The Wake Issue 7 2019 by The Wake Magazine

fortnightly student magazine

THE WAKE

volume 18 — issue 7

Weisman’s “Baggage Claims”

p. 8

Q&A : Sleep Study

p. 16

Art’s Indie Darlings

p. 9

What to do During a Polar Vortex

p. 21

College Through the Ages

p. 11

Hockey Dad

p. 23

Art by Megan Smith

DEC 3 - FEB 18

VOLUME 18, ISSUE 7 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-Sherman

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, Jack Nachtigal, Madison Amland Art Interns: Selena Philaphandeth, Emily Jablonski

THIS ISSUE: Writers

Allison Colsch, Andrew Byrd, Macie Rasmussen Art

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

1 Brighid de Danann 2 Morgan Wittmers-Graves

The Wake was founded by Chrin Ruen & James DeLong.

6 Jennifer Moss 7 Benjamin Schroeder

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 Sleep Study

3 Emily Jablonski 4 Selena Philaphandeth 5 Hannah Hyytinen

Heard it in a Past Life art from original album covers. Cover & Feature art by Morgan Wittmers-Graves

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

wink! one page magazine

#UMNOverheard

“We need to start timing our pees.”

For one week, our fearless Wake staff decided to do the unthinkable: shut up and listen (to your private conversations). Here we’ve compiled the best, most befuddling and cringeworthy out-of-context snippets from our week-long plunge, just for (and from) you.

-Visionary roommates

Share yours with us at #UMNOverheard

“This IPA is aggressive.” -Someone in a bar

“The only sport I was ever good at was horseback-riding, and I intend to keep that to myself” -Closet horse-back rider in Purple Onion

“Our wedding is going to be, like, blackout nation.” -A romantic drunk spouse on the street

“Our son’s a libertarian. I hope he gets over it” -Concerned mother at a swanky party

“If he’s from Vermont he’s definitely circumcised” -A very certain individual

“Oh, we made a flyer, but it was in Comic Sans. ” -A font-conscious CA in the Sanford Dining Hall

“We haven’t worked out in 24 hours, so we’re like the worst.”

“I just wanted to put the cat in the bag, but it jumped on the couch instead.” -Frazzled man/cat-napper on the Light Rail

-Presumable fitness gods in an Uber

DEC 3 - FEB 18

INSIDE 6

Letter from the Intern

7 Hops, Hounds, and Hygge 11

COLLEGE THROUGH THE AGES

UPCOMING EVENTS 2/9 - 3/17 As You Like it

2/25 - 4/8 This World is Ours to Rebuild: Reclaiming AAPI Stories

Guthrie Theater

The workshop series, led by awardwinning AAPI artists, invites students to explore their AAPI identities, histories, and experiences through photography, film, movement, spoken word, and literary story making. The series will culminate in a storytelling showcase in April, where students will share their work, expressions, and narratives with the UMN community.

2/21-2/22

Q&A : Sleep Study

Surviving R Kelly

Target Center

In Defense of Valentineâ&#x20AC;&#x2122;s Day

2/21

Heard it in a Past Life

Minneapolis Intern & Creative Networking Event

Elton John

Asian Pacific American Resource Center (Appleby Hall)

Colle McVoy

2/22 An Evening with Cassey Ho B

Participants can take an intense pop pilates session, and/or attend a Q&A following the event. Coffman Memorial Union

2/26 Cherry Glazerr

Fine Line Music Cafe

THE WAKE

Letter from the Intern We made it, folks. 2019 is finally upon us. And while I know that nothing really changes on New Years except the calendar, I like taking this chance to reflect on everything that’s happened in a year. What did humans accomplish in 2018? For starters, humanity unknowingly crossed an incredible threshold: For the first time since agriculture-based civilization began 10,000 years ago, the majority of humankind is no longer poor or vulnerable to falling into poverty. We discovered 157 new species in southeast Asia. The first Muslim and Native American women were elected into Congress. Scientists developed a plastic-eating enzyme. I think it’s important to take time to look back on the progress we’ve made this year. Focusing on the things we’re doing right can motivate us to do even better. While 2018 left a lot of people feeling defeated, every experience functions as an opportunity to grow. This can apply to our personal lives as well. What have I learned? What habits, good or bad, have I formed? What will I do differently in the future? As classes start up again and we get back to the grind, it can be easy to fall back into the usual worker-bee mode. The cold February air wears down on our souls. Tasked with balancing school, relationships, and sleep, we get thoughtless, losing awareness of ourselves and falling back into old patterns. The antidote? Take breaks to reflect. Listen to what your body and mind are telling you. Most things don’t change until you do, and change cannot occur without awareness. Use a small part of your day to think about where you are and what you need, and set intentions regularly. And if things ever get too stressful, just pick up a copy of the Wake. We’ll be here. Sylvia Rani Cities Intern

FEB 18 - MAR 4

Hops, Hounds, and Hygge

CITIES

The Saint Paul Winter Carnival may be icy, but it doesn’t disappoint BY SYLVIA RANI The Saint Paul Winter Carnival returned to Kellogg Park for its 133rd year, bringing art, brews, and midwinter cheer to Minnesota’s beloved capital. During some of the coldest days of the century, Minnesotans both young and old bundled up to attend the many events that took place around downtown St. Paul and the state fairgrounds. The ice carving competition in Kellogg Mall Park showcased some of the best work from local professional ice carvers. Single-block carving competitors were given a mere six hours to bring their ice to life. The sculptures were creative and immaculate—imaginative characters frozen in place. A magnificent Poseidon holding a trident while riding an intricately carved seahorse took first place. Merely calling this year’s carnival was a caninefriendly event would be an understatement. From fun-size Boston Terriers to hefty Bernese mountain dogs, good boys and their owners from all over the state gathered to mingle. Pups enjoyed free treats while their owners guzzled discounted beers during Sunday’s “Hops and Hounds” event. And man’s best friend stole the show in more ways than one. Pooches of all sizes could enter into a competition that awarded winners in three different categories: best dressed, best trick, and owner look-alike. The Saint Paul Police Department’s therapy dog, Sergeant Fuzz, was also in attendance.

THE WAKE

Over on the Minnesota State Fairgrounds, Vulcan Snow Park provided a bounty of cold-weather activities to carnival-goers. People of all ages were seen careening down a giant snow slide that was more than 300 feet long. Other activities included snow golf in a castle, two polar plunges, and a snow sculpting contest. The park also ran a food drive for Second Harvest Heartland, a food bank that partners with local communities to end hunger. Visitors who brought in donations received a free trip down the giant snow slide. Both of the polar plunges at the snow park were also for a good cause; all donations went to support Special Olympics Minnesota. Over $28,000 was raised for Special Olympics Minnesota, and over 4,000 pounds of food were donated to Second Harvest Heartland. A testament to the generosity of the event’s attendees, 2019’s Saint Paul Winter Carnival brought together the warmest of hearts during the coldest of times.

Snow Sculptures for a Cause The Bartz Brothers are at it again BY SYLVIA RANI Bartz Snow Sculptures in New Brighton is back for its eighth year of creating delightful, larger-thanlife masterpieces out of snow. Continuing with their theme of sea creatures, this year’s sculpture is a wide-eyed sea snail. Standing over 23 feet tall, “Slinky” was no easy feat. The snail is the combined effort of brothers Austin, Trevor, and Connor Bartz. The siblings spent approximately 600 hours building the sculpture, shoveling snow from neighbors’ yards and nearby parking lots. Making the snow packable is a process in itself. The brothers heat up their garage to 90 degrees and load the snow into the garage until the snow becomes packable. Then, they haul it out into their yard by sled. They modified their garage door with a small opening to keep heat in during this process. Admission to view the snail is free, but the brothers encourage donations. This year, they raised almost $30,000 to provide clean water to Vietnam through the organization, One Day’s Wages. One hundred percent of donations will go to providing people with access to clean water, proper sanitation, and quality medical care. Plus, it will provide the community with education and information about clean water and sanitation. The program aims to decrease the occurrence of preventable illness and increase the quality of life for families in the community. The Bartz Brothers’ eight years of building snow sculptures for a cause is an inspiring example of how Minnesotans always seem to find room for joy and generosity, even during a polar vortex.

CITIES

Weisman’s “Baggage Claims” Has a Lot to Unpack WAM’s latest exhibit brings a unique perspective to emotion and immigration BY MEGAN HOFF Anyone who has ever traveled has experienced the nuisance of packing. There’s something frustrating about figuring out what you need in order to survive away from home. What most of us take for granted, however, is that we have the option of unpacking. The Weisman Art Museum’s latest exhibit takes portmanteaus, their contents, and why humans travel to a whole new level. “Baggage Claims” confronts some of the saddest and most urgent reasons behind the act of moving from one place to another. The first display consists of many large, colorful suitcases stacked in a pile in the middle of the floor. Some of them are full of metal wires, others full of fabric. Aptly named “Room 28,” this amalgamation is one man’s attempt to literally pack up the entire contents of one motel room. The artist, Joel Ross, left the room empty and sent the owners cash in return for his deconstruction. He felt compelled to pack up the room in an effort to capture the emotions he felt there, brought upon by “unrequited love.” According to the description, this piece is meant to raise the question of “whether emotion can be transported,” and whether the essence of a space can leave the confines of the room in which it’s established. Another piece contains several large buildings on a small scale: the London Bridge, Empire State Building, and Chelsea Hotel loom out of the open mouth of a suitcase, molded out of black fabric. A long, black camera case contains a mini natural landscape—running water and all. These pieces push the limits on how much can be contained and transported and whether certain things should be moved at all. Other pieces represent various issues with immigration and distrust. In the center of the room, upbeat music with Spanish lyrics radiates from a speaker built in to a backpack, designed by a CD street vendor for quick getaways from authorities. A crate with a broken plaster shoe marks the time when artist Clarissa Tossin was searched at the

United States border after her stay in Colombia. Border security cracked open the plaster shoe— which was going to be used in the artist’s next installment—to see if any drugs were concealed inside. On the wall, plastic woven bags in red, blue, and some brown-with-age-plaid form a map of the world. These bags are commonly used by immigrants, known as “Ghana must go” bags in Ghana and “Tuekenkoffers,” or “Turkish suitcases,” in Germany, among other nicknames. (The catalogue for this exhibit can be purchased at the shop, and it comes in one of these bags.) A short video on repeat in the corner depicts several women taking fabric coverings off of chairs, putting them on as clothing, folding up the chairs, and walking away with the entire set. The display shows the mobility of dual-purpose furniture and how it can be used to make a quick escape from a war-torn country. Another artist filled a typewriter case with rubble from his destroyed hometown in Syria. After a second glance, the hodgepodge of metal, cloth, and glass looks like a small village, complete with a tiny clothesline.

from a building in Manhattan, where he now lives. A brick wall in a suitcase: sometimes, when you leave a place, you can never go back. The biggest piece consists of a large stack of bright blue suitcases and a video of a man in a white and yellow instrument-patterned suit. He manages to hoist all the suitcases onto his back and transports them across New Orleans; it’s quite the sight of human exertion (along with a light dose of ridiculousness). All these cases, these objects represent the inbetween: the little space we have to gather up what we deem important enough to drag around with us until we find a spot to settle down or return home. For some, this is never an option. The few cubic centimeters they can afford to carry are all they have. Certain questions will never stop haunting them: What do you take? What, or who, stays behind?

There are more suitcases: one with white sand that almost looks like sugar, another full of bricks. The artist of the latter is from Cuba, and the bricks are

FEB 18 - MAR 4

CITIES

Art’s Indie Darlings Minneapolis’ art scene offers more than just Spoonbridge Cherries and Mia’s rainbow pillars BY OLIVIA HULTGREN Let’s face it, as far as artophiliacs go, you’ve done it all. You’ve basked in the glory of the Minneapolis Sculpture Gardens, posed in the foreground of the Walker’s “I am you, you are too” exhibit, browsed Mia’s vast collection of historical art. You even grace the occasional WAM study night. But Minneapolis isn’t done with you yet, my friend. Hidden between the contemporary facades of the Twin Cities’ largest art museums lie a multitude of indie art houses, each with their own flavors and perks. From blooming creative districts like Northeast Minneapolis to refurbished, centuriesold structures downtown, these independent art galleries and centers will give you a run for your money. Except the thing is, they’re actually free. Midway Contemporary Art Opened in 2001 by local artists, this dual gallery and library aims to showcase new, diverse artists from outside of the Midwest. Housed in a dark, slate blue building near St. Anthony Main, Midway’s front doors unfurl into a naturallylit visage of wooden bookshelves garnished with—wait for it—potted plants (because what else?). Besides being an Instagrammer’s dream, the library features a comprehensive collection of books about contemporary art, perfect for a casual browse of the history of monochrome. Beyond its extensive library, Midway utilizes wide open exhibition spaces and an exposed ceiling to its advantage, providing the perfect backdrop for myriad artists to showcase their work. Midway’s library and gallery spaces are open and free to the public, which means studying in an art museum just got more interesting.

THE WAKE

All My Relations Gallery It’s impossible to miss this gallery’s bright yellow, garage door-like exterior staring at you from the north side of East Franklin Avenue. Situated in the American Indian Cultural Corridor of Minneapolis, All My Relations Arts displays works from contemporary American Indian artists, hoping to increase visibility of indigenous cultural art in the broader community. Inside, All My Relations is a crisp, clean gallery space that encourages the marriage of tradition and innovation. Since the gallery opened in 2011, it has curated more than 25 exhibits showcasing Native American culture. Pow Wow Grounds, the coffee shop next door, hosts the gallery’s mini art wall, a series of bright colors and positive images created by local artists on submission. Soap Factory Is it a shower nozzle? Grinding gears? Three dish scrubbers arranged in a triangle? We’ve all wandered past that gray, alien-esque sculpture just off 2nd Street in St. Anthony Main, and we’ve all wondered what in the world it could be. Turns out, it’s a disproportionate oil drill bit. The sculpture, titled “Alien Technology II,” is by Kuwaiti artist Monira Al Qadiri, and it’s part of the Soap Factory art gallery, housed in the 130-year-old

brick warehouse behind the sculpture. Founded in 1988, Soap Factory has been showcasing experimental visual art for over 30 years. Its dusty brick and iron interior lend an industrial tone to each exhibit, and the gallery is even known to showcase art outside on its roof. If experimental art doesn’t float your boat, catching the Soap Factory at sunset provides the perfect opportunity for a rustic photo op. Solar Arts Building This refurbished warehouse-turned-art-space doubles as a wedding venue, attracting customers left and right with its worn wood and cast-iron design. But what’s aesthetically pleasing can also be environmentally sustainable, as the owners proved when they renovated the 100-year-old warehouse using eco-friendly materials and slapped on a roof of 109 solar panels to power its interior. Given that dozens of artists that call the building’s studios home, Solar Arts hosts tons of creative events like its ongoing Winter Market and occasional open-gallery nights. Plus, Solar Arts also houses Indeed Brewing Company, a haven for all those artistic Northeast types.

CREATIVE WRITING

BY ISABEL TEITELBAUM You may not know About the pen inside me Or the ink that stains my veins As it trickles through my blood That there’s words in my head Giving things life You’d never know I captured part of you on paper A little keepsake for when you go You may not know That writing isn’t all about healing I pour myself into words An intimate thing Between paper and girl Creating someone’s immortality fabricating a place A feeling Trapped in my mind You may not see The stories in my scars Poetry is born from pain The translation of heart over head Leaves me breathless Leaves me vulnerable Cut by my own sword

FEB 18 - MAR 4

FEATURE

College

through the

Ages

Profiles of the Unconventional Student BY EMMA CHEKROUN

THE WAKE

FEATURE

At the start of the semester—in between the jumble of arranging and rearranging schedules, buying books, and rushing to find your next class —you may have noticed that a few students looked a little older and made you pause to think “Is that professor supposed sitting with the students?” or “Did someone’s parent come to lecture?” Chances are, you probably thought neither of those things because, on a campus of 31,000 at the University of Minnesota, you have likely already encountered an older student in at least one class. But what you might not have noticed was just how similar they were to the freshmen in your class who just started college and at the same time how much they share in common with the professor who has been teaching the class for around 20 years. Roque Sinclair, Jane Doe*, and Wendy Albee have all decided to finish their pursuit of higher education here at the University of Minnesota, and their struggles and stories are unsurprisingly common.

Roque Sinclair Sinclair is 50 and currently pursuing a studies in cinema and media culture major. He’s married and apart from his studies, works with finances at the University, disk jockeys at RadioK, working on a book, has his own blog; if that weren’t all enough, he is also a member of the indie rock band, Control Planes. His history before coming to the University of Minnesota is, to put it simply,complicated. Q: So what were you doing before you decided to come to the University of Minnesota? A: Uhh, living. I was in the Marines, I went into the first gulf war, I’m a veteran. I’m a huge mama’s boy--I’ll give you that right now--so when I got out, it was hard for me to pursue [my] passion because I really didn’t know what I wanted. I went and got an accounting certificate from a for-profit college, which I hate. It paid the bills, but it never really made me happy. Right now, I am actually like you or anybody else that is a first-year student. I have no idea what this college shit is about. I don’t. I never went to a college before. The little [accounting] certificate college, that was not a college. I’m kind of like a fish out of water. I have to do liberal education and I didn’t even know what that was.

I had a parent that never really stressed what to do or how to start college. And then, all of a sudden, I went to the Marines, I dropped out, I worked for a long period of time, and then all of a sudden, I want to learn a discipline, and I want to learn a discipline that I want—not that my parents or anybody else wants. That’s basically what I am doing now, I’m kind of a newbie like everybody else is, I just don’t look it. Q: What has been a benefit of being an older, or non-traditional student? A: I have so much background. When blues musicians play blues music they say, ‘You can’t play the blues until you live the blues.’ When I was in writing, doing writing class, I had this wealth of ‘stuff’ I already knew about—I already knew what to write. What’s even better is because I had experience already, some of the people in class didn’t know what to write so I would start throwing stuff out, and help them out.

FEB 18 - MAR 4

FEATURE

“Right now, I am actually like you or anybody else that is a first-year student.

I have no idea what this

college shit is about.” Jane Doe* Doe attended college at St. Cloud State after graduating from high school then transferred to the University of Minnesota, but she took a fouryear break after struggling to fulfill her language requirement. After having to take medical leave for depression and anxiety from her previous job in the healthcare field—a field ridden with “burnout” as Doe described it—she returned to the University of Minnesota to take the one class she had left for her degree. In the winter of 2018, Doe graduated with a bachelor of arts degree in communication studies at the age of 28. She is also married with a young daughter and now pursues her passion of helping other students through organizing conferences for a continuing education department. Q: Is there anyways you’ve tried to avoid burnout? Given your prior experience. A: My job was the worst case scenario for burnout, there was no way to advance, I wasn’t learning anything new for a year and a half in my position. Everyone’s situation is so different; there are so many ways you can live a fulfilling life that doesn’t have anything to do with your job, maybe focusing on those other things instead of your job 100 percent of the time. There is probably advice out there that’s better than anything that I can give. But go see a therapist if you are in that worst case burnout-so-bad-you-are-suicidal scenario.

*Interviewee wished to be left anonymous, a pseudonym was used in place.

Wendy Albee A high school graduate at the age of 16 in the early 1980s, Wendy Albee attended around seven colleges before she joined the Air Force Reserves in 1989 and switching to active duty in 2007. After retiring from the Air Force in 2017, she returned to the University of Minnesota to pursue a degree in psychology with a minor in horticulture. It was not until Albee returned to the University of Minnesota, and nearly failed out, that she was diagnosed with ADHD through Boynton Health Service and was able to be prescribed a medication, which to her has been life-changing. Albee is 53 and has a son, daughter, and stepson all between the ages of 21 to 30. Q: So you graduated early at 16? A: I did. I was very ambitious; I wanted to conquer the world, but I tried college, and it was kind of a different time. It was kind of a confusing time. I was undiagnosed ADHD, and it made it very hard. Q: What sparked you to say, after you retired, I’m gonna try again and go to the University of Minnesota? A: I always wanted to go to college and finish something. It’s finally my time, I raised a family, I was just limited by ADHD, I couldn’t focus. I didn’t want to hang it up yet. Q: Do you have any wisdom you wish you could impart on those struggling in college? A: If college is your thing, go for it and finish. If you don’t know what you want to do, go for a trade school or work first because the debt now for school is crazy. My daughter said they really pushed bookwork and not so much the trade school, you look at people like me being so ADHD, college wasn’t a good choice for me back then. People learn different, they don’t talk enough about the trades. If you aren’t a book person, you have to look at your options. You have to be way more careful. Q: What are you most looking forward to when you have your degree? A: I’m going to have to figure that out. Aren’t we all?

THE WAKE

ART

Art by Alexis Bianchi

FEB 18 - MAR 4

ART

THE WAKE

Q&A

Sleep Study BY MEGAN HOFF After a five-year hiatus, local Minneapolis band, Sleep Study, is back on the scene with its sophomore album, “Miss America.” I chatted with guitarist Ryan Paul Plewacki about how they got their start in music, why they took a break, and how they’re navigating the music scene today.

: How long have you been playing music? Sleep Study: My dad’s a musician… he had a recording studio built in the house. I was always really exposed to it. I put together a band in high school that turned into bands in college, and now I’m 38. It’s just kind of always been a part of my life. : How did the band get together? S: I was working on a record out in Boston with a producer named Al Kooper. He’s a producer who discovered Lynyrd Skynyrd… and he’s kind of this legendary producer dude. I was flying out to Boston, routinely working on it [the album] with him… I really wanted to have some Minnesota people on it, so I kind of got together a group of guys, with the intention of them coming out to Boston and working on that record. That album project fell apart… and it’s sitting in a vault or something at Kooper’s place, but the guys and I were like, “We don’t hate each other, and this isn’t terrible, so let’s keep doing it.” That was a while ago, and we’re still doing it.

: Did you put out a call for musicians to join you, or did you know them personally? S: I am more of a sideman than I am a frontman. I play in The Honeydogs… and do a lot of substitute work, too, so I see myself as a guitar player more than a band leader. Through that, and through session work, I met a bunch of musicians. I basically just handpicked some people who I thought were great and would work out really well… I kind of put together my own personal dream team. : Where do you get inspiration for songs? S: It kinda depends. This record [“Miss America”] is actually the second time we’ve recorded this record. We did it the first time and it was blissful pop music… it was pretty happy and airy. Then the 2016 election happened… so we redid it. The world is a different place now than it was when we did it the first time… this whole album is me taking out my frustration, not only with the executive branch, but the state of people in this country in general that I guess I didn’t realize even existed because they had been in hiding for so long… a lot of this album is me expressing anger and kind of mourning the country I thought I lived in.

FEB 18 - MAR 4

Q&A : It’s been seven years since the release of the band’s first album. Your sophomore album, set for release in February, comes after quite the hiatus. Can you talk a little about the break? S: After we put out the first record, we toured really hard, just constant. We just didn’t stop. Definitely every weekend, we were out… there’s kind of this run, this Midwest run that you do where you hit like Des Moines, Chicago, somewhere in Wisconsin, and then come home, and then you do it again and again… we had just been doing it for so long, and also some larger national tours. We started working on that second record, and we were getting along fine, there wasn’t any interpersonal issues. I think we were all really tired. This is another reason that middle record didn’t come out was because the unintentional hiatus happened. I just remember driving back from Des Moines in the middle of the night, dropping everybody off one by one, and we just kind of stopped calling each other. We intended on taking like a month, it was Christmas time… The Honeydogs put out a record, so I found ways to get distracted with that… I basically fell back into the role I was comfortable in, which is doing the sideman thing, and I think everybody else did too. : How has it been difficult to get back into the flow of working together?

: Has it changed from when you first started touring? S: Absolutely. Being completely honest, there are a lot of younger musicians who I haven’t been keeping up with. There’s a lot of new stuff I’m experiencing… I also feel like a lot of younger groups are finding new places to play and new ways of getting their music out. : What’s the most memorable thing that’s happened at a show?

selling stuff out of their trunks. There’s an age and there’s a culture of people who buy CDs, and I just don’t think that we line up with that. We did our first record on CD and we couldn’t sell it. It was hard. Every place we played, someone would come to the merch table and was like, “Do you guys have vinyl?” : What do you love about the Minneapolis music scene? S: It’s super tight-knit. I feel like everybody at some point in time is going to play with someone else. Eventually, you kind of know everybody, which I think is really cool. I think people describe Minneapolis as being a “small town in a big city.” The music scene is kind of a testament to that.

S: It was not the first time we played South by Southwest but the second. We got stuck in traffic on the way down, and we were just barely going to make our set time for our first night. We had to park at a hotel and pay like $70 for parking, and we had to haul all of our gear… down 6th, which is the busiest street [in Austin] full of people. We got there and the stage manager was like, “Get on the stage now!” Everything was frantic… we get into our first song, and right then, this drunken girl appears out of nowhere, like, goes from the crowd and comes up onstage… she looked at me, and she said, “Welcome to Austin.” : What have you been listening to lately? S: I mostly listen to a lot of older music. I’m a big Beetles fanatic… Lately, I’ve been listening to the new Unknown Mortal Orchestra record, something I have not been able to stop listening to… a lot of Thundercat, and Vampire Weekend just put out a single, so that has been something that has been on repeat because it is absolutely stunning.

S: No, not really. It’s not like we stopped playing… it wasn’t like we didn’t see each other and didn’t play together. We would still absolutely do very select local performances. We were still probably doing between 10-12 dates a year. It was local, and it had to be on a weekend, everything kind of had to line up to make it as easy as possible for us to do it. We weren’t totally estranged or anything like that. Specifically the bass player, Justin [Hartke] and I, we work really well together. With him, it’s always going to be we pick up exactly where we left off musically and personally. : So you guys were on a “break,” but not really on a break? S: No, we were still doing occasional things. We on a break from putting any effort into it. : You’re only releasing your new album on vinyl and digital platforms. Is there a reason why you chose to exclude CDs? S: I feel like the CD market… I don’t think it’s dead, but I think it’s mostly being driven by, like, Christian music and the folk musicians who are

THE WAKE

VOICES

Who’s Trending Now... The TV screen is not a mirror, yet we always use it as one. BY BRIAN BURKE The world is an ugly place. Anybody can turn on any news channel, and within five minutes they would have a detailed description as to how and why that’s true. And it doesn’t take long to become exhausted by it, and we soon turn on “Parks and Recreation,” “Grey’s Anatomy,” “Atlanta,”or whatever the new Netflix original is. We escape from this world of problems and stress into a polished-over one of security, familiarity, and adventure. Seasons deep into our latest obsession, we find ourselves almost emotionally connected to these characters, relating to their situations, and empathizing with their feelings. We admire their witty remarks, unusual quirks, and unwavering confidence so much so it would be a lie for any one of us to say there aren’t at least a few characters we wish we were more akin to. TV affects our views drastically in a wide field of subjects, including, most importantly, how we see ourselves. What was supposed to be an escape from stress and pain, becomes the source of it. The only lens people used to catch a glimpse of themselves was through the mirror. Now, more so than ever, we view ourselves through the filter of the TV screen. And we do not like what we see. “Insatiable,” Netflix’s latest and greatest jab at teen drama, tells the story of a dorky girl, Patty Bladell, who’s bullied for her weight. She suffers a freak accident and is put on a three month long, liquidonly diet that leaves her thin and “beautiful.” She draws the attention of a beauty pageant coach, the boys at school, and the girls who used to make fun of her. Loyal to her friends and family though, she vows to exact revenge on everyone who mistreated her. Finally “pretty” and stereotypically attractive, each episode lays out a series of Patty’s misadventures and dealings in pursuit of that very vengeance. Unfortunately, this sends a mixed message to its viewership. The world is your playground, play however you want --but only if you fit in one of society’s cookie cutter stereotypes. In the past, movies and TV shows related to business and crime almost exclusively featured men duking out their personal version of roughjustice or living vast, luxurious lives funded by their dicey presence in the stock exchange. However, recent shows and movies feature women chasing criminals (or being criminals) and exploiting the business world with the same tenacity that used to be reserved only for men. Yet, there is still

something different about it. It’s not quite equal. For women in roles of intelligence and power, they are almost always still accompanied with the presence of other equally equipped men, whether ally or adversary, such as in “Empire,”“Queen of the South,” or “Seven Seconds.” Women have made incredible progress by taking on more powerful and central roles in the field of entertainment media. But until female characters no longer have to have their power and authority in a show firmly tied to the power and authority of a male character, while male characters mostly demonstrate those qualities independently, there is still much ground to cover. Men are also not impervious to the effects of the entertainment industry’s outrageous standards. Whether it is a comedy, action,drama, or some overly specific Netflix genre, it’s a safe bet that at some point, some shredded, brooding man will take off his shirt. Furthermore, it’s hardly unusual to suspect that the actor playing the shredded guy wasn’t always that shredded. Actors and actresses undergo grueling periods of intense physical training to prepare for movies. More often than not, days before the shoot, actors will dehydrate themselves and alternate between periods of intense dietary consumption and strict fasting to ensure low levels of fat, bursting veins, and nextto-useless muscle. For example, The New York Post talked with Hugh Jackman about how he trained for the Wolverine role in the X-Men franchise. Taking advice from the Dwayne “The Rock” Johnson Hugh would consume over 6,000 calories a day while training, and then deprive himself of any water before filming. The healthier some

of these people look in movies, the unhealthier they may be in real life. And it’s all for the sake of indulging some toxic, misconception of masculinity conceived by Hollywood as though someone who lacks a six pack or a thousand-yard stare is unworthy of being a male hero. The world of television and cinema is a pretty place. Turn on any show, and within five minutes of scrolling through pretty faces and sitcoms, it’s easy to know why that’s true. We turn on *insert favorite show here*, *here*, and *here*. We leave behind a world of friends, family, and reality and trap ourselves in a world of self-inflicted insecurities. Hours deep into our latest obsession, we find ourselves emotionally disconnected from ourselves as we look to the pixelated people on the screen to tell us what to do and what to feel. We envy their witty remarks, unusual quirks, unwavering confidence, not to mention their idealistic faces and bodies, so much so that it would be a lie for any one of us to say we don’t hate ourselves just a little bit.

FEB 18 - MAR 4

VOICES

“Surviving R Kelly” and Supporting “Problematic Faves” Can art be separated from artists?

TW: This article contains the discussion of sexual abuse BY MARLEY RICHMOND In many ways, the American entertainment industry is currently making strides to support survivors of abuse and bring retribution for perpetrators. Think #MeToo, outrage against 6ix9ine and xxxtentacion (rappers accused of various criminal acts including domestic abuse and sexual misconduct), and, most recently, Surviving R Kelly, a docuseries detailing the rapper’s criminal past. While holding artists responsible for their actions is inarguably an important step towards justice, it leaves many fans confused about how to move forward. Should they stop listening to the music they’ve loved for years? Can they still support an artist’s content without supporting his actions? Hasn’t everyone done things they aren’t proud of? “Surviving R Kelly” provides a close analysis of how sexual assault has played a role in the music industry, and some of the heart-wrenching consequences of ignoring such behavior.

THE WAKE

Although campaigns like Time’s Up and #MeToo gained visibility in 2017 by highlighting the amount of sexual assault in the entertainment industry, allegations of R Kelly’s sexual abuse date back to 1994, when Kelly, 27, married a 15-year-old girl. In the early 2000s, Kelly was charged with 21 counts of creating child pornography, yet was found not guilty after the 14-year-old victim did not appear in court. Just months before #MeToo went viral online, a report alleged that Kelly was holding women against their will, beating them, withholding food, and otherwise abusively controlling their lives. Many of the women, now over 18, still live with the rapper. Unfortunately, survivors’ mental and physical health is jeopardized by a legal system relying on victims publicly reliving traumatic events to convict assailants. As many experts agree, an unwillingness or fear to testify in court is a normal reaction for survivors of abuse, unfairly resulting in a lack of consequences for perpetrators. Kelly faced a few protests and the hashtag #MuteRKelly was briefly trending on social media, yet his career was never significantly impacted. “Surviving R Kelly” has finally brought this hushed conversation out in the open, highlighting survivors’ stories and showing music industry icons like John Legend publicly denouncing Kelly. Although a new criminal investigation has reportedly been opened, and Kelly was dropped from his record label, there are still many in the industry who defend the artist.

R Kelly has by no means been the only musician arrested for sexual misconduct, but, like him, few see severe consequences. Chris Brown’s 2008 arrest for domestic violence led to his music being pulled from some radio stations, but his music career was minimally impacted in the long run. Nicki Minaj (who currently dates a convicted child rapist), 6ix9ine, xxxtentacion, and hundreds of other artists have also committed crimes their listeners supposedly do not support, yet they remain popular. Even if listeners don’t actually support an artist’s actions, their failure to denounce these artists’ content sends the wrong message. Each stream, album bought, or music video watched sends a message to the music industry that this is the type of musician listeners want. No, not just the kind of music people want to hear, but also the individuals society accepts as creators, including all of their negative actions. It is long past time to send the message that abusers are no longer accepted in society, and especially not worthy of praise from around the globe. It may be impossible to understand how R Kelly’s reputation withstood his many horrible actions, and how artists continue to grow in popularity despite allegations of sexual assault and other crimes, but it is possible to ensure that artists are never again allowed to dodge the consequences of their actions. This starts with believing survivors. Make the conscious choice to abstain from listening to artists who have displayed inappropriate sexual behavior, and encourage others to do the same. Although their songs may be hits, supporting their work, in turn, supports their actions. By holding artists accountable, especially those who have large followings and influence, consumers have an important say in what is and is not acceptable behavior, thus encouraging a safer and healthier environment, not just in the entertainment industry, but also in society.

VOICES

In Defense of Valentine’s Day

A day to celebrate all kinds of love BY TOSIN FASEEMO Over the past few weeks, stores throughout the country have replaced festive Christmas decor and various New Year’s merchandise with roses and chocolate-covered desserts— a clear reminder of the impending Valentine’s Day, a day to celebrate love and romance. To those who aren’t in relationships, the holiday seems like little more than another annoying reminder of their singleness. To those who dislike mandatory displays of affection, the day is just another madeup holiday designed to commodify the beautiful mystery that is human connection. But contrary to these views, Valentine’s Day is an opportunity to celebrate all kinds of love, whether it is platonic, romantic, familial, or even self-love. Valentine’s Day traces back to the Lupercalia, a Roman fertility festival in mid-February. Young women were beaten with animal hides in hopes of becoming more fertile. Each woman was then paired with a man who would often become their husbands. In the 5th century, Pope Gelasius marked February 14th as St. Valentine’s Day in order to Christianize the occasion. Years later, 14th-century poet Chaucer wrote a poem relating the day to the time of year when birds began to mate. While the holiday and its festivities changed tremendously, the event continued to be increasingly associated with romantic love. A tradition was born where lovers would send handwritten messages to each other as proof of their affection. During the mid-1800s, Esther Howland created specially adorned cards in America, and this practice continued the development of mass-produced Valentines, along with the rise of Hallmark in 1913. About $1 billion of cards are now sold for Valentine’s Day, and

chocolates, flowers, and other items are sold for billions of more dollars. Additionally, some people splurge on jewelry, resulting in billions of more dollars of sales. Ideas about the purpose of Valentine’s Day are diversifying, not just in terms of who it is meant for, but also in the way it is portrayed in the media. Recently, there have been various efforts to make Valentine’s Day a more inclusive holiday. The Gay & Lesbian Alliance Against Defamation (GLAAD) recognized a lack of media coverage surrounding queer couples on Valentine’s Day. In response, they developed a Valentine’s Day Media Resource Kit to help media creators “integrate LGBT couples’ romantic celebrations” into the holiday, featuring numerous ideas for stories and potential interviewees. While these efforts focus on romantic love, GLAAD’s work is proof of how the conventional way of thinking about Valentine’s Day can be changed.

and respect. Friends and families can celebrate together, reminiscing over good times they’ve shared and expressing hope for the future. Additionally, people can use Valentine’s Day to practice self-care. Love is powerful when given to other people, but it is also necessary to love oneself. Corporations have increased their focus on profit, contributing to the idea that Valentine’s Day has nothing to do with love, and rather, is an elaborate marketing scheme created by companies to take money out of our pockets. Others still believe that a holiday dedicated to love benefits only those in relationships and excludes single people. I disagree. For me, Valentine’s Day has always been a day to reflect on the love that I experience in my everyday life. All love is important and deserving of celebration, whether it comes from romantic partners, family members, or friends.

This movement toward inclusivity influenced the creation of the fictional “Galentine’s Day” featured on season 2, episode 16 of “Parks and Recreation.” Main character Leslie Knope celebrated her female friends with a party to remind them of how important they were to her. Her lighthearted joy and genuine appreciation for her friends demonstrate that Valentine’s Day is an opportunity to celebrate various forms of love. In this case, platonic love was emphasized as a valid emotional bond. Valentine’s Day can be used to show others how important they are, even without spending exorbitant amounts of money. The holiday carries an important sentiment that allows people to feel valuable, reminding them that they deserve care

FEB 18 - MAR 4

What Do You Do During a Polar Vortex? The Midwest Endures Dangerous Temperatures BY JOE KELLY A few weeks ago, we all experienced the dramatic shutdown of the University of Minnesota, courtesy of a record-breaking polar vortex. Students quarantined themselves in their dorms and apartments, lecture halls closed, and by Wednesday, most employees were excused from work, leaving the streets and paths of campus barren. But what do you do during a cold snap? You could stay inside all day, watching Netflix, playing video games, sleeping, and above all, not studying. However, not everybody was content with staying inside.

According to the Star Tribune and the Minnesota Daily, both the Timberwolves and Gophers women’s basketball still held and won games against Memphis and Northwestern University, respectively, on Jan. 31. The Wolves brought out more than 13,000 fans while the Gophers brought more than 9,000—hardly an insignificant feat. Sports fans and athletes weren’t the only ones who braved mother nature. According to the Star Tribune, a group of southern Minneapolis residents relaxed in their outdoor sauna where it reached 190 degrees despite the surrounding 20 below zero weather. Even the Mall of America provided relief to thousands of people, while WCCO reported that the only spot unoccupied was, unsurprisingly, the outdoor skating rink. These dangerous temperatures failed to inhibit individuals from taking community action. KARE 11 covered a story about a Methodist Church in Minneapolis that stayed open for 24 hours to shelter over 60 people. According to CBS News, a woman in Chicago, with a little help from social media, was able to pay for 60 hotel rooms to house homeless people before the worst of the cold. Although the frigid cold disrupted numerous school, city, and work functions, it was no match for some impassioned individuals. Whether they are loyal fans or compassionate Chicagoans, it’s inspiring to know there are still those who stick around to provide warmth, even in the deadliest of temperatures.

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VOICES

Sophistry of the Bad Couch An appeal to the seating arrangement of students BY TALA ALFOQAHA Sold. With the swish of a pen, my friends-turnedroommates and I had bound ourselves to the same 901 square feet for the next 12 months. Regardless of how sparse and ill-lit the rooms were, we really did like our humbly furnished apartment, our big bathroom mirror, our tiny kitchen table flanked by chairs reminiscent of elementary homeroom. And while the sole sofa offered no semblance of comfort or tenderness, we brushed it off as a minor inconvenience. How naive we were. The days wore on, weeks and monthshobbled by. Our initial excitement at completing the quintessential young adult task of signing our very own lease--and as childhood friends, no less, experiencing adulthood together--quickly dissolved into the daily friction of housekeeping. Busy schedules relegated our interactions to brief exchanges of hello’s, goodbye’s and how-areyou’s. And each night, after we’d all filed home at varying times and levels of exhaustion, we slinked past our sole couch to instead sit separated in our respective rooms, preferring the comfort of our beds to the severity of our living room sofa. Yet without a communal space to sit in, we rarely spent downtime together. Physical distance translated into social and emotional separation, and soon our home became a place to sleep, our friendship became a leasing agreement. Guests rebuffed the opportunity to “hang out” at my place, complaining about the stiff blue monstrosity, the thinly-cloaked bench that constituted seating. Regardless, we defended our couch, scoffing at the idea of buying a new one. How wrong we were. Fellow college students, this is a cautionary tale about the power of a couch. Go home tonight. Sit--no, lie--down on that which you call a couch. Ask yourself: Do you sink in? Does it siren call you to sleep? Doyou feel warm? Does it make you feel at home? Because now, mine does. After investing in better seating, I now speak from a place of enlightenment. Our new couch now welcomes the four inhabitants of ***, embraces us as though we had never sought to deny ourselves its transformative cushionary pleasures. Now, we slink straight to the couch. Now, we all sit together. 5

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Spider-Man: Into the Spider-Verse Movie BY ALLISON COLSCH From the very beginning, “Spider-Man: Into the Spider-Verse” promises a multi-verse experience. With its combination of heartfelt, humorous storytelling and stunning animation, the movie proves to be out of this world. The film opens by introducing us to Miles Morales, a teenager from Brooklyn whose biggest concerns in life include moving to a different school and dealing with his embarrassing father. These problems quickly take a backseat as Miles discovers his new powers and a plot to alter dimensions that could destroy New York City. On his journey to stop the evil Kingpin, Miles meets several Spider-People from various universes who help him hone his powers and ultimately find his purpose as the next Spider-Man. While the plot certainly makes the audience emotionally invested, the true triumph is the animation. The film’s seamless use of various animation styles allows viewers to truly feel as if they are experiencing the collision of several universes. The black-and-white style of SpiderMan Noir, the classic cartoon animation of Spider-Ham, and the anime look of Peni Parker all work together with the traditional comic book look of Miles to create a diverse and largerthan-life feeling. “Spider-Man: Into the Spider-Verse” takes a wellknown superhero story and turns it on its head. It primarily focuses on relationships and visuals rather than action. The end result is an incredibly genuine film centered in a world bursting with emotion and creativity that leaves audiences begging for more.

Glass Movie BY JAMIE ROHLFING M. Night Shyamalan’s latest film, “Glass,” is the culmination of narratives which began in his previous works, “Unbreakable” (2000) and “Split” (2016). The closing scene of the latter foreshadowed the last installment of the “Unbreakable” trilogy. Intertwining the stories of Kevin Wendell Crumb (James McAvoy), David Dunn (Bruce Willis), and Elijah Price (Samuel L. Jackson), the film is slow and meticulously detailed to start. While it is possible to understand this film without seeing the first two, the latest addition hints back to details from the others, making it more exciting through noticing its intricacies. The majority of the film focuses on the relationship between multi-personality serial killer Crumb and the physically unbreakable David Dunn. The narrow proximity between the two men is drawn out for an extensive portion of the film. From this point forward, the plot moves quickly. Immediately following the contact between the two, Dr. Elie Staple (Sarah Paulson) retains them in a mental hospital, in addition to Elijah Price, also known as Mr. Glass. There, Dr. Staple questions the three superheroes’ supernatural abilities. Dr. Staple’s doubts regarding their powers creates personal uncertainties within and among each of the men. With twists and shocks coming at a rapid fire pace as the film progressed, “Glass” maintained the interest of its audience. It was strange but beautiful, detailed but vague. Key details seemed to be left out of the film, especially throughout the second half, leaving the audience discontented and confused. Could this be an intentional exclusion of information suggesting that Shyamalan has more to come?

Hockey Dads at 7th Street Entry Documentary BY TOSIN FASEEMO Australian surf rock band Hockey Dad returned to Minneapolis for the third time on Feb. 5, performing an electrifying set at 7th Street Entry. The show was opened by Heart to Gold, a Minneapolis-based rock band with angsty, heartfelt vocals. Pllush, a group from San Francisco, played the second set with a more laid-back sound. LA band HUNNY, the third and final opener, brought a great intensity to the crowd with rocking guitar parts, resulting in an impressively enthusiastic pit. Once the crowd was warmed up, Hockey Dad made it to the stage and maintained the energy levels created by the opening bands. Drummer Billy Fleming and guitarist/vocalist Zach Stephenson played songs from their sophomore album, “Blend Inn.” The upbeat, resilient tune “My Stride” kept the room bouncing with optimistic lyrics and cheery guitar strumming. “Homely Feeling” filled the air with a nostalgic, chaotic energy. A high point was the song “Danny;” the audience swayed to the song as its woeful sound washed over the room, with some people raising their drinks in solidarity. Another highlight was “Disappoint Me” with its strikingly honest lyrics and prominent drum beat. Hockey Dad brought their Australian warmth to the Twin Cities, resulting in a relaxed yet lively vibe. Between sets, they displayed a jovial relationship, speaking between themselves and with the audience. The audience ranged from young teens to middle-aged adults, but regardless of age, everyone was there to enjoy the sounds of this up-and-coming duo.

FEB 18 - MAR 4

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Fyre Docs Documentary BY ANDREW BYRD The two documentaries, “Fyre” and “Fyre Fraud,” have been talked about more for the events that inspired them rather than the films themselves. Released within days of each other, the creators of both movies have feuded on the legitimacy of their film over their competitors. Both films depict the disaster surrounding the Fyre Festival, a failed music festival where many rich millennials were stranded on an island for a night due to horrible planning and outright fraud committed by those in charge of the event, specifically the CEO Billy McFarland. The documentary, “Fyre,” distributed by Netflix, is a more in-depth and well-made film, which looks more at the planning of the actual event than anything surrounding it. The film centers on event planners, local workers, and people working closely with CEO Billy McFarland. It examines how everything went wrong from the beginning, with unrealistic time frames for construction and zero transparency. “Fyre” is a very compelling experience that tells its story smoothly and with a real sense of momentum as it builds to the dreaded day of the actual festival. However, as well-crafted as the film is, it’s a biased depiction of the events. Due to the fact that the documentary was produced by FuckJerry Media, the marketing agency that oversaw the Fyre Festival, much of their role in the fiasco gets conveniently glossed over. The result of this is a shiny, well-made yet misleading experience.

The Hulu documentary, “Fyre Fraud,” is a much more ambitious work. It holds more people accountable for what happened and tries finding some kind of meaning in how something like this could happen in today’s media-centric society. The film has also faced controversy for paying the convicted Billy McFarland for an interview, an action that has been considered by many as unethical. However, unlike the documentary “Fyre,” this does not interfere with the story that they are conveying. The movie does not pull any punches when it comes to the head of Fyre Fest. It accuses McFarland of being a compulsive liar and fraudster, debunking virtually every claim he makes in his interview. “Fyre Fraud” also feels much more rushed than “Fyre,” with a large chunk of the movie filled in with pop culture references and sitcom clips to bulk up the running time. But as a whole, it’s a more admirable documentary in how it tries holding everyone who contributed accountable, including Netflix for helping FuckJerry produce a film from their perspective. Overall, while neither documentary is perfect, it’s necessary to watch both to understand this fascinating incident. “Fyre” provides a compelling, while biased, look at the planning of the festival while “Fyre Fraud” shows a clearer, while hastily made, look at the circumstances around the event. Both films expose different sides of the same story.

Heard It In A Past Life Album BY MACIE RASMUSSEN Maggie Rogers’ most recent release, “Heard It In A Past Life,” sounds like the feeling of being 21. Rogers gives us songs so visceral that they are emotions themselves. “Say It” is the fantasy of a fast, intense crush followed by disappointment when it doesn’t result in anything; it’s the anguish of desire so strong that it’s unspeakable. “On + Off” is the vulnerability of admitting your infatuation with someone. “Overnight” is the perpetual amazement of how rapidly and vastly someone can transform. “The Knife” is what you and your friends put on when getting ready for a party— the part of the night that is always so much better than the party itself. The album also includes the previously released track “Alaska,” where Rogers sings, “Cut my hair so I could rock and back forth/without thinking of you.” Can you think of anything more 20-something than cutting your bangs when you’re sad? “Back In My Body” closes the album perfectly. In a preview on Instagram, Rogers said, “This is a song about coming home to yourself.” It’s a poignant reminder that no matter what or who you may lose, you’ll always have yourself to embrace. Rogers’ songs evoke a strong sense of nostalgia— songs that, when listened to in future years, will bring back memories of a rundown Dinkytown house and all the emotional turmoil experienced there: the emotional haircuts, the melodrama, the burn of potential romance slipping away. Her words capture this and preserve the feeling of being in retrograde yourself.

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FEB 18 - MAR 4