The Wake, Issue 5, Fall 2015 by The Wake Magazine

NUTS FOR SSSDUDENUTZ

GUACAMOLE FEATURE PG. 13 //

// PG. 5

MATERIAL MISHAPS

POLITICIANS NIGHT LIVE

// PG. 11

PG. 20 //

VOLUME 15, ISSUE 5 // NOV 30–DEC 13

Works by Areca Roe November 19–January 24 | Art Opening: Friday December 4, 6–8pm Open to the public

Areca Roe

arts

FALL 2015 EXHIBITIONS

culture AT THE COFFMAN ART GALLERY COFFMAN MEMORIAL UNION • FIRST FLOOR

sua.umn.edu

VOLUME 15, ISSUE 5 NUTS FOR SSSDUDE-NUTZ // PG. 5

GUACAMOLE FEATURE // PG. 13

BEYOND THE FOOTBALL FIELD // PG. 8

SUNFLOWER BEAN // PG. 16

MATERIAL MISHAPS // PG. 11

POLITICIANS NIGHT LIVE // PG. 20

EDITORIAL: Sound & Vision Editors Peter Diamond Shawnna Stennes

Editor-in-Chief Grace Birnstengel Managing Editor Lauren Cutshall

Art Directors Lizzie Goncharova Max Smith

Cities Editor Kevin Beckman

Copy Editors Alex Van Abbema Joe Rush

Voices Editor Kayla McCombs

Editorial Interns Emma Klingler Sammy Brown Olivia Heusinkveld Carson Kaskel Faculty Advisor Chelsea Reynolds

PRODUCTION: Executive Director Kelcie McKenney Head Designer Becca Sugden Graphic Designers Caleb Vanden Boom Kate Doyle Olivia Novotny Web Manager Carter Gruss

Public Relations/ Advertising Manager Sara Erickson Social Media Manager Abby Richardson Finance Manager Nels Haugen Distributors Abigail Rommel Sam Gunderson

THIS ISSUE:

PR Interns Jenna Ogle Photography Interns Juliet Laske Kellen Renstrom Illustration Interns Aaron Musickant Taylor Severson Madison Digiovanni Helen Teague Design Interns Breanna Vick Erin Bankson

Photographers Kellen Renstrom, Juliet Laske, Kelcie McKenney, Zach Bielinski, Carson Kaskel Illustrators Lizzie Goncharova, Aaron Musickant, Max Smith, Taylor Daniels, Breanna Vick Taylor Severson, Madison Digiovanni, Trevor Beaty, Lindsay Wirth Contributing Writers Hannah Fox, Colin Miller, Ellen Urquhart, Samantha Huot, Carson Kaskel, Olivia Heusinkveld, Karl Witkowiak, Kayla Song, Chelsea Visser, Peter Diamond, Emma Klingler, Annalise Gall, Sammy Brown, Abel Mehari, Hannah Kloos, Kevin Beckman, Alex Van Abbema, Grace Birnstengel, Erin Stevenson, Aaron Job

©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.

LETTER FROM THE EDITOR

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

Fall is almost inherently nostalgic. As I try to impart some enlightening wisdom to you, reader, I cannot help but think of last fall, of how I first became involved at The Wake. It was completely serendipitous, but it also involved taking initiative. I had just enrolled in the U’s journalism program, and through what seems like divine intervention now, had just happened to sit next to my good friend Lauren Cutshall, our managing editor, in class. We hit it off. After explaining what The Wake was, she then asked me if I wanted to write for them. Perhaps because I had no plans, no clear trajectory for where I wanted this overwhelming new field to take me, I said yes. Opportunities can be hard to come by around the U. What makes The Wake so special is that we are an independent, completely student-run publication. As a forum of student opinion, we have the privilege to write about whatever we want, to cover issues that people don’t want to talk about, to give a voice to the voiceless, and to fulfill your indelible appetite for news, dear reader. So it’s vital to make opportunities happen, to reach out to others, and to let your own voice be heard. The Wake is a family with accepting, open arms. So within these pages, we invite you to join the essential conversations we believe need to be held. Peter Diamond Sound & Vision Editor

December Movie Preview YO UTUBE.CO M

STARWAR S .CO M

F OX MOVIES . CO M

BY ALEX VAN ABBEMA

Star Wars: The Force Awakens

The Revenant

Concussion

Release date: Dec. 18

Release date: Dec. 25

The highly anticipated 7th installment of the “Star Wars” saga is set 30 years after the defeat of the Galactic Empire. Recent trailers for the movie have received rave reviews and have given fans hope that director J.J. Abrams can bring the series back to its former greatness.

This biographical Western thriller ﬁlm may be actor Leonardo Dicaprio’s best chance yet at winning his elusive ﬁrst Academy Award.This period piece from the 1820s details a frontiersman who sets out on a path for vengeance against those who left him for dead.

Will Smith plays Bennett Omalu, a forensic scientist attempting to publicize his research on brain damage in American football players as the NFL attempts to discredit him. The recent suicides of NFL stars Dave Duerson and Junior Seau prompted producer Ridley Scott to explore this issue further.

WHAT TO LISTEN TO THIS MONTH KELC I E MC KE NN EY

BY GRACE BIRNSTENGEL Lizzo’s “Big GRRRL Small World”

What’s the best alternative to “Netflix and chill”? PILLOW TALK AND BR EAK FAS T I N BED BOARD G AMES AN D FUN DINNER AND A M OVI E

SW IPE RI G H T AN D C RY

20% 10% 35%

35%

Minneapolis-via-Houston rapper Melissa Jefferson, known by her stage name Lizzo, entered the Twin Cities music scene with her work in GRRRL PRTY and The Chalice, but in recent years her solo work has taken off. Lizzo released her debut album, “Lizzobangers,” in 2013, and is now following up with “Big GRRRL Small World” this month. So far, she’s released three singles. “My Skin,” which opens with an excerpt of Jefferson talking about body love and acceptance, showcases her vocal range and riffs on Beyoncé: “I woke up in this / I woke up in this / In my skin.” “Ain’t I” is a classic Lizzo banger. She told The Fader the track is “all of [her] blackness and womanhood crammed into 3 minutes and 56 seconds.” And “Humanize” is just beautiful and spacey—think FKA Twigs meets Lauryn Hill. Release date: Dec. 11

4 // NOV 30–DEC 13

THE WAKE // CITIES

NUTS FOR SSSDUDE-NUTZ How one ‘sssdude’ and a great idea are creating a sense of community in Dinkytown

BY ERIN STEVENSON

T R E VO R B E AT Y

Dinkytown is branded as a “college neighborhood.” Pennants, banners, and posters declaring pride in the University of Minnesota decorate the walls of the many different shops, attempting to create a sense of community for students and others who frequent the area. But does simply putting up a banner make a statement about a store’s investment in the community? In reality, the corporate stores that line Dinkytown blocks have little connection to the U and its students. There are a few longstanding businesses in the area that delightfully break this trend, the most recent being SssdudeNutz, a new donut shop started by University graduate Bradley Taylor. While the shop itself is only a couple of months old, his donut business has been in operation since last year. Taylor started to make his own donuts after missing the delicious pastries from his home state California. His were so good that his business quickly took off. He found success with pop-up shops in the area, and just a little over two months ago, opened up a permanent location on 14th Ave. next to the Kitty Cat Klub.

Misfits, Motorcycles, & A Medium Roast

Opening a donut shop was never something Taylor planned on. Besides having a love of donuts, as well as art and music, he had his sights set on being a nurse. “I was set on being the best nurse ever,” he said. Talking to him, I gathered that he could have indeed become “the best nurse ever.” His way of communicating with people is delightfully unconventional. I witness this as I’m talking to him on the comfy upholstered chairs in the corner of the shop. When people walk in, some are confused and look around for an employee, someone who might be wearing a visor or an apron. “What’s up sssdude?” he says as he rises from the chair and walks behind the counter. People go in for the donuts, but stay for the conversation (and also the donuts, because they are really good). Soon there will be a Nintendo plugged in for patrons to play, and Taylor is looking to display the work of local artists on the walls. The relaxed, friendly atmosphere and delicious pastries contribute to a truly one of a kind, locally bred business.

BY AARON JOB What do a recent high school graduate, college naysayer, and a world traveler have in common? Coffee. A very unique love of coffee, in fact. Alex Boehm and Marcus and Mitchell Parkansky are owners of Misﬁt Coffee Co., a company revolutionizing both the coffee and food truck industry.

the prospect of being inside such a local landmark, and hope to get off, or rather on, the ground there in early December. Mobility is their mantra, and they hope to diversify their fleet in the future. The company is not a typical brick-and-mortar shop, nor is it They want to “trick out” a motorcycle technically a food truck. In fact, it’s actually a trailer custom with sidecar that would house their designed to brew and serve coffee in a grab-and-go kind of way. famous Nitro-brew (think coffee with It’s also easier to meet the demand of customers. Guinness-like thickness, froth, and all the caffeine you need). The three Misfits are also The idea for the “mobilization of coffee” came from Marcus, looking at renovating an old VW bus with a who graduated high school in the spring of last year. He “coffee-tap” that would house their seven distinct consulted his long time friend, Alex Boehm, who was three blends. They’re like a coffee cab—all you’d need to semesters deep into the college grind, for business advice. do is hail one done. Boehm, who had been questioning his choice of college, let the idea simmer for a while before ultimately deciding to hop on To say the least, the Misfit pot is steaming with youthful thirst board. Marcus’ brother, Mitchell, had just returned from a trip and revolutionary ideas. For now, you can find their trailer by the abroad and was eager to help his sibling out. Guthrie in the morning, or around campus in the afternoon.

LI Z ZI E GONCH AROVA

The Misfit Coffee Company

Four months later, the trio is getting set to hibernate inside the locally famous Izzy’s Ice Cream. The three are ecstatic at

WAKEMAG.ORG // 5

MAX S MI TH

THE WAKE // CITIES

Our Youth are Survivors In the face of widespread youth homelessness, Avenues for Homeless Youth fights to keep young people off the streets BY KEVIN BECKMAN According to a 2012 study conducted by the Amherst H.Wilder Foundation, an estimated 4,080 Minnesota youth experience homelessness on any given night. This figure is nearly twice what it was in 2006. An estimated 60 percent of Minnesota’s homeless youth are in the Twin Cities Metro area. For many of these youth, a roof over their heads is just a starting point. Many need skills in independent living¬ such as how to keep a checking account, how to do laundry, and how to prepare low-cost meals. Others need the support of a caring adult—having someone they can call in a crisis. Avenues for Homeless Youth strives to provide more than just a roof and a meal.Through support services and counseling in a safe and nurturing environment, Avenues helps homeless youth transition from surviving on the streets to being able to live independently as adults. Avenues’ shelters address the basic needs of youth, ages 16 to 20. Youth counselors and case managers are available for direct care 24 hours per day, under the supervision of Program Director Elaine Woods. Case managers not only help youth find a place to live, but help them develop the skills necessary to live independently. Youth are supported as they learn to cook for themselves, clean up after themselves, and live in community with other people. Avenues also offers financial training, like being able to save money to pay rent and bills. The care Avenues provides doesn’t stop with the youth’s stay. According to Woods, many youth still need ongoing support after they leave the shelter system. As Avenues’ after-care coordinator, Woods helps youth find independent housing and connects them to community resources like food shelves, employment programs, parenting programs and groups, and hospitals and clinics. She also helps youth with resumes and serves as a reference for employers.

6 // NOV 30–DEC 13

Woods said connecting youth with the mental and physical health resources they need is a vital part of her job. She refers youth to clinical psychologists and therapists and makes sure they’re taking their medication. She also helps youth get involved with their communities to make sure they don’t feel isolated and alone. “It’s so important to just be there for them,” Woods said.

//It’s not about trying

to save anyone. It’s about providing resources to young people since we have people who have those resources available.

trauma, resiliency, and positive youth development. Most youth in the program are of color, while most hosts are white. Berg said a signiﬁcant portion of the training is dedicated to white privilege and power, as well as gender identity. Primarily, the training makes potential hosts consider why it is that they want to invite homeless youth into their homes. “Training is about the host homes understanding themselves, their values, and expectations,” Berg said. In addition to providing shelter and food, host families can provide an opportunity for their youth to build relationships with caring adults—something that Berg said can be equally important as a roof or a meal. The relationship between host and youth is need-driven, and every case is unique. Some youth want nothing more than a roommate-type relationship with their hosts. Others, Berg said, might be looking for a deeper relationship. The goal of the program is for young people to work towards being able to live independently, and Berg said sometimes a community or support system can be instrumental in this respect. “It’s really about what the youth want,” Berg said. “We don’t want to impose that kind of relationship on young people who don’t want it, but it’s offered and available.”

“It’s not about trying to save anyone,” he added. “It’s about providing resources to young people since we have people Avenues’ Host Home Program was founded as a community- who have those resources available.” based initiative in response to the homeless youth issues facing Berg said host home programs aren’t the only answer to the Minneapolis community. combating youth homelessness. However, its unique approach provides homeless youth with options. According to Ryan Berg, program manager for the Minneapolis and Suburban Host Home Programs, host families are asked to provide food and shelter for youth and young people for up to “When we’re dealing with more systemic issues that cause homelessness, we have to ﬁnd more creative solutions instead a year, though the typical stay is around 8 or 9 months. of relying just on the government or just on more traditional support programs,” Berg said.“It’s just as important to have this According to Berg, every host home goes through a screening process, background check, and a 16-hour weekend training ‘outside the system’ approach where it’s about the community session. During the training, host families are educated on taking accountability and responsibility for itself.” AVENUES’ HOST HOME PROGRAM

THE WAKE // CITIES

Ilhan Omar for District 60B One woman’s revolutionary run for state representative BY HANNAH KLOOS November 10 saw the Mixed Blood Theatre ﬁlled to the brim with people of all races and ages, uniﬁed by one common goal: elect Ilhan Omar. Omar’s campaign for representative of Minneapolis House District 60B kicked off with a celebration, complete with a DJ, appetizers courtesy of Afro Deli, spoken word poets, and testimonials from local policymakers, including the University of Minnesota’s very own student body president, Joelle Stangler.

new face and background from a community that has been underrepresented.” In the beginning of Omar’s speech, she asked the audience to consider the deﬁnitions of the terms “liberal” and “progressive.” “Being a liberal means being open to new ideas,” she said.“Being progressive means acting on those ideas.”

“I met Ilhan over the summer and was so amazed at her experience, earnestness, and genuine concern in issues facing all young people,” Stangler said. “Not only is she someone who is going to represent our students, but she brings a

A college graduate, Omar has experienced the pressures of student debt and hopes to decrease its ﬁnancial burden on students. “We need to focus on making higher education not only more affordable, but more accessible,” she said.

Luckily, Omar has plenty of new ideas and plans to carry them out.

Omar also said she is passionate about protecting the environment, and supports decreasing dependency on fossil fuels and developing clean energy. “If we want our planet to sustain us, we must care for it, we must be better stewards,” she said.

ZACH BI EL IN SK I

A champion of workers’ rights, Omar said in her speech that in order to close the opportunity gap, we must pay a living wage. “We must demand fair scheduling and paid sick leave for all workers.”

//A college graduate herself, Omar

has experienced the pressures of student debt and hopes to decrease its financial burden on students.

perspectives in office. “The same people have been making big decisions at the Capitol for a real long time. When we make an effort to reach beyond the familiar, to bring in new people with new ideas, we find that we end up with more choices, better choices, for every Minnesotan.” Ilhan Omar would undoubtedly be a new voice. If elected, she would be the first Somali elected to the Minnesota legislature. In fact, she would be the first Somali elected to any state legislature in the country. Representation for the Somali community would be especially beneficial in District 60B, home to the largest Somali-American population in Minnesota. Omar contends that while Kahn claims to have the community’s interests in mind, she lacks an extremely valuable asset: fluency. Omar’s ability to converse with her constituency is a major advantage. Because Omar can speak directly with District 60B’s Somali population, she is more equipped to understand their concerns and advocate for them. For example, some of the biggest cheers of the night came when Omar shared her experience passing a law that required restaurants to extend their hours to accommodate for Ramadan. Additionally, Omar’s status as an immigrant further adds to her capacity to relate to voters. Omar’s family moved from Mogadishu, Somalia to the Cedar-Riverside neighborhood of Minneapolis when she was in 6th grade.

As a child, Omar gained a love for politics from her grandfather, who instilled in her an interest in American and Somali politics. However, Omar faces tough In high school, Omar began attending local caucuses, which competition from the incumbent candidate. Now in her 22nd term, spurred a sense of community involvement. After college, she Rep. Phyllis Kahn is the longest- dove deeper into local politics, eventually becoming a senior policy aide to Minneapolis City Council member Andrew serving member of the Minnesota Johnson in 2013. state legislature. While Kahn’s experience is unquestionably Omar worked her way up the political ladder and has significant, she has an inherent confidence in her potential to uplift others with her leadership. disconnect with District 60B’s diverse and primarily young “I have a strong vision for our future and the future of our children. I have the drive, the talent, and the tenacity to make constituency. The world has that vision a reality for all of us,” she said. changed drastically since Kahn was elected to office in 1972, Omar’s candidacy is especially notable because of what it which begs the question: should symbolizes for Minnesota, and the country as a whole. Diversity District 60B’s representative in politics fosters inclusion and efficacy within government and change, too? ensures that minority groups aren’t forgotten. Consequently, Omar asserts that Minnesota needs new “When we stand together and fight together, we win.”

WAKEMAG.ORG // 7

THE WAKE // CITIES

BEYOND THE FOOTBALL FIELD

Jerry Kill leaves behind a legacy of excellence

TAY LO R S E V E R S O N

BY ABEL MEHARI Sports do not build character, they reveal it. That was the reputation Jerry Kill brought during his tenure as the Gophers football coach. By the time he retired due to seizures, his vision for excellence was realized. When Kill resigned on Oct. 28, his health problems were just too much for the 58-year-old coach to deal with.

Nobody cared more about the student-athletes than Coach Kill. He was truly invested in their lives and knew as much about their life off the football field as he did on it.

“He brought toughness and accountability to Minnesota when the program needed it the most,” said Tracy Claeys, former assistant to Kill and current head football coach. After the team finished at 6-7 in 2012, the team took a major leap as the Gophers finished the 2013 season at 8-5 and 4-4 in the Big Ten conference. The success of 2013 translated into 2014, as Kill’s Gophers finished 8-5, but finished 5-3 in conference play.

Following countless seasons of disappointment and empty promises, Kill was brought on to re-establish the competitive toughness and credibility in Minnesota. He had a good record of turning unknown programs into success stories, going all the way back to his early days at Saginaw Valley State University in Michigan.

Their highlights of 2014 were victories against Iowa (51-14) and Michigan (30-14) to claim the Floyd of Rosedale and the Little Brown Jug. This was the ﬁrst time Minnesota beat both Iowa and Michigan in the same season since 1967.

In his first coaching job in 1994, he led the Cardinals to five consecutive winning seasons, including back-to-back 9-2 campaigns. Kill compiled a 38-14 record in five seasons as head coach.

Kill and the Gophers would earn a berth at the Buffalo Wild Wings Citrus Bowl on Jan 1, 2015.The game marked the team’s ﬁrst appearance at a January bowl game since 1962 when Minnesota defeated U 21-3, on Jan. 1 in the Rose Bowl.

After a brief two-year tenure in Emporia, Kan., where he went 11-11 with the Hornets in 1999 and 2000, Kill was named head football coach at Southern Illinois University Carbondale in 2002. This is where Kill began validating his reputation of turning unknown schools into winning programs.

But the greatest feature Kill brought to Minnesota went beyond the X’s and O’s. He challenged his players to shine in the classroom.

After rough seasons of 1-10 in 2001 and a 4-8 in 2002, Kill’s record over his final five seasons (2003-2007) with the Salukis was 50-14 and included five straight NCAA FCS playoff appearances.

“Nobody cared more about the student-athletes than Coach Kill. He was truly invested in their lives and knew as much about their life off the football ﬁeld as he did on it.” Claeys said. “He always said that they don’t put wins or losses on your tombstone. He was in the game to help people.”

During the rebuilding process, the Gophers achieved a 994 Prior to the 2008 season, Kill coached the Northern Illinois Academic Progress Rate (APR) in all three seasons under Kill. Huskies to three straight bowl games. In 2010, he led the Huskies to the Mid-American Conference Championship game. Although his health problems forced Kill to retire, most who At HIU, he coached six first-team all MAC selection, earned played and worked for him will remember his impact on 10 first-team all MAC honors in his three seasons, and was individuals’ lives and his strive for excellence. presented with the National Football Foundation Courage Award by the Chicago Metro Chapter of the National Football “The one thing I will remember the most is how loyal he was Foundation and College Football Hall of Fame. to his staff and how much he cared about his players. He’s one of a kind,” Claeys said. In three previous stops prior to arriving at Minnesota, he never left a school with a sub- .500 record. He consistently took over His success helped put Minnesota back on the collegiate teams with losing records and gave them winning seasons in football map, and the rebuilding process Kill started provided a three years or less. foundation that spoke heavily of his character. His goal was beyond winning football games; he wanted to change the lives of his players and set high academic standards. But his first season didn’t bring automatic success, as the Gophers finished the 2011 season at 3-9. Slowly, however, fans began to feel some confidence as Kill pieced together the foundation of success.

8 // NOV 30–DEC 13

Despite his retirement, the principles and goals for Minnesota will forever remain instilled in everyone in the athletic program. Sports brought out the best of Jerry Kill, and everyone will remember his gracious contributions.

THE WAKE // VOICES

Strangely Confused: The Outsiders of 2016 Fear, stupidity, and craziness on the campaign trail BY AARON JOB

It’s like a terrible joke about a priest, rabbi, and minister walking into a bar. Except the bar is the chasm of a butthole that is American politics, and the three have been replaced with the grumpy old man from “UP,” a neurotic neurosurgeon, and a bigoted billionaire. THE DONALD It’s the year of the outlier. It’s 2015, and yet the front-runner for the dysfunctional right is Donald Trump. Donald-fucking-Trump. The Donald: a man who has gathered those so far to the right they’ve fallen off the spectrum, of reality perhaps. As Jon Stewart said, “It’s like an Internet comment troll ran for president.” The strangest thing is this very fact: the man who has said that “One of the key problems today is that politics is such a disgrace, good people don’t go into government” is leading the Republican polls for the Office of President of the United States. What a strangely delirious time to be alive. A BLACK REPUBLICAN? Ben Carson, a neurotic, sometimes nebbish man who thinks the pyramids were built by the biblical character Joseph as a means to store grain, has been trading the number one spot with Trump for the past month. As if having a black Republican candidate wasn’t curious enough, this one seems to have to defend his claims of being an attempted murderer. Well, thank Jesus for that, I guess, if you’re into that sort of thing, which he is. He’s also compared abortion to slavery. I’ve tried coming up with something witty to say about this, but Jesus is that hard. But we should trust him; after all he did get offered a full-scholarship to West Point. While Carson and Trump have been rambling on in drunken uncle fashion about immigration, walls, the American Dream (which has been dead for quite some time by the way), and the holiday cups of Shitbucks, a Sesame Street character has come to life and joined the absurdity of presidential candidates.

morally fighting for the under-represented and poses a threat to the 1 percent of America. He’s stood by his guns (quite literally) through every office he’s held, and is the most unpolitician-like politician in the race. In a sea of unlikely characters, the puppet muppet old man that is the reincarnation of Carl Fredrickson has been turning some heads due to his truthful and sincere nature: something Washington isn’t used to seeing. BUT WHY? As a generation of voters familiar with the psychological trauma caused by the 2000s comes of age, it becomes blatantly apparent as to why these oddballs are dominating the polls. With the bipartisan line so clearly defined, and people at both ends bowing the spectrum to its limits, Washington has been at a standstill. A literal standstill by in which the government of the United States has actually shut down because both parties are so far separated they wouldn’t be able to share a deserted island. There’s the far right, and the far left. No in-between. Compromise is as likely as television stations finally getting Trump's hair to broadcast in high-definition. Our current political field is ripe for the outsiders. An outsider here or there might act as a much needed representative of reality for a generation lost in translation. They serve as an electro-shock to the political status quo, so long in the making that we’ve been granted our last meal.

// As if having a black Republican candidate wasn’t curious enough, this one seems to have to defend his claims of being an attempted murderer.

COURT ES TY OF DON KE Y H OTEY

Whether you’re up the ass of the donkey or the elephant, politicians are politicians. Spineless creatures of the sort, surreptitiously crawling drunkenly through a crazed media storm of scrutiny. They don Halloween masks made not of plastic and rubber, but bullshit and a vacillating tumor that flops from one side of their face to the other. At least, this is what we as millennials are prone to think.We’ve felt the blows of the Clinton presidency (both below and above the desk), the bewildering idiocracy of the Bush administration (“They misunderestimated me.” Yes, we really did), September 11, the recession, and are fatigued with the notion of fighting a seemingly endless war against a faceless enemy. So a year before the actual election, it's no surprise that we’ve come to look at, or rather squint at, the political outsiders leading across the spectrum.

FEELING THE SAND…ERS The Vermont Bone Crusher is as much an outsider to the Democrats as Trump and Carson are to the right. A selfproclaimed Democratic Socialist, The Bernman Sanders has most certainly got the country “feeling the Bern,” in a surprising fashion as well. His attitude towards Wall Street is reminiscent of Sesame Street characters telling us to “do the right thing.” He’s

WAKEMAG.ORG // 9

THE WAKE // VOICES

A Stale Joke

P H OTO S B Y Z AC H B I E LI NS KI

SNL flops in its attempt to satirize Trump

BY SAMMY BROWN This year’s election week ended with 9.3 million viewers eagerly awaiting the ridiculous lines Donald Trump would pull while hosting Saturday Night Live. The ratings trumped (heh) all SNL ratings since 2012. However, the reviews didn’t fare so high, with Trump’s jokes proving to be a bit like his hair: predictable, washed-out, and thin.

or herself? Impersonations are often ruthless and done without consent, but the decision to mock oneself is a powerful political strategy. During election season, politicians are hungry for screen time. Late night TV has become an avenue for politicians to show personality while promoting their agenda, and to prove—like Trump said in his monologue—that they can take a joke.

As I listened to Trump’s monologue, I found myself wondering why he was even there, to which he answered, “I have really nothing better to do.” But as the show trudged on, dragging its feet in tired jests and thoughtless sketches, I found myself wondering why I was there.And now, why nearly ten million people spent their Saturday nights just as I did? Because really, what was everyone expecting?

In Trump’s case, however, there is no such thing as “a” joke, but rather a thousand, and not everyone is laughing. Prior to Trump taking the stage, protesters from Hispanic advocacy groups marched from Trump Tower to 30 Rock with banners reading, “Basta Trump: #RacismIsntFunny,” and “Dump Trump,” with the candidate depicted as a pile of poo. One of the participating groups, Deport Racism, promised $5,000 to whoever called Trump a racist during the show—a challenge to which Larry David arose, disrupting Trump’s monologue. Though David’s heckling was met with laughter, Deport Racism called it a victory.The truth was stated and Trump dodged it, silently telling Americans he feels no guilt.

Since its debut, SNL’s politically charged satire has been its hallmark. From its longest running segment, “Weekend Update,” to beloved one-liners (“I can see Russia from my house!”), SNL has made light of politicians and flirted with controversy. While the liberal leaning show aims to poke fun, scholars report associations between SNL’s political portrayals and election results. In one study that coined the phrase, “The Fey Effect,” researchers from East Carolina University found a correlation between young adults who had seen Tina Fey’s impression of Sarah Palin and the failure of the McCain/Palin ticket. If making fun of a candidate has a negative effect on their electionday results, is the opposite true when a candidate makes fun of him

10 // NOV 30–DEC 13

While the boycotters made their message clear, they certainly didn’t impede the episode’s steep ratings—a number Trump surely considers another victory. Like myself, countless Americans claiming to be “anti-Trump” turned their TVs to NBC alongside Trump’s supporters—both feeding Trump’s selfproclaimed success. But why did we do it? His empowerment doesn’t rest solely on whether we fill in the bubble next to his

name next November.We feed him little by little, tweeting about his ludicrous declarations and dressing like him for Halloween, egging him on to continue to be ridiculous—a vicious cycle. Some laughed with Trump as he suppressed his own smile and danced to “Hotline Bling,” while others looked as if they’d just gulped sour milk. But the fact is all of our eyes remained glued to the screen. The first sketch envisioned Trump in the Oval Office as his team reports the excellent state of the union. Trump revels in how he has “made America great again.” The Mexican border wall is built and former Syrian refugees are “so happy” working at the Trump Hotel and Casino in Demascus. Trump then breaks the fourth wall, promising viewers that when he’s president, it’s going to be even better. Laughter was sparse because it was unsurprising; Trump has said these things live before. Because he’s serious. Trump has desensitized himself to the world with outlandish comments about race, women, and class—so what more did we expect from his SNL performance? Did we want him to be more offensive? Because we love to hate him? Or did we watch as a quick and easy way to get drunk, taking a shot every time he said something demeaning toward x, y, or z people? Whatever the reason, Trump played himself perfectly well. He was true to character, so it’s unlikely he lost or gained any supporters. How did SNL expect to satirize someone who is already a living caricature? Once again,Trump proved himself as a joke, and he fell flat.

THE WAKE // VOICES

5 frustrations to avoid this holiday season

J U LI E T LAS KE

Material Mishaps BY ANNALISE GALL Ah, the holidays. A time spent with family and friends around an open fire, roasting chestnuts, trading tales, and basking in the glory of gifting. As exciting as those hour-long light-rail trips to the Mall of America in search of the perfect present are, there can be some frustrations that come along with confronting the cesspool that is capitalism. Here are a few things you should avoid when shopping this season:

1. Fake pockets Imagine this:You find the perfect pair of jeans.We’re talking the wash, the color, the fading, the stretch—it’s all there. But as you are checking out just how great they make your butt look in the fitting room mirror, you realize there is something preventing you from slipping your palm down the thrillingly foreign depths of the pocket. At first you think it is merely sewn shut, but after feeling the single-ply thickness of the denim, you come to realize that there is not pocket there at all! The pentagonal shadow of stitching houses merely the unfulfilled promise of a place to put your phone. Dreams: crushed. See also: fake zippers, fake buttons

2. Excessive hardware On the other end of the spectrum of uselessness is excessive hardware.This is best exemplified in the popular trend of coats having both a zipper and a row of buttons. The zipper, believe it or not, closes the jacket fully. There does not need to be an additional set of buttons to close the pathetic fabric flap that is only there to house the purposeless buttons. Honestly, this is just a waste of materials. It’s 2015, shouldn’t we all be thinking about the environment at this point?

3. Logo overload Companies place their logos redundantly upon all items so that we can pay to advertise for them. Because this is such an omnipresent practice, it is very nearly unavoidable. However, when purchasing an item with explicit branding, think about why you are doing so. If the product was made with the same materials and care, yet by a different designer, would you still buy it? If not, you are probably “paying for the name,” and should reevaluate the purpose of the purchase. Unless you enjoy being a walking billboard. In that case, swipe on.

4.Vanity sizing Vanity sizing is when companies list their clothing as a full size or two smaller than it would be based off of standard measurements.This most often happens in women’s departments, as we are told that when it comes to clothing, a smaller size is indicative of a smaller—and thus more beautiful—body. So, much to your delight, you find that in brand A you are a size smaller than brand B.Yay! That boost of confidence will theoretically drive you to shop at store A more often, increasing brand loyalty. The problem is that this creates inconsistency in sizing, making the entire shopping process more confusing and ego-centric than it needs to be. Less frequently utilized, but still present, is what I like to call self-esteemcrushing sizing. This is essentially the opposite of vanity sizing, in which stores will offer mediums that fit like extra smalls, or even worse, one-size-fits-most apparel only. The idea here is that if you do happen to fit into the clothing, you will be so ecstatic a be included in the elitist ranks that you will forgive the exclusivity of it all. Take away: we should base sizes off of actual scientific measurements, not emotional exploitation.

5. Explicitly gendered products If a product has to say “for men” or “for women” on it (unless it’s a vitamin), you should be immediately concerned about why that is. If we learned anything from the “#FragileMasculinity” buzz earlier this year, it’s that something as trivial as a bar of soap does not need to be labeled to know which gender is permitted to use it. Every person should be clean, regardless of where they fall on the gender binary. Not only do these products further perpetuate stereotypes, but they also effectively leave out those who do not fit cleanly into boxes of “man” or “woman.” No matter how you identify, don’t limit yourself to certain products or departments just because you’ve been socialized to do so. After all, it’s your money, and you should invest it in whatever makes you happy.

WAKEMAG.ORG // 11

THE WAKE // VOICES

The Starbucks Manifesto Because the War on Christmas is only the beginning BY EMMA KLINGLER

To see the truth of this, we must look right to the source: chairman and CEO of Starbucks, Howard D. Schultz. On a cursory search, Schultz appears to be the poster boy for the American Dream. Born poor, he was the first of his family to attend college, going to Northern Michigan University on an athletic scholarship. Sure, he quickly became successful through his business strategies and dedication to his vision. And sure, he was awarded the FIRST Responsible Capitalism Award in 2007. But a peek into his history tells a whole different story. Schultz used to own the NBA team formerly known as the Seattle SuperSonics. The name “SuperSonics” is officially thought to have originated from the Boeing supersonic transport project, the first of its kind. However, it can’t be a coincidence that the famous Sega character, Sonic the Hedgehog, turns yellow in his “Super Sonic” form, well known to be one of the colors of the SuperSonics basketball team. In the video games, Sonic strives to thwart the entrepreneur, Dr. Robotnik, and free his friends from the robotic captivity and servitude of labor. The blatant, communist utopia undertone of this seemingly innocent children’s game is a message of which Schultz had to be aware. And yet, in his entire five-year tenure as owner, the name remained unchanged. It begs the question, how long has Schultz been harboring this Leninist, anti-American red cup plot? In fact, signs of the Communist agenda permeate the Starbucks advertising culture. Just look at the logo. A siren, meant to seduce men to follow her unthinkingly. This is clearly a symbol of the female agenda to dominate men which has been paraded in popular culture as “equal rights.” But just look at the hoof-

like shape of the tail and the pentagram in the crown. Despite Starbucks’ efforts to disguise their intentions, the devil’s influence in their business model is on full display. The name, “Starbucks,” is another piece of the puzzle. The creators have admitted that the name comes from the “Moby Dick” character, Starbuck. While many have written this off as a pretentious literary choice unsurprising for a coffee connoisseur, let’s examine the source material. Captain Ahab and his courageous and tireless efforts to kill the whale illustrate the noble and glorious exploitations of capitalism. But Starbuck, weak and soft, voices reservations about this feat of bravery, demonstrating the enfeebling effect of anti-capitalist philosophy on progress. Why Starbucks thought they could make such a brazen stance of naming and go unnoticed is truly a mystery. What is even more unsettling are the messages hidden in their very menu. Observe, for instance, the seasonal favorite drink for children, Toasted Graham Crème. This sweet, cinnamon concoction appears to be an innocent holiday treat. But rearrange the letters in this sumptuous beverage and it reads, “Mr. Castro Damage Thee.” Fidel Castro, of course, was the leader of the communist rebels in Cuba during the second half of the twentieth century. We remember that fateful day of Jan. 8, 1958 when Castro’s revolutionary forces took Havana, soon after establishing the Communist party with himself as prime minister.The sentiments of Communism were echoed on the same day in history, Jan. 8, 1964, when Lyndon B. Johnson announced his “War on Poverty,” an effort to socialize America by giving hand-outs to people too lazy to get jobs. What else happened on January 8, this time in 2008, demonstrating solidarity and support with Communist efforts of the past? Howard D. Schultz returned from an eightyear hiatus to take his rightful position as CEO of Starbucks. You cannot fail to see what is happening here. The real nature of Starbucks is just beginning to show itself, and we must be ready to fight back. So instead of going to Starbucks and telling the barista that your name is “Merry Christmas” in an effort to subvert the secularization of the holiday season, tell them your name is Castro or Lenin or Stalin. Let them know that we see through their upstanding, capitalist facade, and we will not let them bring the red scare of Communism back to America.

A ARON MUS I C KA NT

A specter is haunting America—the specter of the red cup. Society took notice when mega-company Starbucks opted for the simple, red ombre design, eliminating the images of snowflakes and ornaments from previous holiday cups. While many of us felt threatened that our beloved Christmas was under attack, we failed to realize the full significance of this transformation. Liberal elitists tried to hide the truth under the guise of “religious tolerance,” but the fact is that the red of the cups signifies the re-emergence, and soon to be total world dominance, of Communism.

// But Starbuck, weak and soft, voices reservations about this feat of bravery, demonstrating the enfeebling effect of anti-capitalist philosophy on progress.

12 // NOV 30–DEC 13

THE WAKE // FEATURE

The Wake samples OFFICIAL SAMPLERS BY ORDER OF APPEARANCE

Max Smith

A RT D I R E C TO R

Lauren Cutshall

M A N A G I N G E D I TO R

Grace Birnstengel

E D I TO R - I N - C H I E F

Peter Diamond & SOUND

V I S I O N E D I TO R

Carter Gruss

W E B M A N AG E R

guacamole You may remember our “weird beers” feature from last year, or perhaps our pizza tasting trips from the year before. If you’ve really been around, you might even remember when we scoured the Twin Cities for its best cinnamon rolls. It wouldn’t be a year at The Wake without a food-ﬁnding feature, and this year, we’re munching on guacamole. As a team, we hit up two places in Downtown Minneapolis (ROSA MEXICANO, BARRIO), and two in Uptown Minneapolis (TINTO, LAGO TACOS). All claimed to have stellar guacamole—we claimed some were better than others. But let’s be fair: If it’s guac, it’s good. Extra special bonus: A make-at-home, Wake original guacamole recipe! Tweet us your photos when you make it @the_wake.

KE L L E N R E NS T RO M

LIKE A PARTY IN YOUR MOUTH

in Minneapolis Carson Kaskel

SOUND & VISION INTERN

Kate Doyle DESIGNER

Kayla McCombs

V O I C E S E D I TO R

Kellen Renstrom

P H OTO G R A P H Y I N T E R N

Breanna Vick& I L L U S T R AT I O N

DESIGN INTERN

Olivia Novotny DESIGNER

WAKEMAG.ORG // 13

THE WAKE // FEATURE

609 Hennepin Ave., Minneapolis Guacamole en molcajete: famous tableside preparation - $14

C AR S O N KAS KE L

GuWAKE amole

Rosa Mexicano Max Smith: It’s packs a bit of a punch. Lauren Cutshall: It’s got a kick at the end. Grace Birnstengel: It’s very creamy. Peter Diamond: Just the right amount of heat. Not overpowering, and it’s at the end. I think it pairs really nicely with the chip too, especially the salt of the chip. I really like the texture too. It’s creamy, but it’s chunky enough with the tomato. So I like it. GB: I really like the tomato. You don’t always get tomato in guac.

BY KELCIE MCKENNEY

Want to make guac on your own? Try The Wake’s eight-ingredient Gu-WAKE-amole recipe at home. INGREDIENTS: 3 avocados, mashed 1 Roma tomato, chopped 1 garlic clove, diced ½ small red onion, chopped 1 green jalapeno pepper, diced 1 tbsp fresh cilantro, chopped ½ lime, juiced 1 tsp salt or to taste

GB: Are you one of those people who thinks cilantro tastes like toothpaste? Like soap? CG: “This guacamole tastes like soap!” MS: I would wash myself with this guacamole. It’s got a very chunky afterbirth. LC: I like the chunky factor.

Barrio 925 Nicollet Mall, Minneapolis

DIRECTIONS: Combine ingredients and stir to incorporate. Add salt to taste. Dunk in a chip and enjoy.

Made to order guacamole - $9.50

TIP: for longer storage, prevent browning by laying plastic wrap directly over the guacamole and sealing the container.This will prevent oxidization, keeping your delicious dip bright green.

GB: There’s not very much in there, I will say that. This is a very cold guacamole.

PD: I like the plating of this guacamole. I like how they have the radishes placed. It’s symmetrical!

MS: It is cold, I think there is more lime in this one. PD: It’s not spicy. At least not the part I got. GB: It’s sweet! It’s sweet! CG: I would say, borderline cream cheese. I could have this on an onion salt bagel.

14 // NOV 30–DEC 13

PD: It balances it out. I’m not that huge of a fan of cilantro, but I think they put in just the right amount of cilantro.

LC: I don’t know if it’s because it’s so cold, but there seems to be a cucumber like taste to it. Maybe that’s just me. These are thick chips. MS: I like these chips for a different reason. They don’t break as easily. PD: You can hold more on the chip.

MS: These are like chips of the apocalypse. The guac-olypse. Carson Kaskel: Seeing [the guacamole] be made is better. GB: Also, too small of a portion for ten dollars.

THE WAKE // FEATURE

Tinto Cocina + Cantina 901 W. Lake St., Minneapolis

Kate Doyle: It’s sour. Kayla McCombs: Yeah, it has a lot of lime.

P H OTO S B Y KE LLEN R ENS TRO M

Guacamole - $8 KR: If I was making this and taste-testing it in the process of making it, I would add garlic salt.

Kellen Renstrom: A lot of citrus. It’s really fresh though.

ON: I love the chips.

Breanna Vick: It’s like eating a garden.

KR: If I got this again, I would just dump the salsa in the guacamole.

KD: They’re brittle in a good way.

BV: The salsa has more spunk than the guacamole.

KR: I would drink this, I think, if it was a drink. LC: I want it to be a little saltier. KM: Aside from the lime, it doesn’t have much ﬂavor. Olivia Novotny: I wish it had more of other things in it. Like tomatoes or corn. KD: If I were to get this dish on my own, I wouldn’t want to pay $8 for it. But I would still order another one.

Lago Tacos 2901 Lyndale Ave. S., Minneapolis Guacamole - $8.95

GB: These chips seem like Tostitos. BV: It tastes like onions. LC: There’s a lot of onion and garlic but I like it. KR: It’s festive. GB: What does that mean?

GB: There’s lettuce in it, which I like, but it makes it kind of hard to eat. LC: It’s also a little bit of a ﬁller. They put it in the bottom to make it look like there was a mound of guacamole.

KD: It’s like a party in your mouth.

KD: It’s like a party that ends really quickly because it gets busted.

ON: It’s very thick.

KR: Arrested by lettuce.

KD: It’s not airy. It’s dense.

KM: How do you scoop lettuce? Lettuce isn’t scoop-able.

WAKEMAG.ORG // 15

THE WAKE // Q & A

Q&A: SUNFLOWER BEAN

B E N C O P E P H OTO G R A P H Y

The Brooklyn “night music” band talk psychedelic rock, fashion, and the postmodern future

BY PETER DIAMOND Sunﬂower Bean is a misleading name for a band that taps into Nick Kivlen: [Laughs]. It really doesn’t. technology’s darkness for lyrical inspiration, that describes themselves as “neo psychedelic for the digital age.” Amid a Was naming the song “Tame Impala” a conscious decision— sprinkling of singles and an EP, “Show Me Your Seven Secrets,” is it a direct reference to the band? over the past two years, the 19 and 20-year-olds—Julia Cumming (bass, vocals), Nick Kivlen (guitar, vocals), and Jacob NK: It is a direct reference to the band, because when we were Faber (drums)—are a product of their time: a skeptical youth ﬁrst playing that song, and it didn’t have any lyrics yet, the pause holding their smartphones at arms length, staring into the in the main riff kind of reminded us of [Tame Impala song] empty void of cyberspace and seeing how it’s changing not only “Elephant.” We just called it like, “Oh, that Tame Impala song.” how people think, but what it means to be human, for better That song goes back to like two years ago, like to the very or worse. beginning of us being a band. When we were playing basements, we didn’t know how the song would shift in the public eye and On the mindless information overload in the Twitter-sphere: end up being the most popular one. We didn’t know like, two “You always say what’s on your mind,” Cumming hisses on “Tame years from then, we’d be on tour with a famous band, opening Impala.” On the gloomy prospect of digital immortalization in for them every night and playing to a roomful of people with the Facebook era: “What if I told you you’d live to be 10,000 a song called “Tame Impala.” We were in a different place in / Baby, would you like that?” she prophesies in “2013.” Their our career, and we thought it’d be funny to call a song “Tame debut album, “Human Ceremony,” is set to release in February Impala.” At this point, it’s almost become a joke that’s gone too 2016 through Fat Possum. far—but it’s not a big deal. [Laughs]. The Wake: It feels like there is a bit of a psych-rock revival in the scene—and I’m sure you guys get this all the time, the comparisons to Tame Impala—but I’m sure it doesn’t help having a song named after them.

16 // NOV 30–DEC 13

It takes on a life of its own when it’s in the public eye. But I think it’s a great title! NK: It’s a little gimmicky. But also, Tame Impala have a song called “Led Zeppelin.” Hopefully when our album comes out, people will forget the song.

A lot of the lyrics relate to an

almost existential crisis brought on by living in such a weird time.

Have you ever heard from Tame Impala about the song? Have they ever listened to it? NK: I have no idea, but I hope not. I’m sure they have almost. And their manager came to see us at SXSW, and he’s probably mentioned it to them. But I hope they haven’t gotten around to listening to it. I saw them at Baby’s All Right, in the crowd, maybe half a year ago, and I was so nervous they would be like, “Hey, you’re the band that wrote the song with our name.” [Laughs]. I think more bands are trying to reshape their sound after the ‘70s, around psychedelic rock. Do you see that, and how is that genre changing in 2015?

THE WAKE // Q & A and it is the art form we have chosen for our expression. Control is a really big part of it. When you’re a model, you are certainly expressing yourself, but in certain conﬁnes that have been decided by other people. You’re part of it, but it’s a very different thing. Obviously, music and imagery go together, but there are very different ways those things are consumed. I think music and style have always been super intertwined, and it’s different for every artist in how they want to touch on that. I think there’s more agency in making music than being a model. JC: Music will always be the ﬁrst thing I’m doing, it’ll always be what I wanted to do. Modeling is something that I have been lucky enough to be able to do based on things that I had no control over. Like how tall I am, things like that. It’s very different than the work that you want to make, but I’ve been lucky enough to work with Saint Laurent or [photographer] Hedi Slimane, who is the closest to making music and fashion work together in a genuine and authentic way. It’s not always that way.

B R A D E LT E R MAN

Saint Laurent has many musicians modeling for them, but it feels like an extension of the artist’s voice, rather than something manufactured, like what other brands have been known to do.

I deﬁnitely saw that in your live show. There were those segments where you guys were just jamming—it almost seemed improvised. NK: A lot of our live show is pretty improvised. There are “song” songs where we play them the same every time, but maybe like half of the songs with the jams in them never quite come out the same. It keeps it more fun to play them like that, but sometimes fuck them up a bit. [Laughs]. We were talking about how your take on psych-rock is modernized, and it seems to incorporate this weird element of technology, too. NK: On our EP, a lot of the lyrics relate to an almost existential crisis brought on by living in such a weird time. Like, the 2000s and the postmodern future and all that. There’s a lot of “lyricness” that comes from living at this time where the biggest boom is technology, the biggest change in how people are living and receiving information, the disconnect from being organic humans to having all this technology around, like we’re becoming cyborgs. I always think of our creative lyrical inspiration as being Kurt Vonnegut. “2013” reminds me of that, although I don’t want to compare ourselves to Kurt Vonnegut. [Laughs]. I love his simplicity. I’m actually wearing this great shirt right now that I bought at this sci-ﬁ and comic book store in Denver called Kilgore Comics—

Oh yeah, like his character Kilgore Trout! NK: Yeah! It says “Kilgore” and there’s a picture of a trout on it. Would you say you’re skeptical or cynical about technology? Or optimistic? I feel like a lot of young people don’t view technology as a bad thing like many older people do, just in that it changes the way we process information. NK: There’s good and bad. I’m not optimistic or pessimistic when I think about it. It’s deﬁnitely making our lives more absurd. I’m constantly on the Internet, it’s like the world’s biggest library. It’s an amazing thing. But there are also evils that come with the amazingness it brings. On one hand, you’re disconnected from people, but you’re also connected to tons of things you may have never found before. It’s a double-edged sword.

Fashion is starting to include all types of people, rather than a certain image. I agree with you, I don’t think it’s there yet, but I do see ripples in the industry that are shaking things up. JC: I think the Internet is making fashion look at itself, and start to address the problems with it that have been going on for so many years.

Julia, I’ve noticed you’ve been doing some modeling work with Yves Saint Laurent. What’s different between expressing yourself in that medium than through music? Julia Cumming: When you’re making music, you’re in control of it. We’re writing the music, we’re ﬁguring out how it’s going to be presented, when it’s going to come out, what we’re trying to say. It’s our whole lives,

TAK AYU KI OKADA

NK: I think a lot of bands are taking a lot of inspiration from the ‘70s, and I see our sound as being pretty collective of a lot of different times, though. We’re deﬁnitely playing off of a ‘70s hard rock kind of vibe, but I honestly think overall our music is more inspired by the ‘80s and the ‘60s than the ‘70s. I just think that when we do the ‘70s, the ‘70s hard rock sound is way more in your face. When we do the ‘60s/‘80s inﬂuences, they’re a bit more hidden with a modern twist. When we do the ‘70s, it’s straight up heavy riffs—Black Sabbath, Led Zeppelin—all of that.

JC: Yeah, it’s definitely the closest thing to a collaborative relationship that I think that you can find. I’ve been beyond lucky. But a lot of my close friends who are models have had a lot of other experiences that are so overwhelmingly negative that it breaks my brain. I think the whole fashion industry has been moving in such a positive direction, also by the work that Hedi Slimane is doing by working with real artists who are a little fucked up, a little ugly, and a little weird, that don’t fit in the mold.

WAKEMAG.ORG // 17

THE WAKE // SOUND & VISION

“Must be White and Scottish” Hollywood is beginning to diversify—slowly

BY CHELSEA VISSER There’s a new James Bond movie out this year: Daniel Craig returns as the dashing spy in “Spectre,” and has been quite vocal about this movie being his last. Consequently, there has been some buzz about who will be tapped to play the role next. A popular choice has been Idris Elba, a British actor who most people would probably know for his role as Stacker Pentacost in “Paciﬁc Rim.” Elba has showed interest in playing the role, but there has been plenty of pushback.

Despite being both a fan and studio favorite, there have been negative comments coming from many different sources. Author Anthony Horowitz, who is currently writing the James Bond books, described Elba as “too street” in an interview in September. Radio host Rush Limbaugh also weighed in, saying that James Bond “must be white and Scottish.” This argument has come up a lot lately: traditionally white roles are starting to become more diverse. Even as many people celebrate these changes, there are inevitably those that complain that “you can’t just change a character’s race!” Why can’t you, though? Why is it that so much of American media looks the same? If we can believe in superspies and superheroes, why can’t we believe in those same roles being played by people with darker skin? Despite the narrative of “not seeing color” that seems pervasive, a person’s race shapes part of their identity. However, what it doesn’t do is completely “other” them from the rest of society. Here’s another example: Spiderman. People have wanted Community’s Donald Glover to play Spiderman since 2011, back when Spiderman was being rebooted. When Glover expressed interest in the role, comic book fans responded incredibly negatively. “There was this one letter, and it was written really nice. Obviously this guy was trying not to rufﬂe any feathers,” Glover said in an interview with HardKnock TV. “He was like, ‘Listen, the thing about it is, there’s no black kids like Peter Parker.’ And that… like, that infuriated me. Like I couldn’t handle it. ‘Cause [sic] I was like… it’s fuckin’ 2011 and you don’t think there’s a black kid who lives with his aunt in Queens… who likes science? Who takes photography?”

18 // NOV 30–DEC 13

007.COM

The main reason? Idris Elba is a black man.

One more example, this one incredibly current: Star Wars. be able to see themselves in the characters they watch, and so many people don’t ﬁt the mold of the straight white man. Immediately after the ﬁrst trailer aired on October 18, the hashtag #BoycottStarWarsVII started trending on twitter. The Change is coming-slowly. The new Broadway musical reason? The main character is played by a black man. One tweet said “#BoycottStarWarsVII because it is anti-white propaganda “Hamilton” is about the Revolutionary War, yet the majority of the founding fathers and revolutionaries are played by people promoting #whitegenocide.” The movie has been described as of color. Nobody seems to be complaining. pushing a “sinister multicultural agenda.” The entire concept of someone non-white playing leading roles in a popular franchise Here’s one more victory: shortly after the controversy is completely foreign and outrageous to an unfortunately large surrounding Donald Glover, Miles Morales—a black Hispanic part of the population. kid from Brooklyn—became Spiderman in the Marvel comic books. Glover voices him in the newest animated series. Does this mean we can start casting white actors in roles traditionally played by actors of color? Some people seem to think so: actor Benedict Cumberbatch played Kahn in “Star Trek: Into Darkness,” a role which was originally played by a Hispanic actor. Just recently, a college production of a play about Martin Luther King Jr. cast a white man as the civil rights leader. What these changes seem to miss is that often, a nonwhite character’s race is deliberately chosen—it’s part of their story or identity. In contrast, most white characters are white because that’s Hollywood’s norm: white directors casting white actors for their white audiences. Why does it matter who plays James Bond or superheroes, who cares who the lead actor is in the next action movie as long as he’s a good actor? It matters because audiences aren’t just white. It matters because more and more people are becoming aware of the disparity between the way Hollywood looks and the way the rest of their world looks. It matters because people want to

THE WAKE // SOUND & VISION

Well-Placed Commas

The low-key collaborative art space Fox Egg Gallery serves and supports poets of all ages and genders BY KAYLA SONG It was an enriching experience to sit and scribble verses of deep thought and self-reﬂection with this group of predominantly young adults. Inspired by some of the hardships of their past, I can assure that the Well-Placed Commas workshop is showing no signs of slowing down.

LI Z Z I E GO NC H AROVA

In the otherwise vacant Fox Egg Gallery, a circle of chairs and “I started writing poetry a long time ago, to cope with my a couch are occupied with five poets from the Twin Cities area. depression in high school,” said Schminkey. “Then I went to The pale wooden floor creaks as I take my seat next to the girl college, came out as trans and queer, learned about social with the pink hair, red velvet skirt, black cardigan, and creepers. justice, and it just kind of took off from there.” As the final two members of the workshop arrive, the aura of hipsters swells throughout the room. We introduced ourselves. As a genderqueer individual, Schminkey expressed their desire to provide a comfortable and supportive free space to anyone “We’ll say our name, pronouns, and favorite type of pastry,” said who wishes to share and expand their work. “We write, we Oliver Schminkey, genderqueer leader of Well-Placed Commas, share, we process,” said Schminkey. “Since I have always had an art sharing platform and poetry workshop. After we present access to really successful poets (provided to me through my our names, desserts, and preferred identifications, Schminkey college), I wanted to try to redistribute the wealth a little.” introduces the prompt to the group: What stories did your parents tell others about you and what are some of the untold stories that you would never tell others? An ever-changing eccentric group of literary artists meets every Sunday from 12-2 p.m. at the Gallery to ponder these prompts. Schminkey, the 21-year-old creative writing and studio art major at Macalester College, activist, and host of the Well-Placed Commas poetry workshop, aspires to make these poetry sessions full of inclusive fellowship and feedback. Since their inception in June 2014, the Minneapolis faction of literary enthusiasts have written at least a thousand poems and even published their first anthology en masse.

Unknown Little known music documentaries

MA D I S O N D I G I OVAN NI

Tales of the BY KARL WITKOWIAK

Music documentaries have emerged as an effective and accessible way to highlight certain untold stories. As such, the following are a few documentaries that deserve a spotlight. Twenty Feet from Stardom, 2013

Beware of Mr. Baker, 2012

This fascinating documentary explores the careers of the lesser-known talents on the stage: the background vocalists. It explores the evolution of the role of the backup singer from the tasteful, plastic, backing vocalists of the ‘40s and ‘50s, to vocalists with real ﬂavor in their vocals and the ability to transition into a range of genres, from blues to southern rock. From Ray Charles to The Rolling Stones, these ladies provided their vocal prowess, even during incredible hardships such as getting screwed over by the record label or sacriﬁcing their dignity when working with certain artists. This documentary also further explores the successful solo career of Darlene Love, who overcame the hardships of being a little-known backup vocalist during the course of her career.

Easily the best documentaries out there are those that make their subject matter equally appealing and unappealing, thus making it a more fascinating watch. This is the case with “Beware of Mr. Baker” which captures nearly all of the details of Cream drummer Ginger Baker’s interesting life and his bombastic, reprehensible behavior. It captures a drummer who has explored the entire world, had complicated relationships with his family and bandmates, and even made a regular hobby out of polo. Yet, what mattered most to Ginger Baker was his love of music.This documentary perfectly captures that and his love to experiment with sound and explore the roots of his style of drumming.

Modest Mouse: The Lonesome Crowded West, 2012 This documentary, presented by Pitchfork, showcases one of the most beloved indie acts in recent memory and their creation of their second album, “The Lonesome Crowded West.” This documentary gives more insight into the band’s initial struggles to get their ﬁrst album off the ground as well as the bandmates’ stories of how they wrote their lyrics. With a stripped back style and great commentary from the bandmates and producers, this is a great documentary for those who like indie rock or for fans of the band.

WAKEMAG.ORG // 19

THE WAKE // SOUND & VISION

Politician’s

NIGHT LIVE

How politicians have fit into the SNL equation throughout the decades BY OLIVIA HEUSINKVELD Saturday Night Live has made a name for itself as delivering comedic material that is always timely, and often very political. Especially around election season, SNL parodies presidential debates, mocks the idiosyncrasies of politicians, and even occasionally features politicians as guests and hosts on the show. Below is an abridged history and a selected list of the politicians who have made their mark on Studio 8H throughout the more than 40 years of SNL. Ralph Nader

John McCain

On Jan. 15, 1977 in the second season of SNL, Ralph Nader became the first politician to host SNL. Although he had a slim chance at nabbing the presidential bid, Nader started the show calling himself “Ralphie” while wearing a blue cowboy outfit, right after Gilda Radner and Dan Akroyd expressed concerns about Nader’s reputation for being “too serious.” As he fearlessly made fun of his reputation, Nader was ultimately overshadowed by the debut of Bill Murray as an SNL cast member and the premiere of the first Conehead sketch. It is clear for many reasons that this episode is one for the history books.

McCain ﬁrst visited the SNL stage on October 19, 2002 after losing the Republican presidential bid to George W. Bush in 2000. Although he has only hosted once, McCain has made a few other appearances on SNL during his 2008 presidential race with Sarah Palin. He visited the Weekend Update desk with Seth Meyers, and performed a sketch where Tina Fey played Sarah Palin. Fey said McCain was one of her favorite hosts that she worked with during her SNL career. Now if Tina Fey says something is good, than it is really, really good. Donald Trump

George McGovern

TAYL OR DANI EL S

After losing the Democratic nomination for the 1984 presidential race, McGovern found refuge in the SNL stage on April 14. McGovern took the stage and became the fourth politician to host SNL. In what appeared to be a cathartic call-back to his past, McGovern played himself in a sketch as his family ridiculed him as a failure him for losing the 1972 election to Richard Nixon. McGovern’s fake family gossips behind his back and discusses a plot to put McGovern into a “senior citizen apartment building.” It was certainly a bold move, but McGovern’s ability to laugh at himself gave audiences a wonderful piece of entertainment for their Saturday night. Rudy Giuliani

Giuliani first fearlessly hosted SNL on Nov. 22, 1997 as he dove into a variety of sketches, including one where he dressed in a floral dress and grey wig in order to be an Italian grandmother on Thanksgiving. Despite his hosting gig being the longest appearance on a single episode of SNL, Giuliani’s time at SNL is best remembered as he took over the opening monologue on the first episode of SNL after 9/11, by honoring the heroes and victims of the national tragedy. In a way, Giuliani gave the nation the permission to laugh again as Lorne Michaels asked if, in light of the horrific tragedy, it was okay for SNL to be funny. Giuliani’s response was simple and powerful: “Why start now?”

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When SNL announced that it would feature the most controversial republican presidential candidate as a host on their Nov. 7 show, the outcry in protest from the general public was almost instant. Many groups protested SNL stating that the show was simply grabbing for higher ratings, while also ignoring the various offensive comments made by Trump about Mexican immigrants and other minority groups. On the air date of the episode, Donald Trump was only on-screen for a meager 12 minutes, half the normal time typically given to hosts, making the appearance seem more like a ratings grab than a genuine interest to feature Trump on the show. Despite all of the controversy, Trump helped SNL gain one of the largest audiences it has had since Jimmy Fallon hosted back in December 2013. On Trump’s big night, an average of 9.4 million viewers tuned in, shattering the show’s typical average viewership of 5 to 6 million viewers.

THE WAKE // SOUND & VISION

UNDERRATED ICONS

In a city rich of talent, many iconic Minneapolis musicians go forgotten BY CARSON KASKEL

One of the most influential alternative rock bands of all time belongs to Minneapolis: The Replacements. They were known for their wild, energetic—and often times—drunken, performances. The band had a distinct sound, ranging from hardcore punk to songs featuring just piano and vocals, like “Androgynous,” which showcases the incredible songwriting abilities of Paul Westerberg. His lyrics were touching on many issues that are still heavily controversial today with the LGBTQ community. The song tells the story of a couple who choose to dress like the opposite gender, but social stigmas force them to hide their true identities, yet their passionate love continues to live on. Its message encouraging people to fight the stigmas and be accepting still rings true today. Other bands highlighting the roaring ‘80s in the Twin Cities included alternative rockers Soul Asylum and hardcore punkers Hüsker Du. Soul Asylum patrolled Minneapolis venue First Avenue and were prominent in various Kevin Smith directed films. The band’s most popular single, “Runaway Train,” was best known for its music video, which showed the faces of missing children who had run away from home. The lyrics tackle depression and how quickly life can spiral out of control.

Hüsker Dü was a well-known hardcore-punk band throughout the Twin Cities.The band was fronted by Bob Mould. He and drummer Grant Hart butted heads often, but were able to channel their anger at each other into fast and energetic music enjoyed heavily by Minneapolitans and St. Paulites throughout the 1980s. Another band who pioneered social justice protest music is The Suburbs. Led by Chan Poling, The Suburbs played an instrumental role in the dance-rock scene in the late 1970s. Their biggest hit “Love is the Law” brings to light the struggle of the LGBT community in displaying affection in public, “People breaking the law just to make ends meet / People breaking their hearts just to stay off the streets.” The song regained popularity for good reason in 2013, when Minnesota legalized same-sex marriage. Polling continues to be a Minneapolis icon as he, along with bassist from another local band, Semisonic, John Munson, and drummer Steve Roehm make up the New Standards: a jazz trio showing the best that Minneapolis has to offer.The band is best known for their annual holiday show, bringing in local musicians to celebrate and welcome the winter season.

Atmosphere took part in forming the Rhymesayers label, a collective group of talented local rappers, performing alternative, underground hip-hop.The label is not your average hip-hop label, as these artists, keeping with Minneapolis tradition, rap about the major social issues like inequality. Brother Ali brings to light the tragedies and experiences of genocide, slavery, and government corruption in his 2007 album, “The Undisputed Truth.” Rhymesayers kick-started a strong following for hip-hop in Minneapolis in the early 2000s, leading to the formation of the supergroup and label, Doomtree, which includes P.O.S. and Dessa. Both have also launched successful solo careers: Dessa, who is a University of Minnesota alum, is known for her silky smooth ﬂow and sing-rapping, whereas P.O.S. brings power and energy stemming from his early days as a punk singer. Clearly, Minneapolis is a city rich in talent. Not only are its musicians instrumental wizards, but they also write meaningful lyrics. And best of all, they’re proud of their city, well, except Lipps Inc., who had aspirations to move to the big apple, or what they called “Funkytown.”

The best known rap group from Minneapolis is Atmosphere. Made up of Slug, who raps, and Ant, who produces the beats, Atmosphere has been inﬂuential in putting Minneapolis on the map in the hip-hop community, with many of their songs revolving around the city.The duo has certainly lived up to their name, as they helped pioneer Minneapolis’ ﬁrst rap movement.

LI NDSAY WIRTH

Picture this: It’s a chilly late fall day as you drive down 4th Street, passing the old brick buildings of Dinkytown in your Little Red Corvette.The skies are grey as winter begins its journey out of hibernation.You see the people semi-bundled up but some still wearing shorts. What ﬁtting local music would The Current or Radio K be playing? Most would quickly guess legends Bob Dylan or Prince, but Minneapolis has so much more iconic music to offer, and it’ll make you appreciate the city even more.

WAKEMAG.ORG // 21

THE WAKE // SOUND & VISION

WHO HAS WHAT IT TAKES? 2016 Oscar Predictions

BY SAMANTHA HUOT As the year winds down to an end, the film awards season soon approaches. This year, the Oscars will hold its 88th Academy Awards ceremony live February 28 on ABC. The 2016 Oscar race is heating up and leaving many box office contenders in frenzy.Will this season finally be the year for four-time nominee, Leonardo Dicaprio, to nab an award for best actor in the action thriller “The Revenant”? Does Netflix have what it takes to compete with big motion pictures and win best film for their child-soldier drama “Beasts of No Nation”? Box office forecasts plummeted this year, to which award critics blame the nation’s malaise. Negative headlines circulating the media steered moviegoers away from solemn storylines, leading some to wonder if lighthearted pictures like “Carol” and Pixar’s “Inside Out” stand a chance to compete with the highly acclaimed nominees.

BREANN A VI CK

While creating national buzz, the biographical film “Steve Jobs” managed to fall flat on the big screen, being pulled from 2,000 theatres and reminding us that in the ambiguity of the film industry, quality does not always guarantee success. However, previous best pictures like

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“The Hurt Locker” in 2009 or 2013’s “12 Years a Slave” have proven that low-grossing films can prevail. With that being said, the leading nominees are pending. Recent chatter behind just-released films such as the investigative drama “Spotlight” could make out a shift in results. Indie-favorite director Tom McCarthy casts a compelling yet credible look inside the Boston Globe’s revelation of the abuse scandal within the Catholic Church. Praise for its accurate depiction of the journalism world has earned the film a reputable place alongside classics like “Citizen Kane” and “All the President’s Men.” Since Netflix has managed to increase its cultural trend worldwide, it may just be time for the streaming service to continue its fad of headlines and take home its first Academy Award. Not only does the Netflix Original film “Beasts of No Nation” receive rave reviews from critics, the African warfilm, unlike other contenders, will be accessible to Netflix users until the awards ceremony. 2015 has been a revelatory year. While studio executives anxiously await indication of prominent Oscar contenders, a couple of questions come to mind. Could this year finally be the one in which a fifth female is nominated for best director? Or the one in which more variation in race and ethnicity is seen amongst winners for awards? There has been a lack of diverse recognition within this annual program and considering our country’s diverse population, it is plausible to have hopes to see improvements. With all of the drastic changes seen this year, will there be a shift at this year’s awards? As of right now, it seems uncertain which films will lead the Oscar race and take home the winning title.

GR I ME S MUS I C . C O M

MAD I S O N D I GI OVANNI

BI GFR EED I A. C OM

THE WAKE // SOUND & VISION

Grimes’ “Art Angels” BY ELLEN URQUHART Canadian singer and producer Claire Boucher, otherwise known as Grimes, digitally released her fourth studio album “Art Angels” earlier this month via the label 4AD. The 14-track album continues with Boucher’s use of catchy electronic pop, but with a new spin. Grimes takes on a variety of different personas in this album, such as bubbly princess or insane alien. “Art Angels” is pop music, Grimes-style, and Boucher does not allow herself to be defined by any labels. Consequently, the listener has no choice but to become immersed in the experience. “Art Angels” opens with the short, operatic and attention grabbing “laughing and not being normal” that leads into the catchy pop favorite “California.” Grimes keeps the selfproduced, dance-worthy numbers consistent throughout the album’s entirety with the use of multiple instruments, synthesizers, and sassy disses. Intimidating lyrics and fast beats emanate from the album with songs like “SCREAM,” featuring the Taiwanese rapper Aristophanes and her mystic Mandarin mutterings. Janelle Monáe also makes an appearance on “Venus Fly” with vocals that simultaneously enhance Boucher’s. The chanting of “B-E-H-A-V-E aggressive” echoes dangerously from the track “Kill V. Maim,” highlighting Boucher’s dual talent as a vocalist and producer. Other must-listen tracks include the happily gruesome top hit “Flesh without Blood” and the steady, former demo “Realiti.” The album’s songs in succession transfer the listener to a video game world, where cheeky remarks and nutso beats reign. Enter the extraordinary trance Grimes creates, and remember her as the art angel she is.

Jack Whitten’s “Five Decades of Painting” BY HANNAH FOX I’m standing in the middle of the Walker Art Center, trying to make sense of some colored lines on a canvas, seemingly sporadic but deemed “modern art” nonetheless. I’ve almost given up when a middle aged woman comes out of the next room raving (in an octave much too high for a museum) about the exhibit she has just seen. Curious, I enter the exhibit. The words on the wall read “Jack Whitten: Five Decades of Painting” and I’m intrigued. I walk through the rooms of the exhibit and it’s evident that, as the years changed, so did Whitten’s style. Whitten’s first pieces made in the ‘60s lack color and size but still reflect a young black man’s life during the Civil Rights Movement. There are homages to black Civil Rights leaders like Martin Luther King Jr. and Miles Davis. As Whitten’s work enters the ‘90s, I am impressed. Whitten’s more recent paintings reek of change as he introduces bright colors and a completely new style of art. I’m surprised as I realize that what look to be glass mosaics in front of me are actually not. I read the cards next to the pieces and notice it is not glass at all that makes up these mosaics, but pieces of dried acrylic paint from his past works. Incorporating the past into the present, done right. I walk out of the exhibit with the same feeling I assume the raving woman had when I first noticed her, just much quieter.

Big Freedia at the Varsity Theater BY COLIN MILLER If my rear end ever returns from triage, I’ll be sending the hospital bill to Big Freedia. On Nov. 11, the self-proclaimed (and crowd-affirmed) Queen Diva of bounce music had the Varsity Theater packed to the gills with dynamic backsides, flashy clothes, and ecstatic energy. Maintaining a fairly constant tempo and extreme level of hype, Freedia and her team of local backup dancers injected the audience with a fervor that kept its momentum for the entirety of the show. At one point, the New Orleans legend and queer icon probed the masses for additional asses and organized an impromptu twerking contest, serving as a perfectly apt visual partner for Freedia’s posterior-centric jams. Dressed in a black leather coat and matching combat boots, Big Freedia played the role of a booty-commanding drill sergeant, barking orders like “you got to work” and “hands on the floor” to the trainees in her 100 BPM boot camp. Rather than a war against any particular nation, however, the one waged by Freedia and her troops is a war on negative vibes, as well as calories, for that matter. Opening for Big Freedia was the equally unique rapper Boyfriend, a petite but powerful lady in a silk robe and vintage lingerie. Between spitting five-alarm fire on topics like cheating partners and period sex, the femme fatale sipped a martini elegantly, beset on both sides by alluring, nearly-nude dancers. During Boyfriend’s set, I had the pleasure of rapping the hook to “No Scrubs” alongside her, and afterward purchased a pair of her used underwear, which she sold at the merch table for a crisp Lincoln.

WAKEMAG.ORG // 23

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