DYNAMIC DAIRY
IDENTITY FASHION SHOW
// PG. 5
PG. 13 //
MALL OF AMERICA
Q&A: ERIC MAYSON
// PG. 10
PG. 16 //
VOLUME 15, ISSUE 7 // FEB 15–FEB 28
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VOLUME 15, ISSUE 7 DYNAMIC DAIRY // PG. 5
IDENTITY FASHION SHOW // PG. 13
DAYBREAK PRESS // PG. 8
Q&A: ERIC MAYSON // PG. 16
MALL OF AMERICA // PG. 10
A LIFE AFTER DEATH // PG. 21
EDITORIAL: Editor-in-Chief Grace Birnstengel Managing Editor Lauren Cutshall Cities Editor Alex Van Abbema Voices Editor Russell Barnes
Sound & Vision Editors Peter Diamond Olivia Heusinkveld Art Directors Lizzie Goncharova Max Smith Copy Editors Vanessa Nyarko Joe Rush
Editorial Interns Emma Klingler Carson Kaskel Aaron Job Colin Miller Faculty Advisor Chelsea Reynolds Distributors Abigail Rommel Sam Gunderson
PRODUCTION: Executive Director Kelcie McKenney Head Designer Becca Sugden Graphic Designers Caleb Vanden Boom Kate Doyle Olivia Novotny Web Manager Carter Gruss
PR/Ad Manager Sara Erickson Social Media Manager Abby Richardson Social Media Intern Holly Wilson Finance Manager Nels Haugen PR Interns Jenna Ogle Emily Planek
Photography Interns Emily Planek Kellen Renstrom Illustration Interns Aaron Musickant Madison Digiovanni Helen Teague Sophie Fesser Laurel Tieman Design Interns Breanna Vick Erin Bankson
THIS ISSUE: Photographers Kellen Renstrom, Sarah Mattson, Carson Kaskel, Breanna Vick Illustrators Lizzie Goncharova, Max Smith, Taylor Daniels, Helen Teague, Laurel Tieman, Taylor Severson, Madison Digiovanni, Kate Doyle, Olivia Novotny Contributing Writers Lianna Matt, Sara Erickson, Colin Miller, Laura Beier, Abel Mehari, Erik Newland, Erin Stevenson, Emma Klingler, Chance Wellnitz, Olivia Novotny, Peter Diamond, Carson Kaskel, Karl Witkowiak, Annalise Gall, Dylan Woolfolk, Grace Birnstengel, Emily Hill
©2015 The Wake Student Magazine. All Rights Reserved. Established in 2002, The Wake is a fortnightly independent magazine and registered student organization produced by and for students at the University of Minnesota. The Wake was founded by Chrin Ruen & James DeLong. Disclaimer:The purpose of The Wake is to provide a forum in which students can voice their opinions. Opinions expressed in the magazine are not representative of the publication or university as a whole. To join the conversation email gbirnstengel@wakemag.org.
The Wake Student Magazine 126 Coffman Memorial Union 300 Washington Avenue SE Minneapolis, MN 55455 www.wakemag.org facebook.com/ thewakemagazine @the_wake wake-mag.tumblr.com
LETTER FROM THE EDITOR Recently at The Wake, we had to give our annual presentation to the University’s student service fees committee, persuading them to give us the chunk of money we need to operate and publish a biweekly magazine. After our short presentation, the floor opens to questions from the committee members. This year, one committee member started off her question by pointing out the shift in journalism from print to web. She asked us more about our web presence, alluding to the fact that perhaps we should consider cutting costs by ceasing to put out a print product. She wasn’t at all condescending, but I’d be lying if I said I didn’t take a little offense to her subtle suggestion. Of course it would save The Wake a significant amount of money to shift our focus to solely online, but until we are absolutely forced to—which hopefully never happens—we’ll continue to put out physical copies of our magazine. The idea that investing in print journalism is a recipe for let down is unknown to few, and it’s even more cliché to point out the satisfaction of holding a publication in your hands. But it’s true. If you’ve got a copy of The Wake in front of you right now, tweet me your favorite emoji @grace__ (that’s two underscores!) I want to hear from you. Grace Birnstengel Editor-in-Chief
HOW ARE YOU SPENDING VALENTINE’S DAY? C A R S O N KA S K E L
Building a castle of sweethearts candy
16%
Wake intern Carson Kaskel visited Barcelona over winter break.
REVIEW: MCDONALD’S MOZZARELLA STICKS BY LIANNA MATT
With my Palentines
Standing outside of the Dinkytown McDonald’s, a cheery window poster promised me a trio of mozzarella sticks made with 100 percent real cheese. In that regard, the golden arches did not disappoint. What was lacking, though, was the dry crunch that deep-fry lovers crave.
24%
Naked and Screaming
Still, with the pick two for $2, I had a two-course meal for $2.16, including tax. The mozzarella sticks served as an appetizer to the main deal, the McDouble, and between them, I had enough of that American grease to satisfy my college appetite.
KAT E DOY LE
Drunk
36%
4 // FEB 15-FEB 28
TH ECONCERNSOF MI NDY KA LI NG . COM
24%
LI A NN A MATT
While the mozzarella sticks probably would have broken halves with a bridge of stringy, melted cheese if they were hot, by the time I took them up to McDonald’s second floor, the cheese had started solidifying again. People with sensitive stomachs need not worry about acid reflux, either; the crust, cheese, and marinara are so mild that they wouldn’t bother anyone.
Over Break I Read… BY SARA ERICKSON “Why Not Me?” is filled with honest essays from a self-aware, empowered woman. Mindy Kaling’s second book gives us a window into her frantic yet fun routine of work and life. Important: She writes about her sexy relationship with a White House employee (spoiler, it’s not Obama). Inspiration and sarcasm collide, making this book a laid-back, any time read.
DYNAMIC DAIRY The inside scoop on Milkjam Creamery
SA RAH MAT T S O N
THE WAKE // CITIES
BY COLIN MILLER As I stood, flabbergasted at the diverse array of creative flavors behind the cold counter at Milkjam Creamery, Minneapolis’ coolest (pun retroactively intended) new ice cream spot, I realized I had become what I hated.A butt of sitcom jokes from “Curb Your Enthusiasm” to “Garfunkel and Oates,” few situational characters are more irking than the person who needs to try every ice cream flavor before deciding on something painfully obvious. But did I care? No—I was firmly justified in my indecision, faced with 16 options including several reserved for the 21-plus crowd.
put a sophisticated spin on the nostalgic taste of a childhood breakfast staple. Third was the signature Milkjam, infused with thrice-concentrated cereal milk.
Sameh Wadi, who collaborate with Spangler on many of the flavors. The brothers bought the neighboring clothing store and brought to life their idea for an adult-aimed premium ice cream store, at a prime location on Lyndale Avenue, on Jan. 18. Spangler also mentioned house-made macaroons, ice cream sandwiches, cakes and pies, and even “puppy ice cream” as future mainstays on the Milkjam menu. And yes, that’s ice cream for dogs.
//Spangler also mentioned house-made
macaroons, ice cream sandwiches, cakes and pies,
Before I left Milkjam for the first (but hardly last) time, I enjoyed a criminally decadent sundae comprised of a scoop of the creamery’s namesake and a scoop of Black (their “darkest chocolate” flavor), topped with toasted almonds, caramel whip cream, and a mixed berry compote labeled “szechuan berry.” I’ll be remembering it fondly during the thousand squats it’ll take to work it off. In the meantime, I recommend a visit to Milkjam Creamery before lines start forming out the door.
and even ‘puppy ice cream’ as future mainstays
Assisted by a young and enthusiastic staff, I sampled several creations at pastry chef and flavor mastermind Ben Spangler’s suggestion. The Thai Tea, Spangler’s personal favorite to make, was mild, smooth, and instant proof that black is the new green when it comes to tea-flavored frozen treats. Next, I tried Cereal Killer, a coriander-based cream laden with fruity pebbles that
//
on the Milkjam menu.
I sat down with Chef Spangler, whose previous claims to fame include appearances on “Cutthroat Kitchen” and “King of Cones,” to talk about the origin of Milkjam and what’s in store for the near future. He told me that the shop began as the brainchild of World Street Kitchen owners Saed and
WAKEMAG.ORG // 5
THE WAKE // CITIES
Dinkytown Businesses Under Fire H E L E N T E AG U E
Loring Pasta Bar and Varsity Theater owner faces consequences for past mistakes BY LAURA BEIER Two historically unique establishments in Dinkytown, the stylish, small concert venue the Varsity Theater and the eclectic restaurant Loring Pasta Bar, are almost always filled with a diverse and lively crowd. However, after the recent sexual assault accusations against the owner of these businesses, John McLean, there may be fewer pasta-loving and concert-going crowds. In 1983, when McLean and his friend and business associate, John Donahue, helped run the Children’s Theater Company (CTC) in Minneapolis, they both were accused of inappropriate sexual encounters with minors. In 1984, Donahue pleaded guilty to sexual misconduct with three teenage boys, resulting in a one-year sentence and a fifteen-year probation in which he could not come into contact with children.This affected not only his reputation but McLean’s as well. McLean left CTC and turned a rundown drugstore in Dinkytown into Loring Café in 1986. Later, he transformed the nearby space into a modern concert venue now known as the Varsity Theater, and the café became Loring Pasta Bar. For years he ignored his victims and even persuaded them to keep quiet, as not to disrupt his business success. Eventually, Laura Stearns Adams, a former actress at CTC and now a wigmaster for the Guthrie Theater in Minneapolis, spoke up. While acting in a partner role to McLean’s character in a production at CTC, Adams claims that he committed “unpermitted sexual contact” with her when she was 15. During the holiday show they both performed in, Adams says she was at first honored by McLean’s attention. She was young and he led an important role in the establishment, and due to her love and commitment to the company, she kept the assault a secret, not even telling her parents. 30 years later, after trading stories with other members of the theater community this past
6 // FEB 15–FEB 28
summer at the 50-year anniversary of CTC, Adams decided to speak more openly about her assault. McLean is pleading innocent and appears determined to clear his name. So what does this hold for the businesses that McLean has held pride in for over two decades? Nothing good, according to public opinion. After word of the case spread like the plague, artists began cancelling their shows, and those supporting
//For years he ignored his victims and even persuaded them to keep quiet, as not to disrupt his
//
business success.
Adams and other victims began speaking out against both the Varsity and Loring. DJ Jake Rudh, who held monthly transmission dance events at the Varsity, recently took to Facebook for an elaborate post about his decision to cancel further shows and relocate them to Clubhouse Jäger. Additionally, a Varsity-scheduled David Bowie tribute event was later cancelled due to the case and pleads from another victim of McLean’s, Rosy Simas.
A choreographer at CTC, Simas also posted on Facebook that despite her adoration for Bowie, she and her friends chose to boycott the event because it was held at the Varsity. To show respect for other victims and herself, and to fight for justice against authority figures committing violent acts on minors, she explained why she was not attending the event and implored her Facebook friends to do the same. Additional concerts and events at the Varsity have been cancelled due to this case, some even uncorrelated with accusations against McLean. For example, English pop singer John Newman was scheduled to play the Varsity this spring but cancelled his entire tour for other unspecified reasons. One University of Minnesota student, who was planning on seeing John Newman when he came to the Varsity, said, “Although the cancelled acts are ones I’d like to see live, I feel uncomfortable knowing that the owner is profiting from me after getting away with what he did.” Due to this setback in the businesses, employees of both establishments have also spoken up. Senior manager at Varsity, Lynn Niman, said boycotting may seem to prove a point against McLean’s past actions, but now the staff of both workplaces are suffering due to something that has nothing to do with them, according to her. While she sympathized for those affected by McLean in the past, she feels that boycotting these businesses only hurts innocent employees.
THE WAKE // CITIES
Heading Into 2016, Vikings Fans Have Reason for Hope Vikings look to defend their NFC crown at US Bank stadium BY ABEL MEHARI Despite recent seasons of unfulfilled promises and empty expectations, the Minnesota Vikings have given their fans a reason for future optimism. The team will leave TCF Bank stadium and move back to downtown Minneapolis in their new home, US Bank stadium, next season.
MA X S MI T H
Mike Zimmer was hired in 2013 to replace Leslie Frazier after he posted a 5-10-1 record. Zimmer was expected to help rebuild a winning environment and show why he thrived as a defensive coordinator and assistant coach in his various stops. After enduring a mediocre 7-9 record in 2014, the team finished with an 11-5 record and a National Football Conference (NFC) North division title in 2015. The season proved to be a major leap in the right direction, and fans are sensing bigger goals in the future. Adrian Peterson came back this season to lead the NFL in rushing with 1,485 yards. Peterson also had 11 touchdowns after playing only one game in the 2014-15 season. Led by offensive coordinator Norv Turner, the Vikings performed a low-risk offense around the Pro Bowl running back. Peterson’s biggest pitfall has been his fumbling troubles; he had six fumbles this season, which included a critical fumble in the 10-9 loss to Seattle during the playoffs. Peterson has vowed to fix his ball handling issues during the offseason, but it’s yet to be seen if Peterson can succeed at his commitment to maintain a firm grip on the football. In the low risk offense, sophomore quarterback Teddy Bridgewater threw for 3,231 yards. He completed 65.3 percent of his passes with 14 touchdowns and nine interceptions, similar to his rookie numbers last season. Wide receiver Stefon Diggs became a surprising bright spot and Bridgewater’s favorite target. He finished the season with 52 receptions, 720 receiving yards, and four touchdowns. Along with being selected to the NFL All-Rookie Team, Diggs became the first rookie wide receiver in NFL history to have at least 87 receiving yards in each of his first four games. The defense played a huge role in the team’s winning ways. Minnesota finished 5th in defensive scoring and 13th in overall
defense, a key factor during their five-game winning streak in the middle of the season. Perhaps the biggest win of the season was against the Green Bay Packers at Lambeau Field in week 17. Prior to the game on Jan. 3, the Vikings had not won at Lambeau Field since 2009. Minnesota won 20-13 and prevented Green Bay from winning their fourth straight division title. The league began to take notice of the winning nucleus that Minnesota was building; the Seahawks, Cardinals, and Packers began to emulate the preparation and winning attitude from Zimmer. Although the season ended in heartbreak with Blair Walsh’s missed game winning field goal, it’ll be interesting to see whether this team can overcome the painful loss and continue to build on a possible dream of winning a Super Bowl. The franchise has four NFC championships, along with four Super Bowl appearances in the 1970s, but fans have felt plenty of heart-breaking moments as the road to a championship continues. Most fans will never forget Gary Anderson’s missed field goal in the 1998 NFC championship game. Walsh’s miss
may have brought back old feelings of disappointment, but that should not define a great season of so much promise. The Hubert H. Humphrey Metrodome opened in 1982, and it was recognized as of the loudest stadiums in the NFL. Most of the crowd noise was recycled from the rooftop, which created a major home field advantage for the Vikings. The Senate and Vikings agreed on the stadium deal in 2012, resulting in the Vikings playing at TCF Bank Stadium for two seasons (2014-2015). TCF Bank Stadium proved to be a home that endured all weather elements, bringing back memories of the old Metropolitan Stadium where the Mall of America now sits. Entering into a new era in Vikings football, fans are still starving for a Super Bowl championship. The Vikings will need to overcome the painful loss and continue to rise as a possible contender. Next season will provide us with needed answers as the defense of the division title begins.
WAKEMAG.ORG // 7
THE WAKE // CITIES
Daybreak Press Connects with University Community
KE LLE N R E NS T RO M
The independent bookstore, focused on advocacy and empowerment for women, moved close to campus in November
BY ERIK NEWLAND Daybreak Press started in September 2014 and moved to the University of Minnesota campus from their original Grand Avenue location in November. They are part of the Rabata organization, which was founded by Tamara Grey in 2012. Nusaiba Imady, who works at Daybreak, said the bookstore is based on the idea of a “third space,” which she explained as a space for people to gather, hold discussions, and learn as a community. Imady said Rabata started as a class about activism and empowerment whose students went on to create the organization. “The big thing is empowering Muslim women in Rabata,” she said. As the publishing arm and headquarters of Rabata, the Daybreak Press advocates more broadly for social justice and women worldwide, Imady said. She said the bookstore hosts events such as a recent book discussion by author Dr. Artika R. Tyner, student organizations from the University, and even a drum circle from Chicago at their old location on Grand Avenue.
Sisters Need a Place, a Minneapolis organization that helps women in need, has worked with Daybreak Press in the past, Imady said. Daybreak Press also has a focus on Islamic scholarship. They host discussions, Arabic lessons, and help educate Muslim converts. Daphne Yuan, the vice president of the University’s Multifaith Student Council, said the group is planning on doing regular meetings at Daybreak but has not begun yet. The Daybreak Press is dedicated to giving women authors a voice. One of their books published, “Sophia’s Journal” by Najiyah Maxfield, has been adopted into many school libraries, Imady said. She said “Sophia’s Journal” is important since it features a young Muslim heroine who is not didactic or wholly defined by her faith. Minneapolis is home to many small, deeply focused bookstores like Daybreak, which Imady said makes it a unique community for them to work in. Their close proximity with the University allows for connections with student groups and other organizations.
8 // FEB 15–FEB 28
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THE WAKE // VOICES
L AU R E L T I E MAN
Mall of America? Future luxury additions to MOA raise questions about class representation
BY ERIN STEVENSON Centrally located in the Twin Cities area, the Mall of America (MOA) is a staple destination of the region. Surrounded by seemingly endless parking lots, hotels, and office buildings, it is the first place that relatives from out of the area want to go, and for many locals, the last. Navigating through the shoppers, consisting of visiting children’s choirs, foreign tourists capitalizing on the lack of sales tax on apparel, and middle schoolers enthusiastically roaming the stores parent-free, going to the mall can be an exhausting feat. But it is one that 40 million people make annually. During a time when online shopping is an enormous, fast growing market, MOA seems to be an anomaly in the breed of suburban shopping malls, surviving through the economic downturn of 2009. How is it surviving? In 2014, Maureen Bausch, the executive vice president of business development at MOA, told Fortune that “the future of malls is about creating an experience, a destination.” The mall certainly does have many experience-themed attractions to offer, and this may account for the establishment flying high above other similar ones in recent years. It may quite possibly be “too big to fail.” Recently, the Mall of America has announced that they are beginning the project cryptically called “Phase II,” which may double the size of the already gargantuan establishment. This new phase will see the introduction of a multi-story bridge that allows access new office space, a third hotel, and another parking structure. There will also be a large retail space built specifically for dozens of expensive, luxury stores.
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The concept art for this new high-end area fits well with the stores that will occupy it. Large golden structures, shiny facades, and an intricate glass ceiling depict an open, well-lit space. However, this light does not reach the darker implications for the mall’s consumers that accompany these new plans. The reasoning behind luxury stores investing in new locations at the Mall of America is clear, it is an established kingpin of retail, and as mentioned before, has shown it can be an economic shelter for businesses during tough times. MOA claims that this expansion is an effort to keep consumers engaged, but the history of the luxury market in the Twin Cities contradicts this statement. Many luxury retailers, for example, Polo Ralph Lauren and Saks Fifth Avenue, have set up shop in the area only to close after a few years. Unless the consumer base in the Twin Cities has made some significant changes, this lean on luxury doesn’t seem promising. With its prime location near the Minneapolis–St. Paul Airport and the junction of many large freeways and transit stations, MOA has found incredible success with retailers and consumers while other similar establishments have not. Over the years, there have been many expansions and additions to the mall, including the “front door” area consisting of retail space, office buildings, and a second hotel. Today, the Mall of America is a place where you can shop the large variety of stores, see a film, ride a roller coaster, and even meet your favorite celebrity.
The constant evolution of MOA is something that Minnesotans have witnessed since its birth, and the new planned construction is a huge investment into an addition that specifically targets upscale customers with incomes upwards of $100,000 a year. In order to live up to its name, the Mall of America should represent of the demographics of the U.S. (and more specifically—Minnesota) with the retail and entertainment it offers. Minnesota’s median income in 2012 was $58,900, a little more than half of the earnings of the consumers the new addition is targeting. This obvious effort by the Mall of America to cater to the upper class alienates the majority of consumers. Minnesota’s richest families have incomes seven times higher than the poorest 20 percent of the population. This luxury expansion will be something interesting to keep an eye on as it unfolds.Will there be an influx of wealthy out-of-area consumers? Will the small percentage of the population that can afford to shop there be enough to declare it a success? Is the phrase “Mall of America” a misnomer? Soon, we’ll know whether the name should really be “Mall of America: the Top 1 Percent.”
THE WAKE // VOICES
“I’ll Take It From Here” Former NYC Mayor Bloomberg considering an independent bid for the White House
// A bid by him would most MA D I S O N D I G I OVA NN I
likely result in a loss for the democrats. //
BY EMMA KLINGLER To nobody’s surprise, and for the third election cycle in a row, New York City’s 108th mayor, Michael Bloomberg, has flirted publicly with the possibility of entering the race for the presidency. The once Democratic, once Republican business magnate says that he is looking into an independent run in the 2016 general election. But unlike past years, he has gone further than merely speculating; according to the New York Times, Bloomberg instructed advisers to draw up plans for a campaign, stating that he would be willing to spend at least $1 billion of his own fortune. The possibility of a rich, career politician sauntering into the ring is somewhat jarring. This race has been dominated by the successes of unconventional candidates. Following the grassroots fundraising of the Bernie Sanders campaign, to the popularity of political outsiders like Donald Trump and Ben Carson, a run by Bloomberg seems almost too easy. It’s a tribute to how much our democratic process is tied to whether or not you have money. Sanders put in months of campaigning to Americans across the country to earn his position as a frontrunner, and yet if Bloomberg enters the race, he will already have the advantage in financial resources. Whether or not Bloomberg enters the race at all is very much dependent on if Sanders or Hillary Clinton get the Democratic nomination. According to his advisers, Trump’s domination of the Republican candidates and Sanders’ close race with Bloomberg’s former ally, Clinton, has prompted his deliberation about the run. Viewing himself as a somewhat left-
of-center compromise candidate, he clearly sees an opening between the boisterous and unreliable Trump campaign and the democratic socialist platform that Sanders has professed. However, a bid on his part would be less of a standout performance than he seems to believe. His policy changes and voting habits have become quite similar to that of President Obama’s—or Clinton’s, for that matter—since becoming an independent in 2007. In fact, Senate Democrats have warned that not only does Bloomberg have almost zero chance of winning the election, but that an independent campaign would surely split the Democratic vote and result in a Republican winning the presidency. None of this is to say that Bloomberg himself would not be a decent candidate. He can demonstrate a business acumen to match Trump’s through his own successes as founder, CEO, and owner of Bloomberg L.P., his global financial data, and media company. But unlike Trump, who has been criticized for his lack of philanthropy, Bloomberg has established his own foundation and has pledged to donate the majority of his wealth, an estimated $27 billion, to charitable causes. His position as a moderate candidate could also be considered an asset. As Doug Shoen, Bloomberg’s pollster of 16 years, argues, there is close to 60 percent support for an independent candidate to run—a record level. Despite this encouraging statistic, most still believe that there is a slim chance of success for Bloomberg should he decide to run. A large part of the cynicism is due to the fact that
no candidate has won the presidency without the backing of a major political party since George Washington. This is the reality of a two-party system. The polarization that Bloomberg despises in the primaries is a natural result of candidates vying to fit one specific brand, one particular type of model candidate. The name of the game is to show your party that you are the most dedicated to their values and concerns. This becomes extreme because the only way to prove your excellence in a field of qualified candidates is to continue to make more promises and take more steps to the far end of your political ideology. Increasingly, it seems there is no place for a moderate candidate in the primaries. This was especially clear in this election’s Republican race, but even with the Democrats, it was Sanders’ willingness to push Democratic party boundaries that caused his rise in media and public attention. What this means for Bloomberg and his dream of being the ideal, unifying candidate is that, by sacrificing the party-pandering process, he has effectively refused to show solidarity with either of the parties with which so many Americans identify.Though his policies may be preferable to some, his lack of association makes him a wild card candidate. By undermining the normal process and entering at a late stage, Bloomberg simply doesn’t have the time to create a niche for himself in the race; a bid by him would most likely result in a loss for the democrats.
WAKEMAG.ORG // 11
THE WAKE // VOICES
Macklemore’s White Privilege A look at hip-hop’s “cold ass honky”
Whether from its social media shares or the countless think In 2005, Macklemore questioned his place within hip-hop. pieces it spawned, you’ve heard—or at least heard of— “Where’s my place in a music that’s been taken by my race, Macklemore and Ryan Lewis’ song “White Privilege II.” Serving culturally appropriated by the white face?” he asked. Nearly a as the sequel to “White Privilege” from Macklemore’s 2005 decade later, not only did his debut studio album go platinum, debut, “The Language of My World,” the track continues the it won the Grammy for best rap album of the year. Suddenly Seattle rapper’s public internal dialogue of what it means to be Macklemore’s place in hip-hop became far less abstract. a white artist in rap music. “Is this awkward? Should I even be here marching?” Macklemore “I see so many people lost who really try to pretend, but am says early in the first verse of “White Privilege II.” On first I just another white boy who has caught on to the trend?” listen, it seems Macklemore slips into “Same Love” mode, Macklemore asked in the original “White Privilege.” giving mainstream America its white male window into a Black Lives Matter protest. After all, the rapper always looked at the world by looking inward. “Is [Black Lives Matter] okay for me A lot changed in the decade that followed. For one, spell to say?” he asks. check software notably improved, so you’re less likely to see that butchered spelling of “privilege.” Also, terms like “white privilege” and “cultural appropriation”—which Macklemore Then Macklemore doubles down. used in 2005—have become part of a national dialogue on race in America, and in this discussion, many people determined the “You don’t give a shit about us,” a voice says. answer to Macklemore’s question to be a resounding “yes.” But has Macklemore changed? We hear Macklemore’s internal monologue: “What are you doing here, Ben?” As a relatively unknown rapper in 2005, Macklemore’s place within hip-hop was more abstract. “Hip-hop started off on a “It’s the Grammys!” another voice says. block that I’ve never been to to counteract a struggle that I’ve never been through,” he rapped on “White Privilege.” He had “Think about it, Ben.” all the chutzpah of a white seventh-grader giving a four-minute presentation on the last 60 years of American racial politics. It It is the Grammys. “White Privilege II” isn’t Macklemore acting was clear Macklemore had a basic understanding of the issues as mainstream America’s surrogate into Black Lives Matter; it’s (and could probably pass a pop quiz given later in the hour), Macklemore’s post-Grammys apology text to Kendrick Lamar but he couldn’t engage them with depth or nuance. He wasn’t stretched into a nine-minute song. It’s the rapper assuring his concerned with trying either. critics he’s the “cold ass honky” he claimed to be by telling them exactly what they want to hear—namely, by repeating Macklemore found a comfortable niche, acting as America’s everything they’ve said about him. “You speak about equality, cheeseball white male surrogate into modern social issues. but do you really mean it? Are you marching for freedom, or He’s the Spark Notes, top-three-Google-search-results voice when it’s convenient?” he raps, addressing the questions asked for the oppressed—a role he can deploy at will. By filtering of him without answering directly. But there’s one question others’ experiences through his own eyes, he keeps himself— in “White Privilege II” which remains particularly troubling: and the listener—at a safe distance. “What’s the motivation?” “When I was in the third grade, I thought that I was gay, ‘cause I could draw, my uncle was and I kept my room straight,” Macklemore rapped on 2012’s “Same Love.” In the song, he goes on to share his fears with his mother, who in turn tells her son he’s “trippin” and assures him he “loved girls since before pre-k.” It’s this experience that frames the rapper’s earnest speculation on what it means to be an LGBTQ person in hiphop and America. However, despite “Same Love” soundtracking multiple gay weddings during a GLAAD-approved Grammys performance, the song was never meant for the gay community; it was for the straight people who didn’t know what to make of them. One could argue this was by design. After all, it isn’t gay people who need to come around to the idea of gay rights. But does the LGBTQ community need a straight white male voice for them to be heard? And should Macklemore be hip-hop’s voice addressing the genre’s homophobia?
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// It’s the rapper assuring his critics he’s the “cold ass honky” he claimed to be by telling them exactly what they want to hear—namely, by repeating everything they’ve said about him. //
TAY L O R D A NI E L S
BY CHANCE WELLNITZ
THE WAKE // FEATURE
y t i t n e d I Apparel design students showcase their collections BY OLVIA NOVOTNY Since last spring, 15 students have been sketching countless ideas, picking out fabrics, and crafting garments for their ultimate test before graduation. On Feb. 6, seniors in the apparel design major at the University of Minnesota put on their final fashion show, Identity, revealing their hard work on the runway. Each student created a cohesive line with 4-5 looks to showcase their “identity” as a designer. On top of creating the collections, the designers also planned the show—from developing branding with graphic design students to booking vendors and selling ads in their lookbook. “[Identity] really speaks to how we have an identity together as a whole, but also to how we are all so different and unique as individuals,” Elizabeth Bischoff, designer and chair of the show, said. This year’s show has a wider variety of collections than in years past including swimwear, lingerie, everyday clothing, juniors, bridal, and couture. “I think what's unique about this year's group of designers is the expansive diversity that's present in our design styles.Though we all share the same passion, all of our designs are vastly different from one another,” designer Heidi Woelfle said.
WAKEMAG.ORG // 13
THE WAKE // FEATURE
Holly Welwood P H OTO S BY BR EANN A VI C K
sourced sustainable, natural materials such as cotton, hemp, silk, and wool for her collection of ready-to-wear clothing. “I wanted my line to inspire a slower pace of life and ultimately connect us back to ourselves, each other, and the environment,” she said. Her sustainabilityminded pieces featured simple black and white details and basic accessories.
Aly Gates
started the senior show incredibly strong with her soft, beachy, boho collection. It was inspired by her travels to the Southwest, exploring canyons and desert sand dunes, she said. The warm colors and the soft lines gave off relaxed, free spirited vibes made to evoke the femininity and effortlessness nature of the laid back California girl, infused with ‘70s-inspired silhouettes.
Sarah Forsynth
showed a collection of resort wear for thriving New Yorkers. She said she drew her inspiration from living in the city this past summer for an internship. She wanted to create luxury swimwear that people could relax in, taking a break from their busy lifestyle. Pink and ruby colored, pleated chiffon flowed gracefully behind a number of her pieces, encapsulating extravagance.
Heidi Woelfle
showed a collection was inspired by Italian futurist paintings, derivative of the cubism art style. “I interpreted hard lines and angles into silhouettes, which are long, rectangular, and sleek,” she said. The dark pieces combined structured form with bold textures to make each piece versatile and classic.
Mia Kuroki
surprised the audience when children walked out modeling her clothes. Her adorable collection of blues and whites was inspired by embarking on a journey, giving feelings of optimism, hope, and strength, she said. The children stole the show, waving at the audience and radiating happiness with their smiles.
Catherine Menzel
used organic and recycled materials to make her orange-inspired collection. She was influenced by the many dynamic features of the fruit—its variances in color, layers, inner and outer shapes, health benefits, and even the psychological influence of its colors. Menzel hand-dyed fabrics to create a natural feel and applied intricate and witty details with special stitch work and beading. She mainly used pinks and oranges in her line with bold, forest green shoes for a statement.
Marissa Lynch
adores Minneapolis—and it shows in her work. Her line focused on adventuring in your own backyard. Each look was based off a different place in Minneapolis, such as the Stone Arch Bridge, the Guthrie Theater, and late night swing dancing. Her glittery gold and black pieces reflected how the city looks at night, and added some liveliness to the runway with twirly skirts and fun silhouettes.
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THE WAKE // FEATURE
Grace Chen
showed a peaceful collection drew inspiration from the components of Japanese Zen Gardens, explored through rich, textured fabrics and a color palette of stark whites, ivories, and creams. “It’s about freedom of confidence and being content with yourself,” she said. “My zen approach to detail and silhouette helps focus on that desired mindfulness.”
Robert Pettys Baker
Shengjie Li created an Asian fusion bridal-wear collection, which included looks inspired by Western and Eastern wedding trends. “The encounter between the two cultures are presented in the traditional Chinese wedding colors of red and gold, as well as intricate embroideries applied on modern, romantic silhouettes,” Li said.
XiXi Xu
made a statement on the runway with her doll-like models. Her silk dresses in hues of cream and blush had modest yet adorable silhouettes highlighting an ultra-feminine and spunky style. Her inspiration came from her travels to Japan—specifically the cherry blossom trees and the way the wind blew the petals off as if it were snowing.
Tabitha Andelin
has always loved lingerie because of it’s both delicacy on the outside and complexity on the inside. Her well-crafted lounge lingerie collection was made of laces and silks all in a light champagne color.
created the only menswear line in the show—a very unified collection focusing on about evolution and growth. The nontraditional clothing was composed of lightly colored, sheer, billowy fabrics contrasting with dark pieces of leather grounding the garments. The primary inspiration for this collection came from the designer’s visceral reaction to the music he listens to, he said.
Regena Yu
showed an all-white, extremely clean and unified line inspired by modern architecture. It focused on the continuation of lines to connect spaces.“The collection exhibits my interest in patternmaking. It’s a unique art that is the foundation of any piece of clothing,” she said. Yu incorporated lines through unique seaming and the use of a deep contrasting color to accentuate harsh edges.
Elizabeth Bischoff
has a love of storytelling and created five bridal gowns, each based on different fairytales she wrote. “These aren’t Disney fairytales, they each have a dark twist or something bittersweet about them.” Each look was a different, rich color and had subtle medieval features that interpreted her stories in a fantastical, surreal way.
Lee Tran
was inspired by art and the act of making it—the brushstrokes, lines, and blending of colors. He developed his own custom fabric and embellishments, spending time hand dyeing and pleating fabric to reflect paint and its characteristics. This artistic collection of reds and plums was bold and certainly stood out within the rest of the show.
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THE WAKE // Q & A
Q&A: Eric Mayson F AC E B O O K. C O M/ E R I C MAY S O NMU S I C
Used to working behind-the-scenes, the frequent Twin Cities producer and music director finds his own voice
BY PETER DIAMOND
Eric Mayson embodies soul. His debut solo album, “Detail,” was inspired by his various collaborators (among them, Caroline Smith and Lizzo) and reflects the 27-year-old producer and multi-instrumentalist’s complex artistic vision. Flipping through genres and defying simple categorization, “Detail” drifts from one soundscape to another with ease. Its beat-driven approach is filled with traces of hiphop, neo-soul, and indie rock. In line with the cyclical nature of the record, it’s no surprise “Detail” was originally released as two 20-minute songs on cassette tape. Here, finally, Mayson the performer is front and center, and “Detail” is as much of a personal statement as it is a tribute to the friendships that brought it together. 16 // NOV 16–NOV 29
The Wake: What’s the story behind “Detail”? Eric Mayson: I’ve been doing a lot of session work at this place called River Rock Studios, and I’d been playing for people like Toki Wright and Big Cats and a bunch of other projects, and after I was working with them for a while, they asked if I had any tunes of my own. I said yeah, and they offered me a chance to record my record there. The idea for the record started with these other people saying, “Yo, man, you should make a record.” [Laughs]. It was a process of me digging through what I had, deciding what I wanted it to sound like, and editing works that I had made without any intention of releasing into this project. What was the reasoning for releasing the album on cassette, and what was the process of winnowing it down for digital consumption? EM: A lot of the pieces that I had written were about 45 seconds long, some longer, but it was this whole process of me thinking, “Well, I need to finish these songs because they’re not long enough yet,” which evolved into, “or maybe I don’t. Maybe this is a full idea. I just need to present them in a way where shorter ideas are palatable.” At the time, I was listening to a lot of the record “Donuts” by J Dilla, which is one of the most meaningful albums in my life, for sure. I had it on cassette in my car, and I kind of fell in love with that format. There’s never really an ending place. It kind of starts where it ends—like a donut—over and over again. It’s about beginning with an outro and ending with an intro.
EM: Exactly! Every time you turn it on in the car, it starts at a new place. There’s no sort of consistency with how you hear it, and I love that. Who else would you say you’re influenced by, or who is represented through your music? EM: I would say Madlib, but I don’t know if that comes off in my music. [Laughs]. I really like Madlib a lot, but mostly the people I’m influenced by are my friends who I hang out with, who are just breathtaking artists, musicians, and thinkers. So even though a lot of it is nothing you can go out and listen to, I think most of my inspiration comes from the community of people that I have around me, a lot of performance artists and dancers. Most of the themes I came up with for the record were written during dance classes. I play for [the University of Minnesota] and a few other places as a day job, and it’s all improvised, and I just watch dancers and make stuff up. A lot of the music that I write comes from that environment. Most of my inspiration comes from improvising from dance. You’ve done a lot of production work for other people, so what are the differences and similarities between that experience and making your own solo album? EM: I think the biggest difficulty in doing a solo work was that I’ve gotten so used to creating in a collaborative sense. The idea of wearing a hat and closing the door to myself was a bit scary. I think I work similarly with other people as I do
THE WAKE // Q & A
myself, just by nature. The people I produce with create a safe, creative environment where I feel comfortable being myself in. Making the music on my own wasn’t super hard, but bringing in other people to play it, and not “telling” people what to do, but being the guy who calls the shots, was a little unnerving because I’ve become so wired for collaboration. But really, it is still a collaborative work. It just has my name on it. It didn’t actually feel that different. With this album, does it feel like you’re taking center stage and moving forward with your own voice? EM: I do feel that way. I’m the kind of person who throws things and sees where they land, so I find it hard to come up with a plan for the future. But I definitely think that I have more of an interest in finding my voice, and now that I have experience in the scene, I know what’s there and what’s not there. I think there are some holes in it that I can fill with some of my own ideas. The record takes on a lot of different sounds, like indie rock and hip-hop are infused into it… EM: My job for a long time has been “to be the guy to make music for the thing we need music for.” Sometimes that’s beats, sometimes that’s piano ballads, sometimes that’s musical theater, sometimes it’s rock songs. I feel like because I work so much in theater and the dance world, and need a diverse palette, I don’t know why anybody would like to make one kind of music forever. You mentioned working and directing in musical theater. What has that experience been like, and when did you get involved doing that? EM: I did a lot of acting when I was younger, in my high school and stuff like that. For a long time I thought I wanted to be an actor. When I went to college, for a year I was actually studying theater, and I ended up not only acting but being hired to do a lot of the music for musicals or just plays that needed music. I feel like even though I worked in the theater, a lot of what I was doing was still music related. Because of that, my way of thinking about music also includes storytelling and theater and dance. When I was about 15, I wrote a musical called “Angst: A New Teen Musical.” [Laughs].
EM: So “High School Musical” had just come out, and we wanted to write the musical that was a little more accurate, that had kids that were doing drugs, getting pregnant, and dealing with really heavy ideas. It was really tongue-in-cheek, and probably a little scary to see as an adult.We ended up doing it at the [Fringe Festival], and then we went to New York with that. I think other aspects of performance have always been a really big part of music for me. Music seems like a form of theater to me, that it’s like one of the more honest forms of theater, so much so that a lot of the people that do it don’t even realize they’re doing it, it just comes so natural, it’s like your unfiltered experience. Moving forward with this project, I’m really interested in trying to tie those worlds together a little bit more. There’s so much work that’s been done to experiment sonically with music, but there’s a lot of stuff as far as performativity goes that we could still find
T YL ER A LLI X
That’s awesome! What was it about?
// I play for [the University of Minnesota] and a few other places as a day job, and it’s all improvised, and I just watch dancers and make stuff up. A lot of the music that I write comes from that environment.
//
Most of my inspiration comes from improvising dance.
WAKEMAG.ORG // 17
THE WAKE // SOUND & VISION
Under the Magnifying Glass Coming to terms with the crimes of entertainers BY COLIN MILLER Questions of credibility, authenticity, and personal consistency come into play when a beloved entertainer has transgressed while in the public eye. From Woody Allen to Louis C.K., famous entertainers fall under intense scrutiny for sexual and domestic assault, the repercussions of which bleed into the public's opinions of both performer and performance. Previously bestowed honors are stripped away, endorsements are pulled, and history is rewritten to revile those we once revered; such as in the case of Bill Cosby, who was recently indicted on sexual assault charges.
TAY L O R D A NI E L S
At the same time, certain stars seem to be infallible despite their heinous crimes and go unjustly pardoned in the popular view. As individuals, we struggle to resolve the dissonance in our attitudes about the people who made us laugh, cry, sing, and dance when we find out they do things we find unconscionable.Therefore, we either choose to collectively punish or pardon them. However, there is a middle ground.
We can grow up. Instead of hero worship and demonization, we can add nuance to our perspective and choose to understand that famous people are, at the end of the day, just people. By no means are their actions forgivable or justified, but that doesn’t necessarily negate the artist's positive contributions to the world. One thing to keep in mind is that the crimes committed by these artists in question are unfortunately regular occurrences among the majority of the population. Therefore, in order to mitigate the guilt brought on by tacitly endorsing entertainers who do bad things, we should try to fix the broken system that forces so many targets of abuse to suffer in silence. In the meantime, we must realize that all people are capable of creation and destruction, and adopt a suitably holistic view of personal morality to replace the disgrace/redemption model to which we are accustomed. The fact is, sometimes daddy takes us to Disney World, sometimes he works late hours at the office, and sometimes he cheats on mommy. It is not the way it should be, but it is the way it is. Time to grow up.
The Plight of the “It” Girl J-Law’s descent isn’t surprising, rather a long-standing trend in the industry BY GABBY GRANADA
However, the heavy crown bestowed upon “it” girls can prove to be burdensome, and when the public pulls the red carpet out from under their heels, it’s a long fall from the throne. After all, the only thing Hollywood loves more than celebrating the rise of an “it” girl is watching the fall of another. When Jennifer Lawrence interrupted a reporter at the Golden Globes, distraught fans found more hubris than humor in her wry joke. Within a matter of days, articles heralding Lawrence’s fall from grace surfaced all over the Internet. The same media that previously praised the actress for her quirky candor and girl-next-door charm had suddenly turned on her. Many devout J-Law fans found themselves stepping back, and calling to question whether
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the clumsy, carb-loving actress was the relatable “it” girl they once loved. Anne Hathaway, an actress who’s dealt with her fair share of unfavorable media, came to Lawrence’s defense in a Facebook post, writing, “Let's not continue the sad but common practice of building people—especially women—up just to viciously tear them down when we perceive them to have misstepped.” Hathaway skims the surface of a much larger issue at hand. Before we denounce J-Law with the rest of Hollywood’s fallen “it” girls, perhaps we should turn the tables and scrutinize the toxic nature of the industry itself. Women in film don’t exist for the sole purpose of being polished, placed on a pedestal, and then discarded when they appear tarnished. Ultimately, what makes an “it” girl truly invaluable is her ambition, and that’s something no amount of tabloids can defame.
H ELEN TEAGUE
At the height of their fame, iconic queens of the silver screen like Lucille Ball, Marilyn Monroe, and Audrey Hepburn were granted access to the most exclusive tier in Hollywood. Every woman wanted to be them; every man wanted to be seen with them. These women were considered the epitome of beauty, fame, and success in their time: a trademark of Hollywood’s infamous “it” girl status.
THE WAKE // SOUND & VISION
MAX S MI TH
White Out
Oscars fail to recognize people of color again, spur boycotts BY CARSON KASKEL The Academy Awards have long represented and recognized greatness. For 79 years, the Academy has bestowed small golden statues to the best actors, actresses, directors, and talent in cinema. Unfortunately, there’s a caveat here. In the past two years, the Academy has nominated zero people of color in those major categories. Several major films have people of color in lead roles, so it isn’t an issue of slim pickings. The most glaring sign of this “white out” is the demographics of the Academy voters. 94 percent of voters are white, 76 percent are men, and the average age is 63 years old. Come on folks, it’s 2016… even Congress is more diverse (80 percent white). In response to the disparity in diversity, the hashtag #OscarsSoWhite has dominated social media and some big names including Spike Lee, Jada Pinkett Smith, and Will Smith have announced that they would boycott the awards. Why support a system that fails to recognize the work of great actors and actresses of color? Actors and actresses of color give performances that are in no way shape or form less than that of their white counterparts, and often better.Why support a voting demographic that is nearly all white men? This year’s Oscars host is Chris Rock, which means there’s a pretty good chance that the issue will be discussed at large throughout the show. It’s even possible that award presenters
and award winners will bring it up in their speeches. Either way, it’s time to have a real discussion about Oscar diversity, and where better than in front of 30 million television viewers? It’s a disgrace that the only nomination that “Straight Outta Compton” received went to the writers… who were white. What about the director, F. Gary Gray? And speaking of directors, no female directors were nominated, continuing the trend in which only one woman has won best director in Oscars history. In response, the Academy has announced “substantive changes designed to make the Academy’s membership, its governing bodies, and its voting members significantly more diverse.” The Academy plans to limit voting membership to 10-year terms, which are only renewed if the voter is active in motion pictures during that time. They also plan on “launching an ambitious, global campaign to identify and recruit qualified new members who represent greater diversity.” Changes are expected to take effect by 2020. With less old white men, maybe more awards will go to those who truly deserve them. But the blame can’t all be put on voters. In a general sense, people of color are still vastly underrepresented on the screen. While that is still no excuse for no nominations, it is certainly something of concern. Hollywood needs more roles for people of color, period. According to a diversity study done by the Bunche Center, white actors/actresses outnumber those
of color at a rate greater than 2-1 in film leads, 3-1 among directors, and 3-1 among writers. For women, men outnumber them 2-1 in film leads, a staggering 8-1 among directors, and 4-1 among writers. Disparities are even higher in executive positions, with film studio heads being 94 percent white and 100 percent male. And it’s not just numbers. Hollywood has created a false sense of diversity. Black males have had high levels of representation whereas Latinos are underrepresented. People of color often played roles in comedies as whites played in dramas. LGBT characters played mostly secondary and minor roles. Actress Charlotte Rampling called the boycotts “racist to whites,” saying, “Sometimes maybe black actors did not deserve to make the final list.” The argument that this affirmative-action style of integration is stifling creativity misses the point, because by limiting major roles and positions to white people, the creative voice of people of color are pushed to the margins. The Oscars represent the film industry to the general public, although it’s clearly not representative at all of reality. The academy says 2020, but the time for change is now.
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THE WAKE // SOUND & VISION
Cartoon Characters and...Marijuana? BY KARL WITKOWIAK Our parents always told us to stay away from drugs and to be careful with whom we hang around. The public joins our parents in their warnings as we’ve seen in drug public service announcements (PSAs) over time. However, drug PSAs were out of control in the ‘80s and ‘90s. Some examples include: H E LE N T E AGUE
LOOKING BACK ON OUTRAGEOUS DRUG PSAS
“Snake” A drug dealer talking to the screen about how he wouldn’t mislead you about drugs as he slowly turns into a creepy snakeman hybrid. “Know What You’re Jumping Into” A woman jumps on a diving board as a narrator talks about drugs. Then, the woman jumps into the pool as camera cuts to show the pool has no water, as the narrator states: “You need to know what you’re diving into.” “Brain On Drugs” This is just a short clip of someone frying eggs as the narrator states, “This is your brain on drugs. Any questions?” There was a “sequel” commercial ten years later starring Rachael Leigh Cook as she smashes an egg with a frying pan, and then proceeds to smash up her entire apartment. “Drug Abuse is the New Slavery” This PSA compares drug use to slavery… seriously.
Possibly the strangest of these PSAs is “Cartoon All-Stars To The Rescue,” a thirty minute TV special starring everyone’s favorite cartoon characters, including Bugs Bunny, Alvin and the Chipmunks, and the Smurfs, among others, as they help a teenager with his drug problems.The special opens with George and Barbara Bush introducing the short by talking about the importance of talking to your parents about drugs. Since it lasts for thirty minutes, it gets incredibly repetitive and cringe worthy, especially with a musical number intersected in the middle. It is an awful TV special, but it is almost endearing in its corniness. In some sense, there is a need to talk to kids about the harmful effects of drugs, but looking at some of these PSAs from decades past, the effectiveness seemed lost to their ridiculousness.
The Revival of GOOD Fridays (kind of) FACTS, Real Friends, and No More Parties in L.A.
KELLE N RENST ROM
BY DYLAN WOOLFOLK Whether you know him through Twitter beefs and rage filled interviews, or if you’re a fan of his genre altering and inspiring music, Kanye West has created tremendous hype for his highly anticipated seventh studio album. West’s project has been in the works for quite some time. Harkening back to 2010, West released new music every Friday leading up to the release date his fifth studio album “My Beautiful Dark Twisted Fantasy.” Although not fully committing to bringing this series back, West put out a slew of Friday single releases leading up to the Feb. 11 album release. The first track is essentially Ye taking shots at Nike, the rapper’s former business associate.Titled “FACTS,” this trap flavored, poorly mixed temper tantrum left fans disappointed and scared for the release of the fulllength project. Not only do we get West out of his element, but the song is clearly a rip-off of Drake and Future’s “Jumpman” collaboration, leaving expectations extraordinarily low for the upcoming Fridays. When listening to the next release, “Real Friends,” featuring Ty Dolla $ign, it’s hard to believe “FACTS”
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falls under the same artist’s discography. Produced by the legendary Madlib, “Real Friends” is a self-aware unraveling of the heart. The looped beat here is simple and beautiful, but it’s nothing groundbreaking. West addresses the issues that come with getting older as well being a multi-million dollar rapper.They don’t have separate verses, and they don’t trade bar-for-bar, but rather West raps most of the song and Ty comes in to sing once in awhile. Overall, the record comes together beautifully and showcases West’s full potential. The most recent Friday release, “No More Parties In L.A.” featuring Kendrick Lamar, shows both artists at the top of their game. Yeezy opens the track up with the hook and a few bars, which are followed up by Lamar’s impressive verse. Usually, one wouldn’t want to precede a Lamar verse in fear of looking like an amateur, but West delivers and exceeds expectations. The song is fast paced, witty, and well executed. West failed to produce new tracks most Fridays, but getting three singles out of the deal is nothing to complain about.
THE WAKE // SOUND & VISION
A Life After Death H E L E N T E AG U E
How our views of celebrities shift after their passing BY ANNALISE GALL Despite its inevitability, death always seems to take us by surprise. The start of this year brought a few of these jolts, most notably the death of musician David Bowie, closely followed by actor Alan Rickman. Death puts any artist’s life under scrutiny as we look back on their body of work and try to come to terms with their passing. For those like Rickman, we can recall a bodied career, full of distinct roles spanning across comedy, fantasy, and—of course—villainy from “Die Hard” to “Harry Potter.” His personal life turns up, if not as entertaining, as steady; Rickman traversed through London and Hollywood alike without the touch of a scandal. Others were not so lucky. While Rickman may be remembered as a beloved British villain, he won’t go down in history as an icon.Those spots are reserved for the biggest, the boldest, and the most controversial—the likes of David Bowie.
// For lives that were not lead perfectly, it can be difficult for a public to find a place for these
//
gruesome facts in their memories.
Artists such as Bowie experience the brunt of public inspection, as their acclaimed body of work is matched only by their scandalous personal lives. Like the aftermath of Michael Jackson’s death, fans immediately flock to their beloved artist in sympathy; simultaneously articles appear chastising them for accounts of rape or abuse. For lives that were not lead perfectly, it can be difficult for a public to find a place for these gruesome facts in their memories. So, we take it upon ourselves to simplify the process, by denouncing persons to a single, dominant attribute—good or bad. While alive, we were able to debate the nuances and intricacies of all aspects of an artist’s career. Details of both work and personal life could be discussed as they were happening, and discerned accordingly. If we couldn’t pass judgment on an issue, it could be bookmarked for later. After passing, this luxury is removed. The book closes, and we must accept the legacy we are left with at face value.
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LI Z Z I E GO NC H AROVA
THE WAKE // SOUND & VISION
We’ve Got Our Eyes on You, Hey Marseilles The reinvention of Seattle’s favorite folkestra BY BELLA DALLY-STEELE Following the release of their new single “West Coast,” Seattle’s favorite orchestral folk pop band, Hey Marseilles, began their journey to conquer the Midwest. Minneapolis was among the lucky cities to be graced with their warbling orchestral sound. Strident fans and quizzical newcomers filled up The Turf Cub for the band’s Minneapolis appearance.
The band’s new self-titled album is such a detour from their roots that one can hardly deny the paradigm shift. Their stringed influence is still predominant live, but the band’s recorded music is a different story.
Key tunes incorporate new sounds, namely the electronic experimentation present in “Heroes” and “Trouble,” and the unambiguous pop tones appearing For people unfamiliar with Hey Marseilles, the most in “My Heart,” “Perfect OK,” and “Eyes on You.” In accurate description is a folksy mashup of Owl City and both domains, their overall style and Matt Bishop’s Passenger. One might call it a sort of forlorn whimsical melancholic vocals remain. However, their music takes sound with much appreciated accordion punctuation. on a new dimension as the usual cluster of stringed The five member band has historically produced crescendos fade into the background, diverging from classical melodies reminiscent of an orchestral cast of their characteristic heart-wrenching ballads. stringed instruments with a few oddities including the occasional mandolin and accordion. To long-time fans, Loyal fans were reassured that their orchestral influence the performance at the Turf may have appeared out of has not disappeared entirely, as evident in “Crooked character. The band’s previous m.o falls by the wayside Lines.” While Hey Marseilles’ meandering Francophile as the stringed instruments took backseat to the guitar folk aesthetic will be missed, it is impossible to deny the riffs and Colin Richey’s drum antics. excitement brought on by their new direction.
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MAD I S O N D I GI OVANNI
J U S TI N S ENGLY
S O P H I A FES S ER
THE WAKE // SOUND & VISION
Lizzo
at First Avenue BY GRACE BIRNSTENGEL
David Bowie’s Blackstar
BY KARL WITKOWIAK We don’t get many musical artists as unique as David Bowie in our lifetime. While on his deathbed, he released one last album that was both engaging and legitimately great. “Blackstar,” Bowie’s final album, demonstrates why he was one of the greatest pop stars of all time. The production oozes with the astronomical bombast that encapsulates Bowie’s best work, demonstrated in title track “Blackstar” and in “Sue (Or In a Season of Crime).” Each track also has something that differentiates itself from the next in terms of instrumentation— from the strings in “Girl Loves Me,” to the harmonica fluttering in “I Can’t Give Everything Away.” The real highlight of this album, however, is the lyrics. Bowie was always a lyrical genius, and in this album, he’s more poignant and weary than ever. This is best heard in “Lazarus” where Bowie copes with his impending death. He is grief-ridden at first, but, as the track continues, he starts to find solace and acceptance in the inevitable. The title track, “Blackstar” is almost a story of his rise to stardom and how he was unique from any other musical artist. As he says, he’s not a pop star, he’s a “blackstar.” In other words, he’s one of a kind. “Blackstar” is an exploration through the life of Bowie. During the last song, “I Can’t Give Everything Away,” listeners will likely feel sad and empty, as one of the greatest artists of all time says “goodbye” to longtime fans. Goodbye Bowie.You were truly a blackstar.
Melissa Jefferson, known as Lizzo, took First Avenue’s stage Feb. 6 in black booty shorts already growling through “Ain’t I,” the first track off her most recent record “Big Grrrl Small World.” She didn’t need to warm up, she was already at 100 percent. The show had the entertainment value of, say, watching the Super Bowl halftime show or another over-stimulating, “can’tlook-away” performance. At any point during the night, the stage boomed with high-speed rapping, soul-crushingly soulful singing, groove-inspiring dancing, or one the energy of one of the night’s many special guests. Surrounding Lizzo were Minneapolis mainstays like DJ Sophia Eris (who joins Lizzo in rap group GRRRL PRTY) and producer and multi-instrumentalist Eric Mayson on keys. Several times throughout the night, Lizzo made it clear that everything— the show, the new album, her career—wouldn’t be possible without people like Eris and Mayson, giving a special shout out to her brother Mikey who runs the Lizzo merchandise table. Lizzo roared through the rest of her set by playing her new record front to back, with a brief interruption by a mini GRRRL PRTY set. GRRRL PRTY is made up of Lizzo, Eris, and Manchita backed by DJ Shannon Blowtorch. After singing a happy birthday duet to Twin Cities singing legend Har Mar Superstar with local R&B artist Caroline Smith, Lizzo rounded out the night by playing her first hit single, “Batches & Cookies,” noting that while she’s no longer allowed to throw the audience cookies, (“That’s a lawsuit waiting to happen”) she would happily toss Lizzo merch instead.
Daughter’s
Not to Disappear BY EMILY HILL There is no denying that Daughter is a group of seasoned songwriters, articulating both anguish and melancholy through melodies. On “Not to Disappear,” the British indie rock band does not stray from their distinguished and distressing yet edgy style established in the debut “If You Leave.” In “Not to Disappear,” there is a graceful shift in their approach to profundity, seriousness, and vengeful heartache. It is grungy but emotional, soft yet astonishingly animated.The evolution of their sound is highlighted in “No Care” as lead singer Elena Tonra chants, “I don’t care anymore” and “I felt like a bad memory” with a backbeat to counteract the intense lyrical depth. From the title track “New Ways,” to the single,“Doing the Right Thing,” the ease of Tonra’s voice bellows out a rich, haunting tone. Intensity of Tonra’s lyrics (“Just moving in slow motion/To keep the pain to minimal”) is juxtaposed by the smooth draw of her voice. Reemerging with themes of emotional numbness and raw desolation, Daughter proves their ability to evolve without restraining lyrics that continually tantalize audiences. With the emotional heaviness conveyed in all of their work, realness and transparency is reflected in “Not To Disappear.” Daughter demonstrates their ability to create harmonious anthems of poetic and beautiful despair to diversify any music library.To catch their artistry live, Daughter play at First Avenue on March 12th.
WAKEMAG.ORG // 23
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MEET ME AT THE WAKE ;) Monday, February 22
8 pm