fortnightly student magazine
THE WAKE
volume 18 — issue 8
Twin Cities Leather & Lattes
p. 8
Q&A : Meg Kirsch
p. 16
Music Under Glass
p. 9
Don’t Feed the Trolls
p. 21
Ghosting
p. 11
Diesel and Dust
p. 23
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Agoraphobia Art by Emily Jablonski
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VOLUME 18, ISSUE 8 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
THIS ISSUE: Writers
Megan Hoff, Sagrario Torres, Allison Colsch, Claire Redell, Justice Sahaydak, Andrew Byrd, Marley Richmond, Macie Rasmussen, Michael McGough, 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.
Sylvia Rani, Esther Chan, Sammi Boring, Tosin Fassemo, Olivia Hultgren, Callum Leemkuil-Sherman, Evan Ferstlt, Chris Shea, Emma Chekorun Art 1 Selena Philaphandeth 2 Morgan Wittmers-Graves 3 Emily Jablonski
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.
Q&A photos courtesy of Meg Kirsch Gallipoli, The Teal Album, Diesel and Dust, and Velvet Buzzsaw art from original sources. Cover art by Raquel Benedict, Feature art by Brighid De Danann
The Wake Student Magazine 126 Coffman Memorial Union 300 Washington Avenue SE Minneapolis, MN 55455
and Morgan Wittmers-Graves
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(From left to right) top row: Olivia Hultgren, Hannah Haakenson, Tosin Faseemo Middle row: Sebastian Alfonzo, Megan Hoff, Macie Rasmussen, Ella Hennen Bottom row: MaiLei Meyers, Megan Smith, Shay Jerabek, Jamie Rohlfing
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MAR 4 - 25
We dug through the archives to find our baby pictures - can you guess who’s who? Answers at the bottom.
Wakies (Wake + Babies) wink! one page magazine
INSIDE
UPCOMING EVENTS
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Letter from the Editor
3/6
3/16
7
The Wonderful World Before Disney
Parks & Rec Trivia Night
Ali Wong: The Milk & Money Tour C
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GHOSTING
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Q&A : Meg Kirsch
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Against Abortion? Fight for Women’s Rights
Blarney Pub & Grill
State Theater
3/7 SALES
3/19 A
w/ Dreams We’ve Had & LASKA
Whole Music Club
Minneapolis Vintage Market Royal Foundry Craft Spirits
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Why Young Adult Books Matter
3/8
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The Teal Album
Midnight Madness: Donnie Darko Landmark’s Uptown Theater
3/8 Electric Feel: 2000’s Indie Dance Party B Electric Feel is a night devoted to indie dance rock from the ‘00s such as: The Strokes, MGMT, LCD Soundsystem, Modest Mouse, The Postal Service, Franz Ferdinand, Justice, Vampire Weekend, The Killers, Chromeo, Passion Pit, Phoenix, Matt & Kim, Cold War Kids, The Rapture, & everything in between!
A
B
First Avenue
3/10 UMN Malaysian Night Coffman Memorial Union C
THE WAKE
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Letter from the Media Manager Hey Wakies, Is it just me, or has life been moving pretty fast lately? It doesn’t feel like too long ago that I sat on the rickety balcony of my Dinkytown house and felt the sun on my bare feet. Now, I’m trudging through the snow on my way to class wearing the snow boots that I don’t like that much. It’s funny how what you wear can have such an effect on your mood. Anyway, I urge you to pause and reflect on where you were one or two years ago because that’s what I’ve been doing. I bet you’ve accomplished a few feats that you never imagined you would, felt the agony of disappointment, changed your major, changed it again, and maybe even experienced a heartbreak or two. Around two years ago, during my freshman year here, I attended my first Wake meeting, and I was beyond intimated. I lacked the confidence that motivates me now when I nervously raised my hand to claim my a story. I’ve been thinking a lot about that person who was too scared to raise her hand and what she would think of me now. Would she be proud of me? Troubled with who I am? Would she even recognize the girl who goes to concerts by herself and dances in her basement to Mitski every weekend? Probably not. I’m just trying my best right now, which is what I think we all should focus on. I’m trying my best to find joy in quotidian things and moments of happiness for others--like when you see someone catch the bus after running after it, or when a friend gushes to you about their newest crush. These moments make the winter a little less cumbersome and remind me that I’ll see the sun again soon. Ultimately, I think freshman year Macie would be proud of me. And if you give it some thought, I think your younger self would feel the same about you. Macie Rasmussen Social Media Manager
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CITIES
The Wonderful World Before Disney Weisman exhibit displays fairy tale-inspired postcards BY MICHAEL MCGOUGH Fairy tales are part of a tradition that extends far beyond Disney films and bedtime stories, and this tradition is beautifully portrayed in “The Wonderful World Before Disney,” a collection of fairy tale-inspired postcards currently on display at the Weisman Art Museum. Jack Zipes, professor emeritus of German and comparative literature at the University of Minnesota, collected the postcards throughout his life. They were made between the 1890s and 1930s before Walt Disney’s first film was released. “Wonderful World” showcases the bleak, unsettling imagery of folk and fairy tales from before Disney mass marketed them. “Cinderella” is perhaps the most ubiquitous story represented in the exhibit, and the postcards inspired by it are far less whimsical than the Disney film. Many are vibrant and depict ornate interiors that draw attention to Cinderella’s gray clothing and grave demeanor. She is often the only subject, sitting alone with pensive expressions, seeming to contemplate her misery. The images focus on Cinderella’s pain rather than her eventual prosperity. The “Little Red Riding Hood” postcards have muted colors, showing an infantile Red surrounded by an endless wilderness. “Hansel and Gretel” similarly deals with loss of innocence, and, in both stories, children are left to their own devices. Washed in bright pastel colors, Hansel and Gretel push the witch into an oven. Images with more muted colors show the witch luring the children into her home while tucked behind skeletal trees. There is no veneer of optimism. The images focus on isolation and characters that must navigate indifferent worlds. Although the stories told in “Wonderful World” are recognizable as those that we heard as children, the postcards give voices to the chasms within them.
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Imagine All the Photographs
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Surreal photography at the Swedish Institute BY SYLVIA RANI A man shears a sheep. As he cuts away at its wool, the tufts float toward the sky and become fluffy cumulus clouds. A woman and child stare at the ominous rain clouds above them as a school of fish darts through the sky. A girl with a suitcase walks down a lonely path toward the sun. With each step she takes, the road crumbles to dust behind her. Such are the works of Eric Johansson, a Swedishborn surreal artist who combines photographs and drawings using image manipulation software to create dreamlike pictures of a reimagined world. The Prague-based artist is often described as selfmade as he had no formal training in photography or digital imaging processing, yet his digitally rendered masterpieces are adored worldwide. Johansson’s mind-bending photographs showcase both his limitless imagination and meticulous attention to detail. He toys with the fabric of reality by using images that defy the natural laws of physics while also appearing strikingly realistic. In Johansson’s world, roads tear in half like tissue paper, serene water transforms into glass shards, and reflections become reality. What makes these photographs so enjoyable to look at is that most of them appear pretty normal at first. Upon closer inspection, however, the viewer realizes that something is wrong. The laws of nature are broken, and the unbridled imagination of the subconscious mind is activated, leaving the viewer feeling lost in a nostalgic dream.
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CITIES
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Twin Cities Leather and Latte Feeling Knotty? BY SYLVIA RANI There aren’t many places where you can purchase a French press coffee alongside a ball gag. At Twin Cities Leather and Latte, however, it’s an everyday occurrence. The full-service cafe and kink retail shop has been growing since 2012, beginning as a tiny store in a basement and eventually becoming a gathering space where members of the BDSM community can hang out, drink coffee, and network. Known for their durable Minneapolis-made harnesses, Twin Cities Leather and Latte offers customers a cafe experience within a kink shop. My friend and I decided to visit the store on Valentine’s day. We were unsure of what to expect. Would there be dildos lining the walls? Would we fit in with the leather crowd? Would the store be packed with frantic kinksters, buying last-minute V-day toys for their lovers? All of our assumptions ended up being wrong. Upon entering, we were greeted by upbeat pop
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music and a friendly barista. People of varying gender expressions sat in the cafe area, sipping frothy lattes and reading or working. A rainbow flag hung proudly on the window. The message boards were covered in different flyers advertising local events for the BDSM and LGBTQ community, the store’s main clientele. Past the cafe near the back of the store, the leather shop offered a wide variety of heavyduty power play items. Harnesses, whips, and leather crops hung on the wire racks, and photos of the merchandise in use covered the walls. Something that stood out to me was the body diversity of the models, an act of inclusivity which is often unseen in retail. The store aims to make their leather items work for everyone, and, as such, their harnesses are made-to-measurement. Customization options are extensive; clients can choose everything down to the stitch color of their harness. Leather and Latte also boasts a wide variety of puppy play equipment, a subset of the leather kink. I tried on a black neoprene dog mask,
and another customer told me I looked good in it, which instantly made me feel ten times cooler. “Our motto here is ‘community first,’ so every single action we take with this business—every person we take on staff, every new group we invite in, and any decisions we make—are with the goal of community first in mind,” said Kurt Patton, a barista and sales associate. “We are very dedicated to making sure that our community has a safe space in Minneapolis and a place to thrive.” The employees at Leather and Latte seem to truly enjoy what they are doing, which is what makes the store so much than a sex shop. Want to see for yourself what it’s all about? Step into their cozy location on Hennepin. You’re *bound* to find something.
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CITIES
The ABC of It: Why Children’s Books Matter Celebrating children’s literature at Andersen Library BY ESTHER CHAN A reimagination of the original exhibit from the New York Public Library, the Children’s Literature Research Collections at Andersen Library transports visitors through childhood nostalgia. Whether it’s original drafts and illustrations from “The Tale of Peter Rabbit” or a life-size rendition of the classic “Goodnight Moon” scene, it’s a reminiscent homage to the childhood stories that have shaped generations. The exhibit expands to all three floors of the library and features numerous pieces from the archival collection. You can see original illustrations from iconic and classic books such as “The Poky Little Puppy” or rarely displayed artwork from Wanda Gag. A personal favorite is “Little Fur Family,” a pocket-sized book by Margaret Wise Brown who, embracing the importance of children’s sensory stimulations, wrapped the book in literal rabbit fur. There are also lesser-known items such as “Tsunami,” a children’s book in scroll format from India, or a pamphlet from 1871 used to teach Japanese children the Western alphabet. For me, it was when looking at an original draft of the iconic “Amelia Bedelia” books, complete with sketches, typewriter scraps, and editor notes, that I got a glimpse of the whole purpose behind the exhibit. Maybe it’s because I’m a sucker for nostalgia and history, or maybe it was something about the soft music dancing in the background. But I was transported back to my 6-year-old self guffawing with my sisters over these books, convinced that they were the epitome of humor. There was something about this exhibit that made me realize I take for granted how fortunate I was to grow up in a time when literature was celebrated. At some point, there was an author— an artist who slaved over wording and sentences, formats and bindings, textures, colors, sketches— all for the sake of creating moments of joy and stimulation for children.
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THE WAKE
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Music Under Glass Como Zoo’s free concerts bring people (and flowers) together BY MEGAN HOFF After one of the snowiest Februarys on record, a humid room filled with plants is a nice place to take a break from the weather. On Feb. 17, people gathered in the Marjorie McNeely Conservatory at the Como Park Zoo to listen to music, admire the flowers, and enjoy the warmth; free performances take place in the beautiful glass building every Sunday during the first eight weeks of the year. Lydia Liza was the sixth performer of the zoo’s “Music Under Glass” series. Formerly a member of Bomba de Luz, she started off her set with a few solo songs. Her soulful voice was only accompanied by her guitar and the sound of flowing water from a narrow pond in the center of the room. She captivated the crowd with her mellow indie sound, arching vocals, and, for one particular song, her impressive range of whistling. People young and old packed the tropical space, some standing, some sitting cross-legged on the floor. The rest of the band joined her after a few songs, bringing depth and some harder alt-rock vibes to the performance. They played a few Bomba de Luz songs, including “Phantoms” off of their 2012 album, “What a Heavy Weight.” The setting made for a relaxing concert venue. Flowers in reds, purples, and pinks filled the space with color and pleasant scents. The gaps between the songs were a little longer than usual—the guitars needed to be constantly tuned because of the humidity. Though it was gray and overcast outside, the room was filled with light. People bobbed and swayed to the music, and one little girl showed off her dance moves. During one of the tuning breaks, Liza complemented the crowd: “You guys are just as pretty as the flowers.” Nothing like some good sound and color to beat the winter blues.
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CREATIVE WRITING
Pipeline Country BY LAUREN FOLEY so, this is what it’s come to. giving up the hot slide of suburb streets to hunker in half-dead evergreens 13 miles from nowhere, North Dakota. the sun like a slipknot—one tug and it perforates the leaves of long-lived lives and spills like sugar on the moss-eaten ground. one misstep, one unanswered bird call, and the world crumbles to silence. this is what they warned us about— the hazards of staying home instead of journeying northwest to Idaho or southeast to Georgia. this is getting your feet wet in old water while forgotten 2000s pop calls like a static omen from the body of a rusted radio, buttons slanted with use, song hardly louder than the wind wrapping cold fingers around weather-worn tree trunks. this is home, but hungry. this is isolation from the hollow hallows of red dirt roads and american flags flying from the backs of pickup-trucks, their shouts like teenage boys shotgunning rootbeer or Coors Light off the paint-peeled porches of the houses their parents’ parents grew up in. this is squinting through branches instead of slugging through miles of golden wheat and charcoal opportunity smeared like misplaced lines painted on county roads and inhaling more dust than diamond. so, this is what’s it’s come to. a sleeping bag and a secret, a half-full water bottle buried beneath the carcasses of lichen and longleaf pines, the whisper of a mother voice’s correcting the sun to sunset and laying the world to rest in silence.
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MAR 4 - 25
FEATURE
GHOSTING
Dating online has its perks, but it can also bring an ease to avoiding someone at all costs BY SAMMI BORING
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FEATURE
Imagine this: you meet someone through a dating app, you both talk for months, then suddenly, that person disappears, never to respond again. Maybe they did not want to talk anymore, possibly lost their phone, or just deleted the app. You may never know why. You were left on read. For many college students, dating can be a time of fun, curiosity, and confusion. With the rise of dating apps, dating has become an entirely new world. These new apps have made it easier than ever to find someone to love. Many terms such as “swipe right” or “ghosting” have become common in the online world of dating. It brings ease to what dating used to be, but it also brings many challenges. Tinder, Bumble, Grindr, OkCupid, and many other dating apps can be found throughout the app store. Tinder even introduced a section of their app called “TinderU,” which focuses on college students and gives students more access to meeting someone on their campus. According to BusinessofApps, 40 percent of college students use Tinder for hooking up and Bumble for dating, while 70 percent of students who use these apps have never even met up with any of their matches.
“I have both been ghosted and ghosted other people on Tinder,” Emma Henzi, a University of Minnesota student, said. “Since people are talking through an app and haven’t made an in-person connection, it’s easy to stop replying.” With over half of these college students not meeting up with their matches, this is where the new trend of “ghosting” comes into play. This new trend is so common it even has its own dictionary definition: the practice of ending a personal relationship with someone by suddenly and without explanation withdrawing from all communication. Here at the University of Minnesota, if you ask around, you can hear someone say that they have ghosted someone or have been ghosted when using dating apps. Some have done it because they’ve lost interest, and others fear the sense of vulnerability that comes with new relationships. Feelings are mixed on whether or not ghosting is okay, but it does bring up some ideas into what these new apps have done to the dating society.
For one student, Amanda Barbour, the only time she had ghosted was through the app Snapchat. After meeting someone at a conference, the two exchanged snapchats. “They would get upset if I did not send a picture other than me or my face,” Barbour said. The guy she met through the conference was not what she expected after multiple exchanges through the app. She explained how things quickly became “creepy” due to his common behavior of becoming angry or upset when she would not respond right away or send a photo of herself. Barbour felt that it was better “just to ignore it [rather] than explain to him how creepy he was being.” Barbour adds that ghosting is justified if “you have not met them in person or went on a date.” Strange excuses aren’t uncommon in the ghosting world. For some, it is possible to have their own internal problems they are not ready to talk about, and that is why they ghost. “The girl I was talking to got really suicidal and said she needed more space,” said James*. “But it felt to me that she did not want to talk anymore. It was kind of messed up to use that excuse.” James believes that he might have been “too much to handle,” but he still feels that ghosting is tacky and inconsiderate.
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MAR 4 - 25
FEATURE
“Back in my day, it was bad to use dating apps. NOW, IT ALMOST SEEMS WEIRD TO MEET PEOPLE AT PARTIES.” Even more strange is the concept of ending up with the ghost. “I’m now with the person who ghosted me. We were on/again off/again for two years, and he would ghost me for really weird things. Then he’d come back three months later or even a month later apologizing,” Louisa Neetenbeek said after going through ghosting with her current partner. She adds that her ghost was having issues with trusting people due to problems at home. Neetenbeek believes that dating apps can be “very self-destructive and a negative space.” Dating apps bring in the question of whether or not it is a good or bad thing or actually real love. Dr. Michelle Lekas teaches cultural studies and comparative literature at the University of Minnesota and explores the ideas of the changing culture behind relationships. “You see things change from going out to meet people to using dating apps,” Lekas said. “Back in my day, it was bad to use dating apps. Now it almost seems weird to meet people at parties.” Lekas believes that these new apps are not a bad thing but thinks that “they have changed the dating scene forever.”
THE WAKE
Lekas believes that ghosting is “kind of like accepted.” She adds, “New rules are always developing and people are becoming used to it.” Students and faculty have both seen how dating apps can affect a relationship or future one. “Ghosting is really only bad when the other person make[s] you believe you have a chance,” Rachel Thomashow, a student at the U, said. “It sucks when you think it is going well.” Ghosting can be quite impactful on both the ghostee and the ghost. According to PsyCom, people who end relationships by ghosting have often been ghosted themselves. It might seem detrimental to a relationship, but some people feel that this is the only way out. Whether you are dating online or in person, there is always going to be that feeling of nervousness or uncertainty, but now it seems we just have a name for being left on read. *Interviewee wished to remain anonymous, a pseudonym was used in place
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ART
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MAR 4 - 25
ART
THE WAKE
Art by Abigail Thompson
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Q&A
Meg Kirsch BY MEGAN HOFF Hailing from Rochester, Minnesota, Meg Kirsch has lived in the cities for ten years. After playing in bands with friends for a while, she just released her first EP, “Street Cat,” in February. Read about the inspiration behind her single, “Hometown,” and why everyone should go see a concert in a different country.
: What got you interested in music? MK: I grew up listening to music. I don’t really ever have memories where I wasn’t making some sort of music, whether that was like writing over my parents’ old cassette tapes or screaming Britney Spears around the house. : Who are your biggest musical influences? MK: It feels so silly to say The Beatles, but I think that’s probably the longest standing influence that I have. I don’t know that it even translates well into the music I create, it’s just like who they were as musicians and writers is just endlessly inspirational. Right now I feel super inspired by people who are writing songs that are breaking out of song forms and structures that we have experienced for so long. I think that we’ve started to put stuff in boxes, and so writers like Julien Baker and Phoebe Bridgers who write a lot of, like, sort of stream-of-consciousness… it’s more
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about feeling than it is about sticking to any sort of structure, which I think is incredible. : How does it feel to have your first EP released? MK: Oh, my gosh, it’s crazy. It feels so awesome. I guess it’s almost been a year since we’ve recorded it, so it just feels like I’ve been hanging on to it for so long. The fact that it’s actually out in the world and people can go listen to it is crazy… I still go on Spotify… it came out on Friday [Feb. 8], and I’ve gone back each day to make sure that it’s still real. : You released a single, “Hometown,” from your EP. Can you talk about the inspiration behind this song? MK: A lot of the songs are story-based; they’re not like a direct experience. It’s a lot more metaphor[ical]... “Hometown” is the only tune
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Q&A
that came about from a real experience. In that moment, it was like the whole song was formed in my head, and I had to go write it down. I was working at a store called Madewell, and one of the things that was part of my job was unloading all these boxes of clothes. I was pulling out all these shirts, and one of them had the graphic [of] the hometown of someone I had dated in college, which was so funny. Immediately, I was reflecting… in college, I had a really hard time being honest with how I was feeling, just kind of in general in all aspects in life. It’s really just a song about reflection, on times when you feel like maybe you were not super nice. You would have done it totally differently now with all the experience you have… that song is super special to me. : How do you deal with writer’s block? MK: I sit in a sulky mood for as many weeks as it takes to get out of it. I wish that I was one of the people who wrote through it… but I really am just the person who’s like, “I guess this is just not happening for me!” Which I would love to change, but I just wait around until I can write something good again, I guess. : Who would you love to collaborate with? MK: I think it would be rad to maybe work with a band like Fleet Foxes or someone who just does some crazy stuff… Oh, I just heard this musician, her name is Liza Anne. I have just a massive crush on her. : Have you ever played in front of a live audience before?
MK: In 2017, my husband and I went to Paris, and we saw the band Phoenix… in their kind of home digs, and that was absolutely incredible. By and large, the best show I ever went to. Not only was it like great music in this beautiful city, but it was like a whole different cultural experience. Even just something as simple as experiencing music is different, even though it’s still an arena full of people. Now anytime someone goes on a trip overseas, I’m like, “You should try to go to a show! You have to!” And I feel like that’s not something when you’re traveling that you think to do. Like, you have all these restaurants that you wanna try and museums to go to… you just experience the culture in a really normal but intense way. : Favorite song at the moment? MK: It’s called “I Love You, But I Need Another Year” and that’s by Liza Anne. She’s so killer.
MK: Yeah, I have. I’ve been really lucky, I’ve played in bands with friends for many years. I played in a band called Oklahoma, and I’ve done a bunch of collaborating with friends in their sort of space… I’m excited. It’s a little bit different… because usually, when I play out, it’s always been just me and the guitar if I’m playing my songs. That’s really fun, but I feel just a ton of pressure to do all the things all at once. I’m super excited for it to be a full band with my stuff, playing the things that are on the EP, because there’s just a little bit less riding all on me. I get to have a little bit more fun. : What’s the best concert you’ve ever been to?
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VOICES
Against Abortion? Fight For Women’s Rights Why pro-lifers should fight for preventative measures BY MEGAN HOFF One of the most controversial and political hotbutton topics—abortion—has taken the country by storm (again). Trump’s State of the Union Address and New York’s new abortion bill (which, contrary to many pro-lifer Facebook posts, does not allow late-term abortions for whoever wants one) have continued to anger people on both sides of the issue. For those who are pro-life: even if abortion is outlawed, the reality is that women will still get them through much less safe methods (plus how well did Prohibition work out?). The best way to stop abortions from happening is to prevent unwanted pregnancies in the first place and provide women with the support they need when they do get pregnant. These are the changes we need to make to protect women, regardless of whether abortion is legal: 1) Comprehensive sexual education in all schools. Numerous studies have shown that abstinenceonly teachings do not lower teen pregnancies. Schools in the Netherlands start their comprehensive sex education as early as the age of four, working their way from crushes and body image to beginning discussions about contraception options at age 11. The rate of teen pregnancy in the Netherlands is one of the lowest in the world. According to the World Bank Group, the Netherlands averages four births per 1,000 teens ages 15-19, compared to 20 per 1,000 in the United States. Lower teen birth rates mean lower abortion rates: 11 per 1,000 teenagers aged 15-19 had abortions in the United States in 2013; whereas the Netherlands averaged 7 abortions per 1,000 ages 15-44. 2) Access to contraception, including Plan-B, is essential. The best way to prevent unwanted pregnancies is to use two methods of protection. Even then, accidents happen, which is why accessible and affordable morning-after pills are so important.
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3) Continued funding for Planned Parenthood is another necessity. They do far more than simply perform abortions. Planned Parenthood provides accessible health care from STI testing to cancer screenings, not to mention various contraceptive options. 4) Rapists shouldn’t be allowed to fight for custody of a child conceived through assault. Seven states do not have laws protecting “rape victims from custody fights,” according to CNN: Alabama, Maryland, Mississippi, New Mexico, North Dakota, Wyoming, and Minnesota. Granting rapists visitation rights forces the victim to interact with the person who violated them, perpetuating the trauma cycle. 5) If women are forced to carry an unwanted pregnancy to term, better maternity leave is needed. The Family and Medical Leave Act requires that employers provide at least 12 weeks of unpaid maternity leave in the United States. However, the U.S. is the only developed country that doesn’t require paid maternity leave. According to CNN, Bulgaria allows the longest paid leave in the world, with 59 weeks. Although this isn’t in full, Bulgaria provides one of the best pay rates as well; when averaged out, 46 of the 59 weeks are fully paid. 6) End the stigma around single motherhood and/ or unmarried, pregnant women. 85% of women who have abortions are unmarried, according to a 2015 U.S. Centers for Disease Control
report. Along with this, the minimum wage should be increased. Many families struggle to get by with two incomes, let alone one. Let’s not forget how expensive giving birth in a hospital is. According to the Agency for Healthcare Research and Quality Healthcare Cost and Utilization Project, an average stay for a hospital delivery costs $3,500. 7) Push for a birth control pill for men. Oral contraceptives were originally designed for men, anyway. However, since men don’t have to worry about getting pregnant, their tolerance for dealing with side effects from taking the pill is lower. Studies have shown that men are increasingly interested in oral contraceptives, as their only options are condoms, vasectomies, and the “pull-out” method (which is another problem). If men have more contraceptive options available, unplanned pregnancies will drop significantly, according to Contraception Journal. No one wants to have abortions; they’re not something to be taken lightly. Women should have a choice, but the best solution is that they never have to deal with an unwanted pregnancy. Abortion can be reduced with access to reproductive healthcare, in-depth sexual education, and financial stability. If you’re not going to stand with women and their right to choose, fight to fix the issues that will ensure they don’t have to.
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MAR 4 - 25
Asking Someone About Their Ethnicity Loving a Advice for Thinking Before You Speak Difficult Nation BY SAGRARIO TORRES “What are you?” I know he’s asking about my ethnicity by the way he’s fixated on my face, brows furrowed. My initial response is to just answer the question; I am used to being asked. I was not prepared for him to continue with, “You Mexican, or Indian?” The line between racial microaggressions and genuine interest is a clear one, but a person’s attitude and intentions are not always so clear. To avoid uncomfortable circumstances, here are some things to keep in mind: Mind the phrasing and context of your question. I, for one, love talking about my hardworking, immigrant parents, and if you ask me about my culture, I will happily tell you everything I know. But how the question is asked will determine the direction of the rest of the conversation. Simply asking about ethnicity is fine, but knowing how and when to ask plays a crucial role. If the time and place are appropriate, go for it, but above all, reconsider whether your intentions are of genuine interest in getting to know someone, or nosy curiosity. 2
Don’t try to guess where someone is from. Not only is it rude, but it also leads to racial ignorance. The question “You Mexican, or Indian?” ignores other ethnicities by stereotypically generalizing all ethnicities in the same regional area. It’s for this reason that I’d rather be asked about my ethnicity than have people assume my identity and further misunderstand where I’m from. I obviously can’t speak for everyone because each individual has a different comfort level. Regardless of intent, questions about race can be too personal or offensive for some, and their boundaries should be respected. In an increasingly polarizing world, discussions like these are essential for mutual respect and can be unbelievably beneficial so long as we remember to be conscious of our words and think before we speak.
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VOICES
A Look at American Patriotism in Modern Times BY ALLISON COLSCH The United States of America is a difficult nation to love. That is the plain and simple truth. It is difficult to love a nation that has a government whose ideologies so often challenge your own. It is even more difficult when that government is the face of your nation, proclaiming to the world that those one-sided beliefs are the beliefs of its people. As a young liberal growing up in a time dominated by conservative administrations, I have struggled over the past few years to find ways to love my country despite my opposition to the government. How am I supposed to admire a nation that constantly boasts of its superiority while simultaneously marginalizing countless groups of people, ignoring the needs of its most vulnerable citizens and turning its back on those coming to its borders seeking help? The task seems impossible. In realizing this, I find that my love for America has nothing to do with the government and everything to do with its people. My fellow Americans, Republicans or Democrats, are the reason that I love this nation. Although there is no denying that we can be a broken society where hate runs rampant, I choose to believe the majority exemplify the wonderful values that America has become known for. Though proud and opinionated, they are also hardworking, compassionate, and independent. They are willing to fight for their rights, as well as for the rights of others. A representation of the freedoms that we are afforded here, it is the people who give me faith in this country.
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The government will continue to test me. I’d be foolish to think otherwise. However, our nation was born through resistance, and I know that we Americans will never stop trying to better it. This is the America that I love.
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Why Young Adult Books Matter
Finding importance and relatability in the stories of youth BY MARLEY RICHMOND As a genre most visible through books about vampires, post-apocalyptic societies, and overly dramatic love stories, young adult literature is often minimized and undervalued. Many readers see “adult” fiction or classic literature as the only worthy reading material. However, this opinion neglects the reality that young adult fiction is a wide genre, including critically acclaimed works (Harry Potter, anyone?). In fact, young adult fiction is not only an important way for adolescents to feel represented and understood, but it can also be a beneficial reminder and learning opportunity for adults who are now unfamiliar with the plight of youth. One of the prominent complaints about young adult novels is that they are unrealistic and melodramatic, and in some cases they are. Nevertheless, many of these books depict the truth about teenagers’ first encounters with love, loss, and growing up—themes which are inherently intense and only seem cliché because of their universality. Young readers can find their own experiences reflected in these stories more sincerely than in adult fiction, and adults can find an important reminder about the struggles they faced in their own youth. Another way that young adult literature breaks out of traditional literary molds is in its diversity and current-day relevance. These books have been at the forefront of exploring themes of LGBTQ identities, immigration and assimilation, mental health, and many other aspects of self-image and relationships. Such ideas are rarely as accessible in the literary canon and have only just begun to perforate the adult fiction world.
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Above all, many young adult novels just have plain-old good writing and intriguing stories. If 15-year-olds can find value and universal themes in the hundreds-of-year-old classic literature they encounter in high school, surely adults can likewise find the importance and relatability of young adult literature.
The Responsibility of Awards Season The awards season needs to do more than just award the “best” BY ANDREW BYRD Awards season is about more than just choosing the best “Art of the Year.” It should be more about elevating art that would otherwise be overlooked. Award shows are watched by many and often sway viewers to experience productions they usually would not be tempted to seek out. So voters should look beyond just quality in what they present to the public as the best, while also nominating more mainstream media to interest audiences. A recent example of this is the Oscars. This year, the nominees include a mix of popular movies that draw in mainstream audiences, like “Black Panther” and “Bohemian Rhapsody,” as well as lesser-known independent features such as “The Favourite” and “Roma.” The variety of genres greatly benefits the film industry because it attracts audiences with popular films while creating interest in smaller films. When awards shows solely nominate box office successes or mainstream films, they either lose an opportunity to promote indie films or alienate viewers from watching their program.
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This is a problem that has occurred most noticeably with this year’s Grammys. The awards show has often been critiqued for consistently only awarding very successful albums. For the last couple of years, Album of the Year has gone only to popular artists with high sales numbers. This fails to lift up less successful musicians whose work may be just as good or even better. While the appearance of popular celebrities creates a widely-viewed show, it harms the lesser-knowns within the music industry who deserve recognition. Awards shows need to strike a balance that simultaneously creates buzz, while also lifting up smaller artists whose works deserve to be recognized. It is this balance that awards shows should be accountable for in order to celebrate art of all forms.
MAR 4 - 25
VOICES
Why We Can’t Look Away from Reality TV Unwrapping our “so-bad-it’s-good” attitude with America’s favorite guilty pleasure BY CLAIRE REDELL Reality TV—it is something that has been slandered relentlessly by our elders while simultaneously embraced by the younger generation. Even some of our parents are notorious for assuming a holierthan-thou attitude as they roll their eyes at “Jersey Shore” while concurrently raising their glasses to the latest episode of “The Bachelor.” The latter of the two has garnered so much attention that it has introduced terms like “rose ceremony” and “fantasy suite” into our everyday vernacular. Through the evolution of unscripted entertainment, the question of why we so readily consume it remains unanswered. Many attribute our unwavering devotion to its ability to fulfil people’s fantasies or take our minds off of daily stressors. For many, the high-brow way of life depicted in shows such as “Keeping Up With The Kardashians” or “Chrisley Knows Best” is so exotic that the burdens in our own lives seem to fade away, even if just for a moment. On the opposite end of the spectrum, viewers can find comedic relief or even a sense of superiority by observing the unexpected and occasionally shameful actions of cast members. Series like “Jersey Shore,” “Toddlers & Tiaras,” and “Duck Dynasty” have all proven to be some of the most divisive yet arguably profitable series of our generation due to the depiction of their unconventional ways of life. Reality TV shows have unified both casual and insatiable consumers of pop-culture for years and likely will continue to do so. Whether or not someone is a devout viewer of Reality TV, it’s unlikely that they can move through life avoiding it entirely. For vehement opponents of the genre, it’s doubtful that their prayers for its extinction will be answered anytime soon.
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Don’t Feed the Trolls Navigating the dreaded comments section BY JUSTICE SAHAYDAK The comments section. The very phrase can make one shudder. It’s a recognized problem; the anonymity of the Internet lets people get away with saying all sorts of nasty things with few consequences. With face-to-face interactions, people generally remain civil. Even if one person says something confrontational, people usually ignore it. It’s easier that way. But online, it’s different. If a line is crossed, there’s no ignoring what’s said. It’s written down for all to see. There is more reason to overstep on the internet, as well. When people are hidden behind a screen, they can say whatever they want with the knowledge that it won’t affect them offline. To make matters even worse, they may write comments solely for the sake of being extreme. There’s a sick thrill that comes with making others react. These scenarios are frustrating to encounter, especially when the comments attack your identity or beliefs. You want to change their minds, show them a better path. But you shouldn’t spend your time and your energy on them. It rarely works. This isn’t to say that genuine conversations are unnecessary. There’s definite value in engaging with people who have opposing views. But if they won’t listen, or if they’re making you upset, it’s not worth it. And even if change is possible, it’s not always your responsibility. You don’t have to save everyone. You can’t deplete your energy for the other person—you need it more. Instead, remove yourself from the equation. If you can block trolls, block them. If you have to close your browser, do so. Acknowledge your frustration that people think, speak, and act like that—it is frustrating. But then move on. Don’t feel obligated to give second chances. Your energy is finite. Respect that. Respect yourself. Walk away.
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Velvet Buzzsaw thank u, next Ariana Grande BY TOSIN FASEEMO As media coverage of her high profile breakup from Pete Davidson consumed the internet, Ariana Grande swiftly assembled a new set of songs. These songs expand on the ideas presented in “sweetener,” her previous album, but with a slightly pessimistic twist. The album begins with “imagine,” a sweet, atmospheric song previously released as a single. It describes an imaginary relationship based on trust and kindness and creates a picture of an ideal partnership between two people. Next is “needy,” a track with minimal production and a focus on Grande’s vocals. The lyrics delve into the insecurity that makes someone become clingy. These songs reflect the conflicting emotions that Grande has experienced and expressed through the album. On one hand, there are upbeat tunes such as “thank u, next,” which celebrates autonomy and identifies the benefits of being free from a relationship, or “NASA,” a smooth, poppy tune about demanding space from a partner. On the other hand, there are songs like “ghostin,” a regretful song from the perspective of someone who longs for another outside of their relationship. The theme of imperfection contributes to the vibe of the songs in a way that is introspective rather than defeatist. The album’s production sometimes falls short when compared to her previous album, but mostly avoids sounding rushed. In combining such different songs together into one album, Grande has painted a realistic picture of what it’s like to be in a romantic relationship: fun, messy, enticing, and painful.
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When art becomes lethal BY OLIVIA HULTGREN As the audience of this satirical, arthouse horror film soon realizes, nothing is more terrifying than an empty art museum. Written and directed by Dan Gilroy of “Nightcrawler” fame, “Velvet Buzzsaw” stars Rene Russo as museum curator Rhodora Haze and Jake Gyllenhaal as stuffy art critic Morf Vandewalt. When money-obsessed secretary Josephina, played by breakout star Zawe Ashton, discovers a dead artist’s hauntingly beautiful art collection, she uses it to become rich. Although not outwardly horrifying, “Velvet Buzzsaw” offers a criticism of the art world and those who profit from it. Those art connoisseurs with their wire-rimmed glasses and boxy cardigans never seemed to understand what was coming for them. What begins by poking fun at the pompous, self-important lifestyles of the uber-rich ends in a sufficiently creepy bloodfest as art takes revenge on those who use it for their own benefit. The film is both a hit and a miss. Although it provides an interesting, unsettling social commentary, “Velvet Buzzsaw” suffers from shallow characters and a slow-moving plotline. Gilroy establishes no emotional connection between the audience and the characters, though this detachment does mirror the characters’ ironically aloof attitudes about art. The film delves into the psyche of Morf a little too late, only just beginning to develop his character before he meets his end. Despite these flaws, “Velvet Buzzsaw” does succeed in its vein of social horror, even if it relies on the final 30 minutes to do it.
Gallipoli Beirut BY CALLUM LEEMKUILSCHUERMAN From the beginning of their career, Beirut’s unique blend of mid-2000s indie pop sensibilities and French and Eastern European folk music immediately drew listeners in. Songs from their previous albums, like “Elephant Gun” and “Postcards from Italy,” are immediately charming and accessible, but still tap into sounds that no other indie bands were using at the time. Although their early work still has substantial clout, Beirut has continued their largely enjoyable career— from the French pop of “The Flying Club Cup” to the electronic stylings of “Holland,” all the way to the straightforward indie of “The Rip Tide.” Unfortunately, Beirut’s newest album, “Gallipoli,” is disappointing at best. The problems begin with production. Early Beirut recordings favored a sepia-toned, nostalgic sound as if the listener is dropping the needle on a dusty antique record from somewhere in the Eastern Bloc. “Gallipoli” attempts to recapture this style of production, but ends up instead with an insubstantial, watery sound. The percussion is buried deep in the mix, while Condon’s vocals overpower everything else. Worse, the songwriting feels tired and limp. The lead single, “Gallipoli,” exemplifies all these problems—despite opening with an energetic horn section, the song quickly peters out into a poorly-paced and lethargic ballad that never quite gets off the ground. “Family Curse,” from later in the album, sounds like a pastiche of a Beirut song instead of the genuine article. It’s a disappointing showing from a normally solid band. Hopefully, their future releases attempt to move forward instead of backward.
MAR 4 - 25
SIX REVIEWS
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Diesel and Dust Midnight Oil
The Teal Album
BY EVAN FERSTLT
Weezer
Alternative rock famously exploded in the 1980s, spawning large and fondly remembered scenes in the US and UK. Australia’s alternative contributions, however, remain unfairly neglected. The country produced its fair share of excellent bands, including The Church, Hoodoo Gurus, and, perhaps the most illustrious of all, Midnight Oil. Despite their widespread homeland popularity (and notoriety), the band barely penetrated the American consciousness. They were largely dismissed as one-hit wonders based on the success of their 1987 single “Beds are Burning.” However, that song’s album, “Diesel and Dust,” went platinum seven times in its home country and deserves a more intimate listen.
BY CHRIS SHEA
“Diesel” is an uncompromisingly Australian effort. The band tackles issues ranging from Aborigine rights on singles such as “Beds are Burning” and “The Dead Heart” to the destruction of Queensland’s environmental and cultural heritage on “Dreamworld.” Despite the relative obscurity of these topics in America, the sentiments of these songs resonate regardless of whether the listener is well-informed, say, about the Australian government’s forced relocation of the Pintupi people. Additionally, the cultural relevance of “Put Down That Weapon” in a society plagued by gun violence cannot be denied, while the anthemic “Sometimes” is a powerful political rouser for any occasion. The album captures Midnight Oil in their finest hour, with their trademark aggression, left-wing righteousness, and sing-along choruses on full display from start to finish. An essential piece of listening from the ‘80s alternative scene, “Diesel” is listenable, political, and unforgettable.
THE WAKE
In the summer of 2018, Weezer made headlines when they released a cover version of “Africa” by Toto. Then, on Jan. 24, the band decided to release a surprise album. The surprise? None of the songs are originals. That is correct, the band that brought you such altrock anthems in the 1990s such as “Undone - The Sweater Song” and “El Scorcho” is now a glorified cover band. In addition to putting their own spin on classic hits by bands such as Toto, a-Ha, and Electric Light Orchestra, they also tossed in a rendition of TLC’s “No Scrubs.” For those familiar with Weezer’s style of music, this may not seem like a natural fit for what was originally an R&B song, and it definitely isn’t. It’s not a bad cover, per se (the song is replicated very well), but there is just something inherently wrong about hearing lead singer Rivers Cuomo give the definition of what a scrub is (especially when he sings the word “busta”). However, it should be noted that Chilli from TLC loved the cover and wants to perform it with Weezer at some point in the near future. That said, some of the covers are actually good— Weezer’s version of “Everybody Wants to Rule the World” might be better than the original. The main problem with the “Teal Album” is that it comes off as Weezer’s sad attempt to emulate another genre and be a meme rather than to pay tribute to other artists. This album was not meant to last for generations like 1996’s “Pinkerton;” instead, it is meant for the moment.
Meg Kirsch at the Turf Club BY EMMA CHEKROUN The lights dim, and the crowd bubbles with whistles and cheers, finally bursting into a chant— maybe a plea—for Meg Kirsch to come onstage. Kirsch, after walking on shyly, turns her back to the audience, doing her best to put on a rock ‘n’ roll persona; all the audience can see is the back of her black leather jacket. A rich, symphonic opening transitions into a deep drum base that offsets Kirsch’s sweet, gentle voice. The crowd hushes as they take in every gentle vocal. It’s a great start to Kirsch’s release show for her EP, “Street Cat.” Kirsch giggles and jokes between songs, exuding Anna Kendrick-esque charm. She exchanges thanks with an audience member, but concludes with, “You paid to be here, so thank you first.” Each song incorporates different instruments, such as maracas, and features powerful intros that shift to meet Kirsch’s tone. The first half of her set feels vaguely country thanks to her guitar work and soft, genuine nature. When she sings “To think we’re all alone, we’re not…” the Turf Club patrons share a moment together. When “Ships” begins, a fervor works through the crowd. This is what they have been waiting for. Introducing more techno sounds and shifting into a more emotional tone, Kirsch makes her range known. She closes the short EP release show with a song about her cat before heading out of the cozy bar into the cold February night.
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