The Wake Issue 10 Spring 2019

fortnightly student magazine

THE WAKE

volume 18 — issue 10

Cultures of Medicine and Sleeplessness

p. 8

Q&A : LASKA

p. 16

Green Spaces in the Twin Cities

p. 9

Culture Versus Self

p. 19

The Aurora Center’s Unsung Heroes

p. 11

CTRL

p. 23

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Mulled Wine Art by Samantha King

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VOLUME 18, ISSUE 10 EDITORIAL: Editor-in-Chief

Tala Alfoqaha

Managing Editor

Chris Shea

Cities Editor

Olivia Hultgren

Voices Editor

Esther Chan

Music Editor

Megan Hoff

Online editor

Callum Leemkuil-Schuerman

Copy editors

MaiLei Meyers Hannah Haakenson

Multimedia Editor

Sebastian Alfonzo

Multimedia Producer

Daniel Elder

Editorial Interns: Hannah Olund, Sylvia Rani, Jimmy Cooper, Emma Chekroun, Kathryn Merta, Abbi Kiesau, Autumn Sanders, Kelsey Bolander, Tosin Faseemo

PRODUCTION: Executive Director

Jamie Rohlfing

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

Shay Jerabek

Distribution Manager

Cassie Varrige

Production Interns: Jennifer Ta, Claire Redell, Madison Amland Art Interns: Selena Philaphandeth, Emily Jablonski, Bri De Danaan

THIS ISSUE: Writers

Ella Hennen, Tosin Faseemo, Megan Hoff, Joe Kelly, Justice Sahaydak, Sylvia Rani, Tala Alfoqaha, Jamie Rohlfing, Esther Chan, Amy Ma, Sagrario Torres, ©2018 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.

Callum Leemkuil-Schuerman, Michael McGough, Alison Colsch, Evan Ferstl, Marie O’Connor Art

The Wake was founded by Chrin Ruen & James DeLong.

1 Selena Philaphandeth 2 Bri De Danann 3 Joe Price 4 Morgan Wittmers-Graves

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.

Q&A photos courtesy of LASKA “CTRL”, “Cry 4 Help”, “Cosmic Thing”, and “Post Traumatic” art from original album covers

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

Cover and Feature art by Emily Jablonski **Correction: Last issue, we published “Pipeline Country” in our creative writing section as written by Lily Foley. We’d like to correct this and credit Lauren Foley for writing the poem.

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wink! one page magazine

SELF REFLECTION Take a couple of minutes to self-reflect, and share your responses with us on social media!

5 things that made you happy this week __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ 5 things I can do this week to take care of myself __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________

5 things my middle school self would be proud of __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ 4

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INSIDE 6 7 8 11

Letter from the Finance Manager

UPCOMING EVENTS 4/9

4/19

Earl Sweatshirt

The Sound of Aurora

Roe V Wade? It’s Complicated.

Cabooze

Cultures of Medicine and Sleeplesness

4/11 - 4/14

THE AURORA CENTER’S UNSUNG HEROES

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Minneapolis Institute for Art

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On Traveling Alone

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Q&A - LASKA

4/12

21

Internalized Stigmas

aWAKE After Dark

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“Jessica Jones”, Season 1

Join The Wake Magazine, Radio K, and Women for Political Change in welcoming local comedians and musicians in our second annual benefit event for The Aurora Center for Advocacy & Education - The Sound of Aurora! All money raised goes directly to The Aurora Center, a university resource of advocacy and education surrounding issues of sexual assault, relationship violence, and stalking. Come for the cause - stay for the comedy, the music, and the silent auction.

w/BBYMUTHA, LIV.E

Art in Bloom

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Mixed Blood Theatre Company B

Show your support for The Wake Magazine and local musicians by coming to our annual concert - aWAKE After Dark! Performances by A Mess, Stone Arch Isles, and a surprise headliner Honey Mpls

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4/13 Indoor Winter Market Mill City Museum

4/13 B

Thrift Queens Pop Up Come shop a great variety of clothing for all genders and bodies, plus a selection of knick knacks and small household goods, all at super affordable prices.

Thrift Queens is a brand new thrift store benefitting the LGBTQ community, coming soon to Minneapolis.

Moon Palace Books

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Letter from the Finance Manager If I am being completely honest, I have never been inclined to write a piece for the Wake Magazine before. As the Finance Manager, I focus on analytical issues and practical problems. Though I used to write often when I was in high school, I can’t say I’ve written anything other than for academic purposes since then. However, this issue surrounding healing is important to me.

About a month ago, I was at a concert with a good friend of mine. While standing watching the show, a guy standing next to me said something very strange. Out of the blue, he turned to me and asked, “did you go to Minnetonka [High School] and does your name start with ‘E’?” I didn’t recognize him, so I told him yes and asked how he knew me. His answer astonished me. Evidently, he saw the spoken word poem I had performed my senior year of high school during a poetry open mic night that our school hosted. He was the younger brother of one of my classmates. What struck me was how vividly he remembered the content of the poem, as it outlined my experience with sexual abuse. He told me that hearing what I had to say, just as he was about to start dating, changed his viewpoint on relationships and actions toward women. I couldn’t believe what he was saying. Not only had someone who didn’t even know me hear my story, but it had a substantial impact on his life and his treatment of women.

Writing and performing that poem helped me through one of the most difficult periods of my life.

I wrote it for me, and I spoke it for me, but it had impacted other people. Sharing your story is not for everyone who as experienced sexual abuse or sexual assault. It is painful and difficult, but in my experience, it was incredibly important to my healing process. And what I’ve learned is that it can also help other people too. Though I don’t love to write, I believe the more we share and the less we normalize sexual abuse and sexual assault, the better we can help each other heal. In turn, hopefully we can create a better society for people in the future.

Sincerely, Ella Hennen Finance Manager

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CITIES

Roe v. Wade?

It’s Complicated Mixed Blood’s latest production goes beyond the binary of pro-life and pro-choice

BY MEGAN HOFF Something powerful has been brewing in the depths of a repurposed firehouse on West Bank.

Mixed Blood Theatre’s production of “Roe” made its debut in Minneapolis on Friday, Mar. 15, and it has been a huge hit. Focusing on the history of second-wave feminism and the woman behind “Roe v. Wade,” the play gives audiences an in-depth look at Norma McCorvey (Jane Roe). As March is Women’s History Month, the show couldn’t have had more perfect timing.

Fast-paced, sharp, funny, and heart-wrenching, the play begins with McCorvey and the lawyer who argued her case, Sarah Weddington, diving for a microphone. Each woman wants to give her side of the story. Though both were such a large part of “Roe v. Wade,” the women see the case in very different ways. They disagree over how far along McCorvey was when she first met Weddington, over things said and unsaid, and about Weddington’s failure to include McCorvey in the case proceedings.

Both women wrote books about their experiences.

McCorvey wrote two: “I Am Roe” and “Won by Love.” The play references both works, along with Weddington’s book, “A Question of Choice,” numerous times. McCorvey’s second book contradicts her first on multiple occasions. The play acknowledges this and makes the point that history isn’t objective. It all depends on whose lens, whose “truth” one views it through.

Though the argumentative, hilarious quips, and the incredibly in-sync blocking are all phenomenal, the most striking thing about this production is how educational it is. Most people hardly know anything about the women who made abortion legal in the United States, let alone how chaotic the plaintiff’s personal life was. She was a harddrinking bartender and a lesbian at 21 when she became pregnant with her third child. What may come as a surprise to many is that McCorvey never actually had an abortion; by the time the law passed, she was too far into her pregnancy.

The baby was put up for adoption, and to this day, no one knows what happened to “Baby Roe.” Another historical twist is that McCorvey actually joins the pro-life movement, is baptized, and renounces being a lesbian. This is a win for the pro-life side. McCorvey speaks at rallies, proclaiming that she regrets “Roe v. Wade” and

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that all life is precious. This puts an even greater strain on her relationship with her old lawyer, Sarah Weddington. Time and again, Weddington brings up her frustration for how much she has fought for this case.

The Supreme Court deemed abortion legal in 1973, citing the Fourth Amendment (the right to privacy) as a crucial part of their decision. However, even though abortion was legalized, it has consistently been threatened by state legislation and conservative Supreme Court justices ever since it passed.

Even though “Roe v.

Wade” is a divisive topic in a constant state of turmoil, there’s a lot of laughter in “Roe.” Playwright Lisa Loomer doesn’t pull any punches with the jokes, either.

One of McCorvey’s retorts to pastor Flip Benham (while she’s still pro-choice) is, “I got a whole shitload of babies to kill.”

The play is just as blunt in the serious moments, too.

There’s one scene where Weddington describes a seedy abortion in graphic detail, reminding audiences that there were whole hospital wards dedicated to botched, back-alley procedures.

The play doesn’t cater to one side over the other; it does its best to represent both sides of the story equally. It’s not about “this is why you should be pro-x.” It’s “here’s what happened. At least, what each party says happened.” Both sides had flaws. The Christian right and the feminists used McCorvey to further their own agendas. Norma wasn’t perfect, either; she felt that the world owed her something, and she wouldn’t let anyone forget it.

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This production showcases the classic arguments used by both sides: “Life starts at conception.”

“Abortion is murder.” “Women should have the right to choose.” “Their body, their choice.” etc. Toward the end of the play, all these arguments come to a head. A young pregnant woman confronts Weddington and McCorvey, asking them to tell her what to do. The point made here is simple and profound: neither woman nor the law can or should tell her which decision to make. As Weddington states, “The law is there to allow you to make one.”

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CITIES

Cultures of Medicine and Sleeplessness A free-flowing discussion at Weisman addresses the modern problems with sleep

BY JOE KELLY The first thing artist Peng Wu and sleep researcher Dr. Michael Howell had their participants do was go to the nearest window and observe the sunset. Even though we couldn’t directly see the sunset, Wu said this was an opportunity to properly say goodbye to the day. This was the start of an exploration into modern society’s interactions with sleep in the Weisman Art Museum’s event: Cultures of Medicine and Sleeplessness.

Wu explained how we often forget about the sunset because of our preoccupation with studying, work, obligations, and anything else that keeps us busy. The first lines of a circular piece of paper given to participants when they walked in read: “Staring at morning sunlight. Imagine the sun is resetting your circadian rhythm.” I soon found myself under a peaceful trance while watching the daylight fade.

Next, our group of around 30 members were led to the “night room,” which consisted of pillows, windows, and lamps that gradually brightened and dimmed at timed intervals. The event’s blend of scientific insight and artistic interpretation created an open discussion on what sleep is, what it can be, and its importance. Wu told us his story about how after five years of a lack of good sleep due to his work schedule, he decided to take on a creative project to help others practice sleep.

Howell and the other researchers complemented Wu’s view on sleep by summarizing research findings like how our perceptions of how much we sleep can affect our energy levels more than the actual amount of sleep we had.

If you are struggling with sleep, make sure to always have a time when you prepare for bed.

Meditation and a quiet, dimly-lit room can help you adjust to the night time. Even if you can’t sleep, meditating and even plain resting can do wonders if you don’t overthink it.

How Lattes Make You Happier

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Appreciating the little things in life

BY JUSTICE SAHAYDAK I’ve crossed the Washington Avenue Bridge hundreds of times. I should be sick of the trek.

But I can’t help but notice that the Minneapolis skyline looks a little different every day. The light never falls quite the same way, and the rain, fog, or snow—whatever weather is thrown our way— reshapes its outline. If I pay attention to this, my whole mood shifts.

It’s easy to scoff at the indulgence of the little things. Getting the perfect Instagram angle, ordering your favorite latte, petting a stranger’s dog—these things don’t matter in the long run.

It’s easy to dismiss these everyday pick-me-ups because they’re not as exciting as acing a difficult exam or receiving a pay raise.

But when you treat yourself with something small and intentionally appreciate it, you’re training yourself to live positively. Once I started focusing on the little things, such as the flavor of a London Fog drink or the sunlight on the Minneapolis skyline, it became easier to look forward to my day. Now I see how much good it holds.

I’m not saying these little indulgences are a cure to mental illnesses or the effects of trauma. But when you’re homesick, struggling with a particularly stressful semester, or simply stuck in a rut, it helps to focus on the everyday positives.

It’s not the latte that changes your day. Rather, it’s your willingness to notice and appreciate its rich flavors and warmth that encourages you to identify the good in your surroundings. Don’t feel embarrassed about enjoying the seemingly insignificant moments, and don’t dismiss those moments as inconsequential, either. The more you enjoy the little things, the more you’ll find reasons to celebrate all the good that life has to offer.

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Green Spaces in the Twin Cities Spring has sprung; here’s where to explore

BY SYLVIA RANI It’s that time of the year again. Temperatures are rising, ice is melting, and sunlight is no longer a limited-time offer. Minnesotans can finally awaken our biophilia, the natural human condition of our love of connection with nature and all that is alive. Luckily, the Twin Cities boasts an abundance of parks and conservatories in which to relax and experience the healing powers of green spaces.

Close to campus: East River Flats Park East River Flats Park, a short hike off East River Parkway and nestled on a bank of the Mississippi River, is a great spot for chilling and watching ferries, canoers, and—my personal favorite—dead branches float down the river. The park also has a couple biking and walking trails, as well as a 200step set of stairs leading up to East River Road.

Good for picnics: Minnehaha Park Minnehaha Park is home to Minnehaha Falls, one of the most photographed sites in Minnesota. This park is easily accessible by the metro blue line off the 50th Street/Minnehaha Park stop. The park is quite large and has a long, bikeable trail that follows the river downstream. A popular spot for families, Minnehaha park has many picnic and barbecue spots and for the history devotee, many carefully preserved historical sites. Among these is the John Harrington Stevens House, the first woodframe dwelling built west of the Mississippi.

For rainy days: Como Zoo Park and Conservatory Not far from the St. Paul campus is Como Zoo Park and Conservatory, a free (donations accepted) zoo and conservatory that offers indoor green spaces. The Sunken Garden is a good spot to relax and enjoy the fragrance of blooming tulips, roses, and geraniums as multicolored koi fish glide through a peaceful pond. Regal palms and flowering bromeliads fill a 64-foot tall crystal dome in the Palm Dome, and the Tropical Encounters exhibit is an immersive rainforest experience complete with high humidity and a sly tree sloth.

If you have a dog or enjoy watching dogs: Franklin Terrace Off-Leash Dog Park Fairly close to the Cedar-Riverside neighborhood is the Franklin Terrace Off-Leash Dog Park, a lovely location for pups and their owners to socialize. If you like watching dogs, this is a good spot to walk by, as it is bordered by Riverside Park.

Most of the dogs that frequent this park are big dogs, but there is the occasional small boy as well.

People-watching haven: Gold Medal Park A stroll down the 10th Avenue bridge and West

THE WAKE

River Parkway will land you in Gold Medal Park, downtown Minneapolis’ famed spiral-pathway and greenspace with a gorgeous river view. This is perhaps one of the best spots for people watching because this area of downtown always has so much going on.

High-class Guthrie-goers are always in proximity, businesspeople from downtown west can be spotted grabbing a quick lunch, and the line at Izzy’s Ice Cream is consistently out the door, abuzz with ice cream lovers and their friends.

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Worth the wait: Tower Hill Park Most people don’t know about this park but should.

Just a stone’s throw down University Avenue in Prospect Park, Tower Hill Park contains the Witch’s Hat Tower, a water tower placed on the highest natural land area in Minneapolis. While the observatory deck is only open one day of the year (usually the weekend after Memorial Day,) the park offers an unparalleled view of the skyline of Minneapolis. Get there before sunset for epic instagrammable golden hour pics..

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ART

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Honey Art by Samantha King

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FEATURE

The staff members and student volunteers who run the Aurora Center

BY TALA ALFOQAHA

THE WAKE

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FEATURE

Located in Appleby 117, the Aurora Center for Advocacy and Education constitutes one of the few on-campus institutions that appears to inspire a consensus among students: it is essential.

And rightly so—the Aurora Center provides the 500–600 individually seeking its support annually with an extensive range of free and confidential services. Yet, unlike many campus resources, the services Aurora provides address highly personal, painful, and sensitive topics. No formula or prewritten script can succeed in supporting each victim-survivor with their individual experience.

And for the seven full-time staff members and upwards of 80 student volunteers who contribute their time, energy, and passion to The Aurora Center, the work they engage in is anything but impersonal.

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“Much of the time, it’s providing some degree of emotional support or giving them a space to process,” said Bronte Stewart-New, Aurora’s Legal Advocacy Coordinator.

Stewart-New’s position encompasses a variety of different roles. She coordinates the advocacy series, provides crisis support, helps clients asses their options, responds to a 24-hour helpline*, and co-facilitates victim-survivor support groups.

And yet, despite this slew of responsibilities, “I still wait tables,” Stewart-New remarked. “I enjoy interacting with people.”

In this line of work, a knack for communicating appears to be integral. Enter: Katie Eichele.

Passionate and attentive, Eichele currently serves as the Director of the Aurora Center, meaning that she is a driving force behind both the day-to-day and long-term operations through developing policy, engaging in strategic planning, dealing with the budget, and advocating for victimsurvivors at all institutional levels. While Eichele’s role is encompassing and complicated, her purpose is clear. “If I don’t get up,” she explained, “they win.”

Since she began this high-profile position in 2012, Eichele has made her mark on the center. “When I entered the role [...], Aurora was known for really good work,” she said. While the current broadbased support and influence of The Aurora Center may seem effortless, she continued on to explain, “But offices didn’t like to work with us. We were controversial.”

Growing Pains Indeed, The Aurora Center originated from controversy: in 1986, the alleged sexual assault of an 18-year-old woman by three Gopher basketball players prompted then-President Ken Keller to establish a center dedicated to dealing with sexual violence. Since then, with over a million dollars in

federal grants from the Department of Justice’s Office for Violence Against Women and increased institutional funding, Aurora has been able to greatly expand its services and scope.

Yet the impressive growth required more than just money. Early on, Eichele identified the campuswide hesitance to collaborate with Aurora as an issue to tackle.

“I essentially went around [to all the partner offices] very humbly. And I got yelled at a lot, even though I was brand new,” Eichele recalled. “But I would tell them: With me here, we are going to be collaborative. With me here, we are going to listen to each other. With me here, we are not going to shame each other but inspire each other to be our best.” She leaned forward and dropped her voice, “And that changed everything.”

Today, Aurora’s core mission includes four main pillars: direct services, education, interdepartmental collaboration, and developmental opportunities. Of these four, the center is most widely known for the broad realm of direct services that it offers to victim-survivors. These services include counseling, academic support, medical support, housing accommodations, assistance with law enforcement, and legal support.

According to Eichele, clients most frequently request crisis counseling and support services.

“We call it cope and hope,” she explained. “Give them hope that they’re not alone, that they have options. Sometimes, it’s as simple as sending a letter to a professor.”

As a co-facilitator of Aurora’s weekly support groups, Stewart-New is familiar with the importance of providing spaces that validate victim-survivors. “The support groups are a really

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FEATURE

Students Stepping Up unique space where people are able to come together and build some solidarity with other people who have had similar experiences,” she said. “It really is my favorite part of the week.”

Yet responding to crisis constitutes only one of Aurora’s four pillars. “Advocacy response and prevention go hand in hand,” said Paul Ang, Aurora’s Prevention Program Coordinator.

A Positive Approach Ang, alongside the center’s Men’s Engagement Coordinator Malik Mitchell, works to create, define, and implement Aurora’s violence prevention education. Currently, the series Aurora offers is called “The Power of Respect” and can be requested by student groups, University offices, and other on-campus entities.

While Ang has worked to prevent gender-based violence for over 10 years now, his decision to broach this line of work was somewhat unexpected. “Growing up, I hadn’t really had many conversations around gender-based violence or consent,” he explained. After joining a dialogue group about masculinity, however, Ang realized his own personal stake in the fight against genderbased violence.

And with Aurora’s Power of Respect curriculum, his objectives are clear. “We’re trying to create a community that not only supports survivors but also doesn’t tolerate the overt and implicit underlying behaviors that all make up the wider spectrum of gender-based violence,” said Ang. The workshops are facilitated by staff and another integral part of The Aurora Center’s structure: student volunteers.

Violence Prevention Educators constitute one of Aurora’s three volunteer positions, alongside Direct Service Advocates and Special Project Volunteers.

Similar to Direct Service Advocates, who work Aurora’s 24-hour helpline, VPEs must complete a 40-hour certification training offered at the beginning of each spring.

“It was a pretty intensive training,” said Sam Wheeler, a sophomore volunteering as a Violence Prevention Educator, “But I learned a lot and met a wide variety of people of all these different majors and identities.” Now, Wheeler facilitates at least five presentations a semester to groups across campus. “There’s a strong focus on open-ended discussion and not shaming others,” she explained.

After hearing about The Aurora Center and being interested in learning more about sexual assault prevention, Wheeler applied to volunteer in the October of her freshman year. “As a woman in STEM, I thought I could probably bring something to the table,” Wheeler said. “I love being a part of a place that’s working to make the [University] a better place.”

Students around the University appear to be interested in bringing their own experiences to the center. “I predominantly focus on the fraternity new member seminar ones,” said sophomore Violence Prevention Educator Carter Ridel. “It’s a culture I’m in as well, so being able to bridge the gap is something I’m trying to focus on.”

And in the process of educating others, Ridel acknowledged that his perception shifted as well.

“Obviously, as a white, cis- member, I don’t have the same experiences as many of the people I work with,” he said. “One of the really important things I realized is being able to recognize my own bias.”

To Give & To Get Back This sense of personal growth is a common thread among the experiences of Aurora’s staff members and student volunteers.

Stewart-New has worked with The Aurora Center for a total of six years—a staff member for two and a volunteer for four. “I was a transfer student, and so I never really felt like I was fully a college student,” confessed Stewart-New, “The Aurora center was really the place where I found a sense of community.”

And this strong community, as any, is built by its community members. Yet when reflecting on what impact she had on The Aurora Center, StewartNew seemed taken aback. “That’s a big one,” she laughed, “My coworkers say that I bring a lot of humor to the office. I don’t know if I agree with that.”

She addresses an important facet of this work: despite the difficult and often disheartening nature of Aurora’s advocacy, humor, resilience, and healing still flourish.

“This is a story that just happened last week,” Eichele begins with a smile. She recounted how a former client emailed her crediting Aurora’s advocates for her ability to graduate. The client continued on to explain that she had a stable job now and was actually getting married. And instead of a gift registry, her and her partner were asking their guests to donate to Aurora.

“We didn’t give her all the answers,” Eichele maintained, “but we gave her enough momentum to find a reason to pick herself up. And those kinds of moments are just like...” For the first time, Eichele seemed at a loss for words. “Wow,” she finishes. *24-hour Helpline: (612) 626-9111

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ART

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APR 8 - APR 22

On Traveling Alone

BY JAMIE ROHLFING There is something terrifying about that concept: What will happen to me? Will it be safe? Will I have enough to do? Will I get lonely? Will I get bored?

Will I have the strength to leave the hotel every morning if no one is telling me to do so? Will I get lost? Will I be able to navigate public transit in an unfamiliar location?

Intimidating though it might be, traveling alone allows for personal growth in ways that would otherwise not be possible.

Last year, I traveled solo for the first time.

Destination: Seattle. Four days, three nights. From the busy, bustling city and Pike Place Market to the calm, quiet forests of Mount Rainier, I view this trip as THE trip. The trip that gave me new perspectives on the world and on myself. Stepping beyond all of my fears and jumping far outside my comfort zone, traveling on my own felt like a weight being lifted off of my shoulders. It gave me the confidence to know that I could do whatever I put my mind to, knowing that fear would no longer be the excuse holding me back.

Traveling alone builds a greater sense of independence and personal strength as you explore new places and meet new people under your own timeline. Want to spend eight hours at a museum? No one is going to pressure you to leave!

Want to spend an entire day on a beach? No one will stop you! It is your adventure, on your schedule, doing what YOU love to do.

If you ever get a chance to plan a solo trip, I urge you to take it. You never know what you will discover.

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Q&A

LASKA

BY MEGAN HOFF

Sisters Hannah, Mookie, and Bex Morton are the lead singers of LASKA, a Minneapolis-based band. Hannah and Mookie also play guitar, and Bex plays violin. They’re accompanied by Evan Middlesworth on the guitar and keys, Noah on Kittelson drums, and Robbie Weisshaar on bass. Read on about for inspiration behind their latest album name and how they each practice self-care.

: Why did you decide to start a band?

Hannah: The three of us, we’re sisters, and our oldest sister recommended this song for us to cover one time. And that’s how it started originally.

Bex: Through our history teacher in high school, we met Evan. Our history teacher had told us we need to record our music, so we went out to Evan’s studio called Pine Hollow in Eau Claire. We met him and recorded a quick 13-hour EP, and then we just liked each other.

Mookie: We [sisters] all played violin when we were really young. That’s kind of how we got into the music stuff and just slowly branched out and learned other instruments.

: You just released your latest EP, “In the Blossom of This” on Mar. 22. What’s the story behind the name?

kind of like the process of life… in the blossom of growth. They’re emotions that come and go and fluctuate.

: “Coffee Naps” off of your new EP has some great lyrics about growth. Can you talk a little bit about the inspiration behind this song?

Bex: I wrote it in a time that I really needed some headspace. I would just kind of sit on the piano and just like hash it out. It was definitely a way to cope through a bad mental space that I was going through at that time.

Mookie: I didn’t write the song personally, but when Becca sent it to me, like just the recording on the piano… I like seriously cried. To me, the song really emphasizes when you’re in love with someone, and you feel like maybe they’re hurting you… but you don’t want to give up on them yet, because you know their heart.

Mookie: So a lot of the songs on the record are kind of about maybe negative emotions, or just like pain… those kind of anxious and depression vibes. We wanted people to understand that we don’t label ourselves as that type of people, but it’s

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Q&A

: This issue of The Wake focuses on healing and moving past trauma. If you’re comfortable sharing, how did you cope with something?

What role, if any, did music play in that process?

Mookie: I feel like that’s the whole basis of it [the band] is for coping.

Hannah: Whenever I feel anything, I just try to write about it. I think not only does it make me feel better, but it makes me feel better knowing that like other people might be able to relate to it, and it might help other people feel better too.

: What does your songwriting process look like?

Mookie: We write the core of the song. Sometimes, one of the sisters will add a verse or change a verse or add a bridge. But I like to say that all six of us do write the songs because the production process, and the bassline and the rhythm is like, it’s a lot of it, too. A song could completely change from what we bring into the studio by the time it’s finished.

: What do you listen to when you’re sad?

Mookie: I listened to Yann Tiersen the whole car ride here. Not that I was sad, but that’s like a good outlet. Also Leonard Cohen.

Hannah: I like to listen to Sufjan Stevens when I’m sad.

Bex: Kind of a mix. Most of the time when I’m sad I’ll listen to Andy Shauf, Andrew Bird, or Kate Bush.

Robbie: I listen to Radiohead a lot, and also listen to Andy Shauf too when I’m in the dumps.

Evan: I’ll throw Elliott Smith in the mix.

Noah: I listen CCR [Creedence Clearwater Revival] for some reason when I’m sad… it reminds me of home.

I’m not very good at it, but I like to do it.

Evan: I like to just do something that’s not loud. So, going for a walk, but just no music, or hiking. Just getting away from the hustle and bustle of it all.

Especially being in so many different avenues of music and audio, silent time is very important.

Noah: I would say anything alone, just like alone time. A lot of the times I get that at work, so I’ll go back to work.

: What is your favorite part about being in a band?

Hannah: My favorite part is the hanging, because we laugh so much. We’re just all jokesters together.

It’s really nice to laugh, and I laugh with these people.

Mookie: It’s so nice to escape from the day job, like whenever we do weekend gigs like this. It’s so nice to just get out of the town that you’re always in.

Bex: I agree with what you guys were saying.

Robbie: I really enjoy being in the studio, obviously hanging too… it’s just so cool to see how a song can come from just an acoustic guitar, just a piano, and then just goes in this whole different direction.

You just never know what’s going to happen.

Bex: Also, on that same note, another part I like is just experimenting in general with sound. Pushing sound past its original capability, and just evolving as a group, and growing off of each other with sounds.

Evan: I like the big picture of it all. Working with the sisters over the last few years, I haven’t really worked with a band that has as much drive as they do. So, for me, a big part of the fun is just the entire process, from the initial demos on the iPhone all the way through playing them live and in different cities, and just taking those small stair

steps… to keep this thing going and to keep the vision alive. It takes a lot of hard work and a lot of drive that can bury a lot of bands. But this one, they just persevere, and it’s a really cool thing to experience and be a part of, and kind of share with each member.

Noah: I love how this band is set up, because we kind of have this notion, that Evan on guitar, Robbie on bass, and then me the drummer kind of support whatever the girls are singing and throwing out; that’s kind of our role. Playing in a band that’s configured like that is my favorite part, because it’s always nice to let the girls do their thing.

Hannah: I feel like it’s so common that someone will write songs, and then they’ll have really good musicians, but the important part is that these people are supporting us and listening, and they are also feeling it and adding to it in an emotional way.

Evan: All of that combined is a pretty undeniably good thing. It’s a hard thing to beat down or tear down. It’s a “we’re all in this together” mentality.

You just sort of have that thought of like, “we want to take over the world” kind of thing, which seems far-fetched, but it’s just like the attitude. We just keep going.

Mookie: Yesterday we had a show, and it was getting pretty late, and I was so tired right before we played. As soon as we started, it was just like so much energy and just like all of the things that I never get to say to people or I never get to talk about or I never get to express, I get to do while we play together, and it’s just one of the best feelings.

LASKA will be playing at the Pimento Jamaican Kitchen in Minneapolis on Apr. 29.

: What do you do when you want to practice self-care?

Hannah: I like to write or draw. Also,

just light some incense, or take a bath, just chill-out stuff.

Mookie: I’m a sucker for peanut butter cookies… besides that, I really like walking, just like putting some headphones in and going on walks.

Bex: I’ll do pretty much anything just to get out of my head, so usually it’s some kind of walking or hiking. Drawing also.

Robbie: I like to paint when I have time.

THE WAKE

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VOICES

The “Rainbow Road” of Mental Health Being gentle and patient with yourself

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BY ESTHER CHAN In this age of social media, it seems like every celebrity, public figure, influencer, etc. is preaching the importance of just loving yourself, learning to appreciate your body, being happy, etc. And it’s not just them. You see it in every cliche Instagram post, Pinterest, Twitter, Facebook, etc. Even at the university, they have various programs promoting the importance of self-love and acceptance.

I’m not saying these messages are illegitimate or unimportant, but what’s frustrating is the misleading simplicity they convey—how linear they make it seem.

I like to compare the journey towards improving self-love to the infamous “Rainbow Road” from Mario Kart. The course appears enchantingly beautiful, and nothing seems more rewarding than the opportunity to finish that gorgeous road of colors and stars. But the reality is far from the expectation. Sure it’s beautiful, but it’s also full of turns, spins, slides, and constant falling off. You think it’s going well and then suddenly you fall off, realize you’re going in the wrong direction, or end up exploding just as you think you’re about to finish. It’s not simple. It’s not straightforward.

And it’s definitely more than just pretty colors and bouncy music. Sometimes, you can’t even finish.

Being gentle with yourself is more than just accepting your flaws; it means accepting the minuscule, subtle, almost invisible steps of progress. Maybe it’s buying that shirt you love even if it emphasizes your rolls—buying that shirt even if you don’t have the confidence to actually wear it in public quite yet. Maybe you still hate looking at your face or struggle to think of yourself as beautiful, but if you decide that at least your eyebrows look on fleek—that’s progress. If you’re like me and spend your whole life despising pictures because you don’t like your face but

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randomly decide to take a few selfies and actually keep them, even if you never post the pictures or show them to anyone, that’s still patient progress.

Maybe you still break down repeatedly, but if the number of times has lowered in even a week, it’s progress. It’s progress when you realize it’s a little easier to smile when you’re thrown into an unfamiliar environment or when you conquer your social anxiety and hang out with friends, even just once more than usual. Perhaps it’s being brave enough to meet new people and for once be the first to start a conversation—even if your heart is thrashing with nerves.

is excruciatingly hard, but it’s worth it. At least I hope so. Because I haven’t finished either. I’m on Rainbow Road, barely 10 feet past the starting line, on my first lap, and the leaders of the race have already passed me a million times. Sometimes it feels like I haven’t even started. But if nothing else, on this Rainbow Road of mental health, despite the pitfalls and tricks and turns, no one can deny that it’s an enchanting, bright course.

The path is difficult, painful, and full of trials, but don’t forget—it’s also beautiful.

You would never expect to see immediate results from a new diet or exercise regime. Someone who has torn their ACL or experienced a physical injury would never be expected to heal immediately.

Physical conditions such as these are literally measured by steps, why can’t mental health be the same?

Even if it’s just a few paces forward, at least you’re moving. Even when you’re doing so well, you can still fail, whether it’s because of what one person said or from your own doing. And that’s ok. You don’t have to get it right the first, second, thousandth time. Returning to the “Rainbow Road” analogy, more often than not, you’re cruising along, thinking that you’re doing pretty well. But of course, we all end up falling. It always seems like just as you’re in the lead or so close to the finish line, you suddenly tumble off. But no matter what, you’re still lifted up back up and placed back on track.

It’s all about the little steps because when we’re unable to recognize the little progress we’ve made, it’s all too easy to give up. The journey

APR 8 - APR 22

VOICES

What does it mean to be healed?

A journey I’ll be on for the rest of my life

BY AMY MA I was healed the day I first saw a therapist. No, it was when I stopped wishing I could magically become white. No, it was the anniversary of that day, when for the first time, he didn’t even cross my mind. But really, it was none of those times.

What does it mean to be healed? I think of boundless love, perpetual light, a person full of art.

At 20-years-old, what I know best about being healed is that I might never get there. But maybe there is no final stage of being “healed.” Part of healing is understanding that it’s a journey I’ll be on for the rest of my life. For me, that journey began when I was able to connect with my family and cultural roots Growing up Asian-American, specifically Chinese, I was taught that there was never anything to be healed. I was lucky to be in this country where my success would be a direct result of my hard work. I tried to assimilate into predominantly white schools, excelling in classes while trying to distance myself from my family’s history and culture. How could I explain something I didn’t even understand myself?

I was unknowingly repressing a deep generational trauma. For most of my life, the words “beautiful” and “euro-centric” were synonyms.

To me, healing is learning, unlearning, and relearning who I am. Healing is being willing to start over every day or every five minutes. Healing is buying myself coffee because I absolutely deserve it. Healing is interrogating my own privilege to gain a critical appreciation of self. Healing is actively putting myself in spaces that encourage diverse backgrounds. Most importantly, healing is understanding that it takes time. And I have the rest of my life.

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Culture Versus Self The Battle Between Cultural Stigmas of Mental Health and Self-Preservation

BY SAGRARIO TORRES Convinced that it was a sign of weakness to express vulnerability, I opposed the idea of opening up about my emotions and the problems I had in school.

I grew up with the notion that American culture was “soft” in its reaction to the challenges life presented.

The idea of sharing my feelings, of it being acceptable to cry to family or friends, was never introduced to me at home. Surrounded by “No seas chillona” (“Don’t be a crybaby”) and “Cuida a tu hermano” (“Take care of your brother”), internalizing my emotions was what I knew best.

Complex familial matters took effect on my emotional wellbeing which in turn hurt my physical health. I didn’t say anything because I believed there was strength in not “burdening” my parents with my own struggles on top of the circumstances we were already experiencing.

The realization that my younger brother was experiencing the same pain was what gave me the strength to open up to my parents. Being the eldest child of hardworking immigrants, I had to remind myself that the pressure to be unfazed and resilient in the face of adversity comes from a culture that is still understanding the detrimental effects of mental health stigmas. I made the mistake of equating my parents to the culture behind these stigmas but was contrarily received with love upon telling them the truth.

Circumstances vary for every individual.

Interculturally, however, there is a common theme of holding the stigmatic belief that seeking help for mental health is a sign of weakness and selfishness.

Understand that it takes strength and courage to be the first to speak up, even if it’s for yourself and not the people you want to be strong for. After all, there is no greater example of strength than to be brave enough to share your own story.

THE WAKE

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VOICES

That Ain’t It, Chief

3

Digital activism doesn’t accomplish much without a grounding in real-world action

BY CALLUM LEEMKUIL-SCHUERMAN Sharing petitions on Facebook. Calling out politicians on Twitter. Posting article screenshots on Instagram. Most of us have done these things and felt good about them, but do they really have an effect?

The unfortunate answer to that question is: not really. Digital activism, despite how involving it might feel, accomplishes very little on its own without accompanying real-world action. Look at the tactics used during the American Civil Rights Movement, arguably the most successful collective action movement in American history. There was a place for pamphlets, articles, and inspiring rhetoric; Dr. Martin Luther King Jr’s 1963 speech on the national mall will be remembered forever.

But the speech wasn’t delivered to the grass—it was delivered to the 250,000 protestors who came out to march on Washington. The protestors understood that their physical participation was the only way to bring about change. It was the same way with the additional actions Civil Rights protestors undertook, such as the Freedom Rides to integrate illegally segregated buses or lunch counter sit-ins to challenge segregated restaurants.

These protestors, the vast majority of whom were Black, put their safety on the line and faced down racist mobs in order to accomplish their goals.

There are plenty of more recent examples, too.

The Black Lives Matter movement has successfully brought awareness to racist police violence in the

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United States, confronting the overwhelmingly white American news media and forcing them to acknowledge the existence of the problem.

Through coalition-building, they have also brought about the electoral defeat of several district attorneys and prosecutors who were complicit in police violence. In 2019, teachers’ strikes have taken place across the country, successfully striking back against charter schools in California and raising wages in West Virginia. At every point in American history up to the present moment, the citizens who succeed in effecting positive change are the ones who go out and commit to physical action.

organizing protests. Teams of organizers were able to quickly set up protests and distribute information to large numbers of people, resulting in massive protests very close to the location of the events the activists were protesting. The most notable local example was the Mall of America shut down in 2015 to protest the police shooting of Jamar Clark. This digital infrastructure has been adopted by other groups with extreme effectiveness—the Women’s March in 2017 was the largest single-day protest in American history, with between 3 and 5 million participants. This all goes to show that, in terms of mass protests, the Internet is an extremely powerful tool.

Unfortunately, digital activism on its own cannot be classified as physical action. In fact, digital activism can have a detrimental effect on physical action—people expend their energy through Twitter outrage and end up failing to attend realworld events. Worse, the time-sucking nature of platforms like Facebook and Twitter means these companies profit off of your outrage through the sale of data.

There are other creative ways to use the Internet to effect real-world change as well. Recently, a group of high-school students from Upstate New York began a Twitter campaign to draft the retired Alaska Senator Mike Gravel, famous for his anti-war stances and for reading the Pentagon Papers into the congressional record in the 1970s, into the 2020 Democratic debates to change the national conversation. At the time of writing, a parliamentary petition in the UK to cancel Brexit has passed a record-shattering five million signatures, accompanied by massive protests.

All of this is not to say the Internet has no place in activism; on the contrary, it absolutely does.

However, it must be combined with real-world activity to have any kind of tangible effect.

Returning to Black Lives Matter, a key reason for their success was their ability to build a new and extremely powerful digital infrastructure for

When used correctly, the Internet is a powerful tool for social change, and it can make a powerful mark on the world—just not in isolation from reality.

APR 8 - APR 22

VOICES 4

Internalized Stigmas: How We Deceive Ourselves

BY MICHAEL MCGOUGH Discussions about the stigmas and societal norms regarding mental health are necessary but far from easy. Those who suffer from mental illnesses can be ostracized and ridiculed by others. There are parents who think their suicidal children are just seeking attention, and many people perpetuate regressive ideas about mental health.

Countless individuals don’t seek mental health treatment out of fear that they’ll appear weak or broken. This concept is easy to understand, perhaps even easy to identify, but it is not a complete explanation of how stigmas function.

An often-overlooked aspect of mental health is how the stigmas of seeking treatment can be internalized. People with mental health issues can blame themselves for their situation rather than recognizing their illnesses and seeking help. These internalized stigmas are like parasites. Those who should seek help may not do so because they think their issues are illegitimate. Maybe it isn’t about values or beliefs. They may be very supportive of mental health awareness and treatment, but when it comes to themselves, it’s different. They criticize themselves for being weak or histrionic.

Choosing to seek psychological treatment is a difficult decision. It’s terrifying to admit that you need help. It can feel embarrassing, and that first therapy session, when a stranger asks deeply personal questions, can be so terrifying that many

THE WAKE

fail to return for a second session. Recognizing that you don’t possess full control of your thoughts and actions, that you need professional help to become healthier, is frightening. It feels safer to believe that you retain full control.

Individuals may misinterpret symptoms of their mental illnesses as weaknesses. Although somebody may be very compassionate and supportive of those who struggle with mental illnesses, they may not be compassionate toward themselves. Rather than accepting that they don’t have control and that spending an entire weekend in bed goes beyond laziness, they tell themselves that their situation is not a legitimate issue. It’s their fault. They’re just lazy, weak, and pathetic. The thought of going to therapy or going on medication feels unwarranted. They think it’s an excuse.

Before enrolling at the University of Minnesota, I was a student at a small liberal arts college in Wisconsin, where I only completed one term. When classes started, all was well. I was excited to take small discussion-based courses, but I began to feel a pervasive sense of dread within the first month.

Moving is stressful so I thought my emotions were normal. Then I failed an exam. After that, it took me hours to fall asleep every night, and I began to sleep through my classes. I missed assignments and tests and spent all my time wading through a haze shame. Well, I also watched “Community” a lot.

Unable to find my footing, I decided to return to Minnesota and considered attending therapy.

It made sense, but I felt like a failure. I felt like I was running away from an imaginary problem.

Maybe I just wasn’t cut out for college, and maybe depression was just an excuse. I decided that I didn’t need any professional help. But after a semester at the U of M, I didn’t feel any better even though my academic performance had improved. Nothing changed until I started going to therapy and taking antidepressants. Soon, my outlook on life improved, and it became easier to take classes seriously and speak to people more openly. Admitting that I didn’t have full control over myself was a pivotal moment in my life.

Discussions about the stigmas of mental health treatment rarely addressself-internalization. It’s easy to identify and understand how stigmas function in a group of people, but the process of internalizing stigmas is more nebulous. They become a tool of self-criticism. Someone who has internalized the idea that seeking help is a sign of weakness is not necessarily afraid of being perceived as weak. The stigma manipulates the individual into believing that they are weak when the truth is that they are ill and deserve help.

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R

SIX REVIEWS

2

2

“Post Traumatic”

“Jessica Jones”, Season 1

Mike Shinoda

BY JUSTICE SAHAYDAK

Netflix recently released a new season of “Queer Eye,” the modern reboot of “Queer Eye for the Straight Guy.” The show follows five gay men who improve the lifestyles of randomly assigned people.

In past seasons, their efforts were usually focused on straight men, so fans were pleasantly surprised to see diverse female representation on season three.

BY ALLISON COLSCH

Marvel’s Netflix show “Jessica Jones” may have been recently canceled,1 but its focus on trauma and recovery shouldn’t be forgotten.

The first episode centers around Jody, a hardworking hunter who desires to dress femininely for an anniversary dinner with her husband, but is unsure of how to achieve her preferred look.

Karamo Brown, the show’s culture/lifestyle expert assembles a group of women to discuss femininity with Jody. She benefits from the words of other women, gaining confidence and clarity about what she likes and what makes her feel like a beautiful woman.

The album aptly begins with “Place to Start,” a slow, melancholic plea for help navigating the grieving process. The track ends with real phone messages left by Shinoda’s friends offering their support in the wake of Bennington’s death. This is immediately followed by “Over Again,” which examines the constant reminders and subsequent emergences of grief that occur after a death. The themes of aimless drifting and repetition continue in “Nothing Makes Sense Anymore” and “About You.”

Another episode features a young black woman named Jess. After coming out to her adoptive parents at the age of 16, she was immediately disowned, and has lived independently ever since. Through the course of the episode, the Fab Five recognize the intersecting identities that make up Jess’ lived experiences, and use them as inspiration for their advice. The style expert, Tan France, helps Jess find a balance between femininity and masculinity in a way that reflects her sexuality. Decor expert Bobby Berk brings a homey atmosphere to her living space, bringing comfort into her previously turbulent life.

While the first half of the album details the pain and anger Shinoda felt, the second half chronicles the slow journey towards healing. With “Crossing a Line,” a sincere request for forgiveness as he moves to a solo career, and “I.O.U.,” a fast-paced response to critics, Shinoda starts shifting his focus from his pain to his future. The album ends with “Can’t Hear You Now,” a triumphant song that tells its listeners that he can’t be brought down from his newly recovered position.

“Queer Eye”, Season 3

BY TOSIN FASEEMO

On Season 3 of “Queer Eye,” the cast helped people make meaningful lifestyle changes that reflected their personalities. In doing so, they emphasized self-knowledge and the importance of self-acceptance.

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In his debut solo album, LINKIN PARK co-founder and guitarist Mike Shinoda tackles the emotions following the death of his friend and bandmate Chester Bennington. “Post Traumatic” tracks his journey through denial and numbness before giving a glimpse of healing.

With “Post Traumatic,” Shinoda manages to convey his deeply personal journey in a raw, accessible format that resonates with listeners. The process of healing is long and hard with obstacles to be expected, but this album offers hope that recovery is achievable.

Jessica is a “hard-drinking, short-fused, mess of a woman”2 who, despite her superpowers, works as a cynical private eye. Although she’s always been a little rough around the edges, her life spiraled out of control after spending months under the mental control of the despicable Kilgrave. The series doesn’t shy away from showing how trauma impacts every area of one’s life. But it goes further and shows that there is hope for healing, no matter how lost someone is.

“Jessica Jones” emphasizes therapy’s effectiveness.

When Jessica has a panic attack, she uses specific therapeutic techniques to calm down, and she recommends an organized support group to Malcolm, another victim of Kilgrave. In a world of vigilantes working outside the system, this focus on traditional methods of recovery is unexpected, yet welcome.

The show also focuses on informal paths to recovery. In the final scene of season one, Jessica is too overwhelmed from fighting Kilgrave to care about her demolished apartment or ringing phone. But Malcolm is there, sweeping up debris and answering calls. He is willing to support Jessica when she cannot support herself. Friends can play a key role in recovering from trauma.

This season has been out for years now, but its acknowledgment of trauma is still so important.

There are few shows that deal with the hope for recovery as powerfully as season one of “Jessica Jones.”

APR 8 - APR 22

SIX REVIEWS

R E T RO R E VI E W

“Cosmic Thing” The B-52’s

“Cry 4 Help”

BY EVAN FERSTL

Kari Faux

After three eclectic albums that mixed elements of new wave, punk, and surf rock, the B-52’s had established themselves as cult mainstays of the 1980s, unafraid of coming across as frivolous, ridiculous party-lovers.

However, tragedy would strike the band when guitarist Ricky Wilson, a centerpiece of the band’s driving sound, passed away.

The remaining members finished their fourth album, but, devastated by their loss, did not tour to promote it and went into hiatus. It was questionable whether the band would ever record again.

BY TOSIN FASEEMO

However, by the end of the decade, the band had reformed and recorded new material.

The result, 1989’s “Cosmic Thing,” included the singles “Love Shack” and “Roam,” propelling them to mainstream success and a larger audience than ever.

Even in the face of tragedy, the band stays true to form on the album with up-tempo songs about traveling the world, falling in love, and enjoying time spent together. That being said, the album does signify a shift in style, as Keith Strickland’s guitar work is more restrained and pop-oriented than Wilson’s.

However, the band manages to pull it off. The iconic vocal dynamic between Kate Pierson, Cindy Wilson, and Fred Schneider is more captivating than ever, and the hooks and choruses are memorable and even beautiful.

Admirably, all of the band members sound like they’re enjoying themselves even after all the pain of the last few years. “Cosmic Thing” is an album that celebrates life, inviting the listener to bask in the fun and adventure that make it worth living.

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Kari Faux’s “Cry 4 Help” EP is only 17 minutes long, but it packs a punch. Faux is careful and deliberate in the development of each track. The songs pull listeners in as they blend into a soothing mix of instrumentals and vocals. This juxtaposes with the subject matter of the record, which focuses on the difficulties of her personal life.

The opening track, “Medicated,” illustrates Faux’s mental instability through its repetitive chorus, which details her numerous highs and lows. The title is also repeated as she expresses her distaste for medication, claiming “I don’t wanna be sedated, rather have you call me crazy,” before describing her attempts at self-medicating with marijuana and alcohol. The looped, lazy vibe of the song emphasizes the cyclical nature of Faux’s actions.

On “Leave Me Alone,” Faux laments the inescapable presence of superficial friends in her life. Pairing a strong bass line and a bored, almost apathetic tone, listeners can hear her message loud and clear: don’t bother me if you aren’t going to be there for me.

“In The Air” and “Night Time” are feel-good tracks about relaxing and smoking. The first contains a verse from rapper Curren$y, while the latter includes a tastefully executed violin part.

“Latch Key” is the most intimate track on the EP. Faux takes the time to delve deep into her trauma. She details an unpleasant sexual encounter, the resulting teenage pregnancy, and her sudden miscarriage with an unflinching calmness. Through her music, Kari Faux offers hope to survivors by boldly sharing her experiences with the world.

“Ctrl” SZA

BY MARIE O’CONNOR . “Ctrl,” SZA’s debut studio album, is a lyrical, neo-soul R&B exploration of modern love and romance, dealing with loss as well as exploring her self-worth and self-awareness. Hit single “Drew Barrymore” is a personal lament about feelings of worthlessness. In the song, SZA admits that she struggled to find her worth while feeling lonely, and apologizes for not being “more attractive,” and “more ladylike.” This feeling is echoed in other songs on the album, including “Normal Girl,” “Supermodel,” and “Anything.”

While SZA struggles with low self-esteem, the album also has genius moments that show growth and a kind of self-acceptance that is crucial to healing. “Go Gina,” one of the more upbeat tracks on the album, features SZA appreciating herself for the utter badass she is. She sings, “I belong to nobody/Hope it don’t bother you/You can mind your business/I belong to nobody.” The rawest track on the album, “20 Something,” is a confessional comprised of the sadness and pain, but also strength, that makes up the life of a 20-something-year-old black woman.

Not only does “Ctrl” feature many verses from incredible artists like Kendrick Lamar, Travis Scott, and Isiah Rashad, sound clips of SZA’s mother add a theme of generational support that contributes to the strength shown in this album. Although some tracks do not represent a mindset of growth and healing, the tracks that do help carry this album through as a powerful message of female resilience and self-love.

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APR 8 - APR 22