and breathing community, it has its good parts and its bad parts like anything else.
There’s also the idea of curses, which comes from deep in Pagan history. According to Liz Johnson, this negative aspect of the religion comes from a real historical place—back when access to resources was limited, and people wanted to prevent their families from incurring harm. From that same lack of resources, modern Afro-Caribbean traditions reflect that concept of “negative magic” or curses. “Where is the shining human being who wouldn’t do everything they could to save their family?” Liz Johnson, reflecting the nuance of being Pagan, and, really, of being human, asked. Terms like evil or satanic are used to paint a caricature of witches as harmful and strange, but the reality of those terms do not line up with their hateful connotations. Even satanists, Ziris clarified, can be lovely, respectful people. This is all to say, Paganism is an expansive group. Like any religion, it has its highs and lows, along with a dynamic set of individuals that is worth a little exploration before slapping down that credit card to buy a $600 rose quartz.
An example of those bad parts is how white supremacist groups that have latched onto Paganism, such as the Asatru Folk Assembly who fixate on the survival of “Ethnic European Folk.”
These varied levels of understanding, knowledge, and personal meaning are where the commercialization of Paganism and Wicca can
gatekeepers of g that brings ” THE WAKE
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ART
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Art by Taylor Robers Crescendo
NOV 19 - DEC 3
ART
THE WAKE
Art by Taylor Robers Live
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Q&A
A Cripple’s Dance BY KELSEY BOLANDER & TOSIN FASEEMO Gabriel Rodreick, a singer, musician, and C5 quadriplegic seeks seeks to present his life story after a diving accident in his teens left him unable to move most of his body. With the assistance of dance trio Kelvin Wailey, the Kreblems Music Collective, and his old band, Treading North, Gabriel explores the themes of acceptance and anger through “music, dance, and words.” “A Cripple’s Dance” will be presented on Dec. 16 at The Cedar.
Leila Awadallah and Emma Marlar of Kevin Wailey : What made you guys interested in dancing originally? Leila Awadallah: I started dancing when I was young, and I had an amazing teacher who I connected with who kind of showed me how to explore with my body… she always was very clear about that it could be a career and it was the only thing I felt like I should do, to dance. Emma Marlar: Yeah, I actually have a pretty similar story… I was exposed to it pretty young… it also matched my energy level… so it just seemed like the right fit.
: So what brought each of you to work with Gabriel? LA: Gabe and I connected in more of the social activism spaces first. I was interested in his way of organizing artists who were using their art to engage in social justice issues and activism
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and Gabe was putting a lot of effort towards connecting artists… he saw a video I made online, it was a dance film, and he wanted to work with me on a… dance music project about his spinal cord injury and his journey in life. And so, he said, “You know what? I would love to work with multiple dancers. I hear of your projects called Kelvin Wailey.” So I told Gabe that it would be a good fit for Kelvin Wailey to collaborate. EM: Yeah, we have a group, a collaborative group with us two, as well as another dancer named Laura Osterhaus [Kevin Wailey], and we’ve been working together for a handful of years now and we make work, often collaboratively with musicians and this seems like a good fit for that.
Gabriel Rodreick : How long have you been dancing? Gabriel Rodreick: I guess, professionally, for like nine months; not long. This is a very, very new experience for me.
NOV 19 - DEC 3
Q&A
: What do you think it is about dancing that makes it so freeing? GR: The only thing we have control over in our life is… our body. Everything else, we don’t really have a say in. So using that main thing that we have control over, and using it as an expression, as a way to tell a story or a way to heal or figure out what’s going on in your body or your mind is what makes it such a free thing, since you can do whatever you want with your body… I think that that’s what makes it such a free form of expression.
: How did you transition your prior music experience in Treading North to become more of a visual, movement-based experience? GR: So Treading North was… a band for about five years and I kind of look at that time as kind of, like, regrowth, into music. Because before Treading North… because before my injury, I played piano for eleven years and I was kind of on track to be a pianist and keyboardist. So Treading North was this period where I kind of... sat in the stories that I’m trying to tell and started to realize that I really miss dancing, even though I didn’t do a lot before my injury. Like, if I could wake up one day without a spinal cord injury, I would wanna go dancing. So that kind of triggered this desire to fuse my musical ability with my desire to dance.
I met her through… an organization called Get Up, Stand Up. Kind of a spinal cord injury advocacy organization. So my first thought, when I was thinking of dance, was I wanna work with Angie. She has done dance and she has a spinal cord injury. So that was my connection with her. And then, with Kelvin Wailey... I remember reaching out to Leila probably a year and a half ago… and then I started seeing Kelvin Wailey around the city, went to a couple shows, saw some videos and just reached out to them… And then the musicians are Bailey, who is the front person in 26 BATS!, Karl, who is the front person in Lucid Vanguard, Warren, who is the front person in Warren Thomas Fenzi. And they’re all part of the collective called “Kremblems.” And then Jack, who is the bass player in Treading North, will be playing the bass for the project… I reached out to them, asked them to play, and they were down.
GR: I think I’ve still been wrestling with that… it’s a heavy word. But I think in this context, it feels very empowering, especially with the word ‘dance’ afterwards, because you don’t think of cripples as people who dance, but in this case, we are. So it does have this really empowering message behind it, in my eyes, and that’s kind of the story I wanted to tell.
: What qualities did you look for when you were searching for dancers and musical accompaniment?
: Have you seen any growth in representation of artists with injuries similar to yours?
GR: That’s a good question. Well, dancers, it started out with… a person that I know, which was Angie… before her injury, she was an acrobat and post-injury she started doing a lot of dance.
GR: I think you see more of it these days, but not on a big scale. I only know of one person with a spinal cord injury that
THE WAKE
: What do you think music industries and communities can do to elevate the voices and performances of people with spinal cord injuries? A: One would be teach us. Teach us music, teach us dance. Even if you can’t do it as well as other people can do it. Especially now, there’s so much opportunity through electronic music that anybody can make it as long as you have the ability to understand what music is. So teach it, but also give us spaces to do it and practice and perform. Fund it.
: What do you want other people to gain or learn from your performance? GR: I want them to come away with a story and I think, specifically, other people with spinal cord injuries or disabilities coming away with this narrative… that’s being told about people with disabilities or people with spinal cord injuries. And kind of going back to the first thing that I said, about accepting the injury as it is, but also wanting more movement, wanting more sensation, wanting to do a lot more than what is what we’re told that we can… also this idea of anger and how it can be used in such positive ways, and that you need anger to feel any kind of movement or change.
: The title of your performance is “A Cripple’s Dance,” what does the word ‘cripple’ mean to you? Do you find it empowering?
was a musician, that was kind of big and toured. His name was Vic Chestnutt, and he also had a cervical spinal cord injury… I think there are more dancers out there who have spinal cord injuries… on the music side, I don’t see it growing. I think part of that is because with a C5 spinal cord injury you lose a lot of your hands, some of your upperbody strength, your diaphragm, you lose the ability to breathe as well, so it’s harder to sing. So there are just, like, physical barriers.
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VOICES
Can I Ask My Therapist for a Letter of Recommendation Instead? Addressing the issues of mental health in the ladder to professionalism BY SOWMYA NARAYAN AND MAYA ULRICH Let’s be honest--a key part of the undergraduate experience is sucking up to a minimum of three professors to get recommendation letters for grad school or references for your prospective job. Forging these highly coveted relationships might be an easy feat for some, but students suffering from mental health disorders may view it as a major hurdle in getting ahead in their careers. Mental health issues are becoming increasingly prevalent in young adults, namely undergraduate students. While discussion of mental health has dramatically increased in the past few years, the lack of conversation in academic and professional settings holds mentally ill students back from achieving, or even attempting to achieve, the same educational strata as others. Students dealing with mental illness can feel intimidated by the notion of relating to professors, who sit so high up on an ivory tower of academia that they seem almost inhuman. It’s difficult to motivate yourself to try and impress this seemingly immaculate entity, forging an ingenuine and superficial relationship, only to fill out another part of an application. Mental illness cripples students from attaining these accolades because on top of feeling too inadequate to achieve your goals, you also can’t even complete a normative stratifier into the professional world. A letter of recommendation is ubiquitous in our job market as a tool of competition that propels some people ahead while leaving others behind. Dealing with mental illness requires extra effort to internally focus on routine existence, making it that much more difficult to prepare for the external struggle that will inevitably come with the looming competition that lies ahead. Ultimately, the lack of
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discussion of mental health in academia isolates those suffering from mental illness, exacerbating their illnesses and increasing a damaging societal achievement gap. In an attempt to open up the conversation, we spoke to a few different UMN faculty and graduate students willing to share their experiences with mental illness in academia. What professors had to say about the lack of conversation regarding mental health was very similar: teaching involves balancing professionalism and empathy. “Most professors are not trained mental health professionals,” said Dr. Valery Forbes, the dean of the College of Biological Sciences at the U. “Many may be hesitant to get too directly involved in student mental health issues for fear of making matters worse.” Instructor Allison Craver and Teaching Assistant Katayoun Amjadi from the University of Minnesota Art Department echoed these sentiments. “I don’t expect students to tell me their personal lives,” Craver said, “but perhaps, if you do want an accommodation you do have to divulge more than you are comfortable with. And I am not comfortable with asking students to share anymore with me than they would with like, a coworker.” Amjadi added, “When the sharing starts, I am often like, what am I supposed to say right now -- in fear that it will bring them harm. Is this actually advice they need?” The academics also shared similar advice when they encouraged students to consult the U’s mental health resources, where they can receive
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help from professionals that are trained in these services. “As much as students are struggling, like, you are never going to have more resources to deal with it than when you are a student. You have such a huge infrastructure to help you, so take advantage of those things while you are here,” instructor Allison Craver said. A major issue is that the U’s mental health services aren’t advertised enough to students seeking them. “I think an ongoing challenge,” said Dean Forbes, “is to provide information on these resources in a way so that students can easily find what they need when they need it.” Finally, we asked our instructors what they did to manage stress during undergrad because as successful as they are now, they were once floundering students too. Dean Forbes emphasized that figuring out your best means of self-care and prioritizing it is crucial in a successful academic career. While professors may seem like they are an unreachable person sitting on a throne of collegiate superiority and power, it is important to remember that they are people too. They have gone through the same institutions, jumped through similar hoops, and dealt with academic uncertainties. Luckily, because of this, most professors want to cultivate a warm, accepting environment in which we talk about these issues and the resources to attain help. If students and professionals continue to perpetuate these discussions in healthy, non-stigmatizing ways it will help continue to break down the barriers that students have in gettin’ that letter o’ rec.
NOV 19 - DEC 3
VOICES
Too Early for Christmas? Santa Claus is coming to town, and I’m unashamedly right behind him BY ESTHER CHAN As November creeps into December, it’s officially that time of year. Whether it’s pumpkins, turkeys, or Christmas trees, the fanfare of the year end’s holidays define our days. The rotten pumpkins and leftover stuffing beg the question: how early is too early for Christmas? Full disclosure, weeks ago, by the time it was October 1, the iridescent vibrancy of Christmas music had already gracefully danced their way through my ear canals, bells and all. So if you ask me how early is too early, I, a proud advocate of all things holiday, would say it’s never too early. Perhaps this comes from the bias of a crazy Christmas fanatic, but at the end of the day, if something makes you happy and causes no harm to others, there’s no reason to restrain yourself. The way I see it, the arduous days are made bearable by salvaging the little things—those little pushes that, for just a moment, make the heart a little lighter and the day a little brighter. For me, it is Christmas music that has currently fulfilled that role as my daily pick-me-up. Perhaps it’s pathetic and premature, but this little glimmer of nostalgia and joy is enough to put a smile on my face, and sometimes, that’s all one needs. If it takes songs about a (debatably creepy) big, jolly man who steals kids’ cookies or those about frozen water creatures who entice children (a.k.a. “Frosty the Snowman”) to survive the final stretch of the semester, then so be it. Life’s stressful enough as it is—why not brighten it with some holiday obnoxiousness, deck the halls, and jingle all the way with Santa and his elves? After all, a little bit of “ho ho ho” never killed anyone, well except for Grandma who got run over by a reindeer.
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THE WAKE
Local Dad Still Cites Justin Bieber as the Face of Cultural Downfall Let it go, dad. BY KELSEY BOLANDER Calling him “a plague on the American cultural fabric,” local Mahtomedi dad, Jeff Sims, is railing on Justin Bieber again, as he has steadily since the Canadian pop star’s 2008 single release, “One Time.” Struggling to find a suitable station during the school commute, Sims seizes the opportunity to indict a generation for their outmoded musical proclivities, with his children still within the confines of his car. “I don’t even know how to reach him anymore,” says his daughter Ellie Sims wistfully. “I’ve tried explaining to him that Bieber hasn’t released a full length EP since Purpose in 2015, and aside from the occasional feature and his lowkey marriage, people my age rarely think about him anymore until his holiday bops resurface every winter.”
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Sims hopes to imbue his progeny with the same appreciation for complexity and lyricism that he has cultivated in his own musical taste. “What I wouldn’t give to see this generation express an interest for something with a little depth!” he says. “It wouldn’t kill them to shake the Bieber hair out of their eyes and listen to some Cake every once and awhile.” His hypermasculine preoccupation with the “Baby” singer can’t even be fazed long enough to expose him to low culture’s newest Justin, Justin Roberts of Team 10 fame. “I don’t even want to show him 6ix9ine or Lil Xan at this point,” said Sims’ eldest daughter, Alexis, shaking her head. “I don’t think he’d be able to handle it. It’s probably for the best that we cut our losses and let him hold onto Bieber.” When asked about his outlook for the future, Sims has some hope, and is reportedly taking his children to his tenth Wilco show this spring, “Oh I almost forgot—don’t even get me started on One Direction…”.
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VOICES
A Year Of RightWing Terrorism 1
Does Rotten Tomatoes Spoil Our Movie Expectations? Weighing in on the movie review debate BY CLAIRE REDELL Think of the last movie you saw. Did you read the reviews beforehand? Personally, I’m notorious for instinctively heading to Rotten Tomatoes as soon as an opportunity arises to go to the theater. This way, I can get an immediate and completely biased opinion that will determine whether I should shell out $15 for a ticket. If a movie receives less than a 65 percent score, I’m overwhelmed with a debilitating internal conflict as to whether I should instead follow my sensation-seeking peers who prefer to go into a movie without any prior consultation. Getting a second (or third) opinion before seeing a movie can help expedite the decision-making process before heading to the theater. Movie reviews can validate a pre-existing desire to watch a particular film but at the same time can discourage individuals from viewing a film that could unveil a previously unnoticed genre or a new independent production company. Many struggle to find credibility in the so-called “critics” on sites such as IMDB or Meta Critic whose opinions are notorious for contradicting those of us “amateur” consumers. A handful of Reddit users offered a few choice words for movie critics. One person stated, “Movie critics have become so pompous that unless every film is like ‘Moonlight’ they just say it’s crap.” They continued, “... you know what I THOUGHT FANTASTIC 4 WAS DECENT there fuck you I said it.” Expletives aside, an interesting point is made— watching a movie without first consulting sites such as Twitter, RogerEbert, or The Guardian can be an incredibly liberating experience.
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That being said, with the abundance of knowledge on the internet regarding films, is it really worth one’s time and money to step into a theater without some amount of preconceived notion on what to expect?
Exploring the recent sharp rise in extreme right-wing violence BY CALLUM LEEMKUIL-SCHUERMAN 2018 has been a violent year. A Florida man was arrested for mailing pipe bombs to a number of Democrat-affiliated figures, including Barack Obama, George Soros, and Maxine Waters. Another man, immediately after trying and failing to enter a black church, murdered two Black men in a grocery store in Kentucky. Yet another man murdered 11 people during a bris in a synagogue in Pittsburgh, Pennsylvania, and continued to shout about murdering Jewish people while he was arrested. Even more disturbingly, all of these incidents of horrific violence occurred within one week of each other. Something is rotten in the heart of America. The Anti-Defamation League reported that antiSemitic hate crimes increased nearly 60 percent from 2016 to 2017, and as this happens, views that once were consigned to the dark fringes of the Internet have become fully mainstream. Take, for example, Iowa Congressman Steve King, who has made such statements as “we can’t restore our civilization with other people’s babies.” King’s rhetoric is indistinguishable from that of rightwing terrorists – Robert Bowers, the Pittsburgh synagogue mass-murderer, was an adherent of a conspiracy theory that Jewish people are seeking to “replace” white Americans with the children of migrants and refugees. It is inaccurate to say that these actions and attitudes ever went away; they have always existed on the fringes of American society. The deadliest homegrown terrorist attack in American history – an attack with a homemade fertilizer bomb on a government building that killed 168 – was carried out by a right-wing white nationalist in 1994. Now, to look at footage of President Donald Trump telling people at his campaign rallies to be violent or to hear hosts on Fox News talk about George Soros and migrant caravans is to realize that this is now the new normal in rightwing American politics, making it impossible not to imagine things getting worse.
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NOV 19 - DEC 3
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VOICES
Coping Together Self-care and good allyship in a toxic political landscape BY JIMMY COOPER We live in troubled times. That is the lament. Days and months go by, bad news cycling through all of them: children detained, Jewish people murdered by white supremacists, transgender people being written out of existence. Hate crimes are at an alltime high, according to the Washington Post. The day after it was proposed that law be rewritten to exclude transgender people, Trans Lifeline, a suicide hotline specifically for transgender individuals, saw a 400 percent increase in calls, according to The Advocate. After shootings like the recent Pittsburgh synagogue attack, the nation must grieve together. These tragedies are only becoming more common. How, then, do we cope? The new wave of internet-based self-care tips refers us mostly to taking bubble baths, doing face masks, and staying hydrated. All of these can be helpful, but for people whose livelihoods are threatened, they often aren’t enough, and if they aren’t enough, what is? I’m just one person, and my experiences aren’t universal, but I’d like to share a few of my tactics: 1. Build a community. There is strength in numbers. Even if it’s just two or three people, getting together to process works wonders. It can stop, at least in part, the spiral of anxiety and fear that often results from hearing the latest bad news. Play songs that make you feel empowered, share your feelings, and do fun things together— even if just for a moment, to take your mind off things. The world is a lot less terrifying with folks that love you at your side.
THE WAKE
2. Take breaks. Yes, it is important to stay up-to-date on what’s happening, but your mental health is also important. We have 24/7 access to the most upsetting news of every hour of every day, and it’s without a doubt unhealthy. Even if you don’t turn off your phone or computer entirely, try to dedicate some time in your internet usage to just the good things (cute animal videos, pictures of your celebrity crush, fan art of your favorite character, whatever floats your boat). It’s not all bad news, even though it seems like it. 3. Invest time in yourself. The advent of a constant social media stream makes us far too invested in other people’s livelihoods. When you can see everyone’s trials and tribulations, successes and failures, your own can seem less important and even irrelevant. Allow yourself to be proud of how far you’ve come and what you’re doing. Allow yourself time to try the new nail polish color you’ve been meaning to, to dress up even just around the house, or to finish the personal project you’ve been pushing to the background. You are just as important as everyone else. You deserve the same care you’d give to others.
Allies, this is where you come in. To be a good ally is not just to say you support the struggle. To ally yourself to a community is a verb; it’s an actionable statement. Here are some actions you can do to support marginalized communities:
1. Educate yourself. If you want to be a part of a fight, you need to know what it’s about. Yes, marginalized people are the experts of our struggle, and we are often happy to explain concepts, issues, and the like, but we are also tired. So it’s often best to at least try to research on your own-- there’s a lot to wade through, but it’s certainly doable, and it’s better to go into a conversation with a baseline of knowledge than nothing at all. 2. Use your privilege. When you see or hear something going down, you can use your privilege to everyone’s advantage by speaking up. Unfortunately, privilege means your voice is taken more seriously in a lot of settings. Use it! 3. Support marginalized voices. That being said, when a person from a marginalized community is talking about their experience, or advocating for themselves, let them do the talking— they will almost certainly know their struggle better than you. In the old lefty adage: “From each according to their ability; to each according to their need.” There’s power in unity and a hand extended to pick each other back up, and with that, we just might survive.
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SIX REVIEWS
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Mitski At First Avenue 6666 Four Fists BY JIMMY COOPER Four Fists is the new project from Minneapolis hip-hop staples Astronautilus and P.O.S. (Piece of Shit, Product of Society, Pissed Off Stef). “6666” is their new album, and no matter what god(dess) (es) you care to invoke for something this damn good, it’s fantastic. The lyrics are a scathing attack on the nonsensical political era we’re in: they’re angry and afraid, hopeful and hopeless, and they don’t back down. Both rappers have always been political and poetic, but the lines on this album spit in your face and ask you to thank them. In “Coriolanus,” P.O.S. calls out the sexualization of young girls: “Out of step with the world’s/a common refrain/… to every girl who finds her chest obscene/because her friends have dads/ Men are fuckin’ trash.” The group attacks the patriarchy and our own apathy, battling passivity with classic punk ideology in “Joe Strummr.” Strummer was a man of action and inspired many to dissent, becoming the closest thing to a saint there is in dissident communities. In 2018, though, we’re becoming indifferent to horrendous political news. Four Fists laments: “Joe Strummer’s been dead for too damn long/And now we’re all just numb to what’s gone wrong/We don’t fight/We don’t riot/Even when the war’s outside our door.” “6666” is empowering and inciting. The beats are fantastic, the samples are clever, and you had better be careful, because after listening to the album even once, you might just feel like doing something about it.
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I Want To Die In New Orleans The $uicideBoy$
BY CASSIE VARRIGE
BY EMILY NESS
Mitski’s music is potent, vulnerable, and electrifying, and her October 26 concert in Minneapolis was no different. From the First Avenue stage, she shared her uniquely heartwrenching music with the crowd. Preceded by the tender, girl-power duo of Overcoats, Mitski put on an unforgettably affecting show.
For the $uicideBoy$, a rap duo hailing from the 7th Ward of New Orleans, success is a matter of life and death. The duo’s honest lyrics about the peaks and valleys of existence as well as their reckless demeanors made them the perfect artists to see on Halloween. Fans pulled up to Myth Live in Maplewood, Minnesota with their friends decked out in costumes of all kinds, and the venue quickly turned into a zoo.
This singular talent perfectly captures the anxieties and uncertainties of young adulthood. Her selfconscious, confrontational performance was truly one of a kind. Mitski’s stage presence started as a highly controlled and impassive routine, then built to an exuberant crescendo of pure energy towards the finale. The crowd shouted praise and fervently danced along to the music as Mitski’s eerie and lilting vocals rang out above the din. The characteristically short length of her songs gave her show a charming volatility. Mitski fluctuated wildly between her grungy indierock cuts, spare acoustic ditties, and synthfilled bangers. Despite the varying genres, the raw emotion in her performance and lyrical honesty remained constant throughout. The only downside? The time it took to wind through Mitski’s entire 24 song setlist passed in the blink of an eye. While songs from her radiant, poppy fifth album “Be the Cowboy” dominated the setlist, Mitski included old favorites like “Goodbye, My Danish Sweetheart” and “A Burning Hill.” By the end of the night, she had the audience weeping to her bittersweet ballad “Two Slow Dancers.” After her final song, teary-eyed teenagers and young adults lingered in First Avenue’s Mainroom, still mesmerized by the power of Mitski’s performance.
From the balcony, one could see the crowd beginning to stir as a D.J. played some of the hottest tracks of the moment. As the lights turned red and the boys took their first steps on stage, the crowd transformed into a wave. Opening with the song “Carrollton,” a classic from their new album, “I Want To Die In New Orleans,” the boys came in swinging, head banging, and rapping their hearts out. Songs like “2nd Hand,” “For The Last Time” and “South Side $uicide” showcased not only the duo’s talent, but also their personalities. Ruby’s lyrics are more euphoric and harmonious like that of nighttime, while Scrim’s lyrics are more luminous and intense like that of daytime. Together, they balance and compliment each other. Before closing the show, the duo brought out a surprise guest, Night Lovell, whom fans went crazy for. After performing an unreleased song with Lovell, the duo came back for an encore before thanking everyone for coming out and wishing them a happy Halloween.
NOV 19 - DEC 3
SIX REVIEWS
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Rezz At the Armory, Oct 31 BY SYLVIA RANI Rezz returned to downtown Minneapolis on Wednesday for her second Halloween in a row, this time on her “Certain Kind of Magic” tour. The Canadian born EDM DJ has been making waves ever since her debut album, “Mass Manipulation,” hit the music scene. Rezz is known for her mysterious visuals, stripped down bass music, and iconic lightup swirling goggles. Filled with concert-goers from all over the Midwest, The Armory was a spectacle to behold on Halloween night. From glittery rave unicorns and iridescent mermaids to bloody zombies and Rick and Mortys, the crowd was in full Halloween spirit. Fellow DJ Ekali opened for the concert, spinning trap tunes mixed with melodic future bass. As expected, Rezz played a spooky set that was full of auditory tension, echoey vocals, and heavy, industrial bass that vibrated the entire room. Her visuals were nothing short of hypnotic: rotating black-and-white spirals interspersed with clips of a dark animated forest. The deep, punctuating bass of her music was hypnotic; it felt like falling into a trance. At other times, her trippy sounds felt like an impending alien invasion. With tracks like “Relax,” “DRUGS!” and “Witching Hour,” Rezz maintained her signature spooky vibe throughout the whole set, giving Halloween ravers the perfect atmosphere to get lost in the spirit of the occasion.
THE WAKE
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Bohemian Rapsody BY JOE KELLY The opening to the Queen/Freddie Mercury biopic had lots of flair, but lacked any drive. The film reveals everything from Freddie Mercury’s strained relationship with his father to the beginning of the band where he joins Brian May and Roger Taylor after they lose their lead singer following a lackluster bar show. From here, it’s a musical rags-to-riches story that seems too good to be true (and it is). The rockstar status that Queen achieved was undoubtedly spectacular and fun to watch, but one couldn’t help questioning why Queen was so special. The film attempts to answer this through a record deal interview: they are outcasts performing for outcasts. Yet, “Bohemian Rhapsody” glosses over any explanation for Queen’s writing or inspiration, Mercury’s personality, or rise to fame. Instead, these are covered through montages of their touring experiences played like highlight reels fit for a documentary. Whatever “Bohemian Rhapsody” lacks in depth of screenplay or character development (especially in the first half), Rami Malek makes up for in his transformation into Mercury’s character. However awkward his artificial teeth look at first, Malek’s portrayal is flashy and fun. It becomes even more important in the second act where there’s a deeper look into Mercury’s struggles with fame. Ultimately, the buildup to Queen’s Live Aid Concert was satisfying, but not without flaws in pacing and depth. While “Bohemian Rhapsody’s” recreation of the band in all its glory was impressive, Queen’s story was left on the backburner.
Mid90’s
BY MOHAMED IBRAHIM “Mid90s” tells a classic coming-of-age story with a backdrop of skateboarding and hip-hop in this nostalgic teen drama. With a brief runtime of 84 minutes, the film is intentionally light on plot but focuses on the relationships between characters, putting the group of teens and their dynamic center-stage. In Jonah Hill’s directorial debut, a 13-year-old kid named Stevie (played by Sunny Suljic) growing up in 1990s Los Angeles deals with a home life that includes an overwhelmed single mother (Katherine Waterston) and an abusive older brother (Lucas Hedges). Stevie finds solace from his situation when he walks into a skate shop and is instantly enamored with the dynamic between the teenagers who hang out there. Stevie learns how to skate, joins the group, and climbs to the top of the hierarchy through a variety of stunts. That includes literal stunts (like attempting a trick that they all know he can’t land), drug use, and sexual exploits, all used as social currency and a means of elevating one’s status. The film doesn’t make itself out to be an authority on the culture but rather pays homage to it, showcasing Hill’s point of view and its influence on his own childhood. It’s also yet another success in the comedic actor-turned-writer/director phenomenon that gave us “A Quiet Place” (written and directed by The Office’s John Krasinski) earlier this year. “Mid90s” is a promising debut as Hill continues to round out his filmography as a director in the years to come.
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NOV 19 - DEC 3