The Wake, Issue8, Spring 2016 by The Wake Magazine

GUIDE TO CAUCUSING

LEAP DAY PG. 13 //

// PG. 7

MENTAL HEALTH IN THE ARTS

TO HILLARY OR TO HELL

PG. 19 //

// PG. 9

VOLUME 15, ISSUE 8 // FEB 29–MAR 20

THE WAKE NEEDS A NEW

WEB

DEVELOPER LEARN FRONT-END LANGUAGES LIKE HTML, CSS, & JAVASCRIPT AND BACK-END LANGUAGES LIKE PHP, MYSQL, & XML!

No prior experience in web development or programming needed! Only the desire to learn. Anyone interested in web development should apply. CONTACT CGRUSS@WAKEMAG.ORG FOR MORE INFO

www.wakemag.org instagram @thewakemagazine facebook.com/thewakemagazine twitter @the_wake

VOLUME 15, ISSUE 8 GUIDE TO CAUCUSING // PG. 7

LEAP DAY // PG. 13

TO HILLARY OR TO HELL // PG. 9

Q&A: SAFY-HALLAN FARAH // PG. 16

CRIME AND RESPONSIBILITY // PG. 10

THE SHAM OF SHOWBIZ // 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 John Blocher Hannah Kloos Faculty Advisor Chelsea Reynolds Distributors Abigail Rommel Sam Gunderson

LETTER FROM THE DIRECTOR

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

PR/Ad Manager Sara Erickson

Photography Interns Kellen Renstrom

Social Media Manager Abby Richardson

Illustration Interns Aaron Musickant Madison Digiovanni Helen Teague Sophie Fesser Laurel Tieman

Social Media Intern Holly Wilson Finance Manager Nels Haugen

Design Interns Breanna Vick Erin Bankson

Illustrators Lizzie Goncharova, Max Smith, Taylor Daniels, Helen Teague, Laurel Tieman, Emily Hill, Lindsay Wirth, Sophie Fesser

Feminism has always been a hot topic, for obvious and necessary reasons, but lately at the University it’s been even more prevalent. Earlier in February, student group Students for a Conservative Voice (SCV) hosted an event called “CALM DOWN!! Restoring Common Sense to Feminism” at the University’s Humphrey School of Public Affairs. Two recognizably anti-feminist speakers, Milo Yiannopoulos and Christina Hoff Sommers, were invited to speak. SCV is known for its conservative paper The Minnesota Republic—which The Wake did an investigative report on last year—and the title of their event in all caps and with double exclamation points already says a lot about their opinion on feminism.

Contributing Writers Abby Richardson, Kelcie McKenney, Erik Newland, John Blocher, Hannah Kloos, Aaron Job, Lauren Cutshall, Emma Klingler, Bella Dally-Steele, Gabby Granada, Russell Barnes, Grace Birnstengel, Peter Diamond, Colin Miller, Jenna Ogle, Carson Kaskel, Madison Dick, Emily Hill

While The Wake has been known as an outspoken left-leaning publication on campus, we are open to the conversation of differing perspectives. Our open-door policy is an invitation for students of different views to share their ideas. What we don’t stand for, though, is hate speech.

Web Manager Carter Gruss

PR Interns Jenna Ogle Emily Planek

THIS ISSUE: Photographers Kellen Renstrom,Vanessa Nyarko

©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

There is a lot to say on the topic of feminism, and inside these pages you’ll ﬁnd ideas that have a clearer perspective on women’s issues than SCV’s order to “CALM DOWN!!” To start, read Emma Klingler’s piece on feminism in relation to the 2016 elections on 9 or Gabby Granada’s take on ageism in “Star Wars” on 11. When someone is oppressed, you don’t tell them to calm down, you tell them to speak up. That’s what The Wake is here to do, so join in on the conversation. Kelcie McKenney Executive Director

What is the most underrated campus food establishment? Abdul’s Afandy

Camdi

VANE S S A NYAR KO

25%

29.2%

The Weinery

20.8% Kitty Korner Kafe

25%

Two girls take pictures of the Schmitt Music Mural downtown Minneapolis. The music on the mural is “Gaspard La Nuit” by French composer Maurice Ravel and it’s said to be the hardest piece for a solo pianist to play.

5 Things

I’d do for Beyoncé Tickets BY KELCIE MCKENNEY

~1~

Defer my student loans for at least another six months.

March Movie Preview

Leaving out the latest Sacha Baron Cohen "comedy,” Superman vs. Batman vs. Iron Man vs. Captain America vs. something or other, and an unnecessary young adult novel adaptation, these ﬁlms coming out in March look to be, at the very least, intriguing.

“Knight of Cups” March 4 A new Terrence Malick ﬁlm is always worth a try, especially one starring Christian Bale, Cate Blanchett, Natalie Portman, Freida Pinto, and Antonio Banderes.

BY ABBY RICHARDSON “Zootopia” March 4 Described as a “3D, computeranimated, action buddy comedy neo-noir adventure,” this will probably be a fun addition to the anthropomorphic animal genre.

~2~

Sell my left kidney on the organ black market.

~3~

Put all of my Beanie Babies on eBay in hopes that one is worth something.

~4~

Work part time at Abercrombie & Fitch in the perfume section.

~5~

Hold up a convenience store at water gun point.

“Krisha” March 18 SXSW and Cannes were buzzing last year about this independent drama from ﬁrst-time ﬁlmmaker Trey Edward Shults about a family torn apart by addiction.

“The Little Prince” March 18 Reviews are already delightful for this stopmotion adaptation of the novella by Antoine De Saint-Exupéry. P H OTO S CO U RT E S Y O F T H E I R R E S P E CT I V E WE B S I T E S

“10 Cloverﬁeld Lane” March 12 This “blood relative” of “Cloverﬁeld” brought to us by JJ Abrams in 2008 explores, this time, the one true monster: a human male.

4 // FEB 29–MAR 20

THE WAKE // CITIES

Is there a right way to protest?

“Differences Organized” interrupts MPR’s Big Questions segment with questions of their own BY ERIK NEWLAND A panel organized by MPR and the University of Minnesota, part of MPR’s “Big Questions” radio series, assembled on Feb. 11 to ask the question: “Is there a right way to protest?”

happened since not all the protesters had microphones. As he continued with the panel as planned, Weber looked to them to help discuss the questions in his original script, but they demanded he answer theirs.

Bradford, president of the BSU, agreed with Differences Organized and explained to Weber that the panel’s original question “forces students and people of color to be accountable for white ignorance.”

Instead, protesters interrupted to ask: “Why are we still asking this question?”

Weber acquiesced. “I know it’s not MPR’s place to be having this

He said that not only was it the wrong question, questioning

The organization of protesters who stood up and joined in is called Differences Organized and has members from API’s for Equity and Diversity as well as Whose Diversity?. When Weber introduced Bradford, a group of students holding posters in the front of the room began to clap in unison. Then the clapping became a chant. “It is our duty to fight for our freedom,” they declared. “We have nothing to lose but our chains,” they said, quoting Assata Shakur, a member of the former Black Panther Party. When the protesters began speaking, the panelists fell silent. Sound technicians scrambled to get them a microphone. Snaps of agreement came from the audience as the speakers made their speeches. The protesters then sat on the floor in front of the panel.Weber explained for the radio audience what had

// Bradford explained that the panel’ s original question ‘ forces students and people of color to be accountable for

white ignorance.’ discussion,” he said. He asked the protesters to help him understand their points, and steered the conversation towards them. During their speeches to the audience, Differences Organized handed out an open letter detailing their concerns. The letter offered “alternative questions to restructure this panel.” The letter asked: “What structural conditions on campuses and in the community bring about protest? In other words, how is the University culpable in creating the conditions for which students choose to protest?”

protester’s methods is wrong in itself. He compared helping marginalized people to helping a fallen passerby. “You don’t need to understand me to help me,” he said. “If I’m on the ground, you don’t need to understand why I’m on the ground, you just need to help me.”

Gardner explained this as “a question of narrative.” She said that by the University holding this panel they are centering the discussion around themselves instead of marginalized people. When the panel asked the audience for questions, the Differences Organized protesters asked Dean John Coleman why the ethnic studies departments doesn’t have enough money to hire teaching assistants. “We are trying to move forward on the hiring issue,” Coleman said. “If we see that the demand for a T.A. is there, we have no incentive to say no.” Mayes disagreed with Coleman’s response. He said the school needs to “reverse that supply

and demand function… supply to create demand.”

create

Gardner seemed more upset than Mayes over Coleman’s response. She called his reply passive language, and said she thought the University isn’t committed to helping students of color with academics as they are in recruiting them for athletics. “You don’t hear that kind of language that you hear with football,” she said. “Because there isn’t that kind of commitment.” One audience member, who works for the University’s College of Design, said, “We need to have a redo [with President Eric Kaler on the panel].” To that statement Weber replied,“I’m game.”

The open letter criticizes this type of discussion, saying

“What we are doing is critiquing the structure and the format of this discussion,” one protester said. “Honestly we can’t wait for the punchline,” another said. “We already know the answer to this question.” The University has already answered the question, showing there is no right way to protest by not allowing students to dissent, according to the protesters. LI NDS AY WI RT H

The panel was hosted by MPR’s Tom Weber and consisted of University African-American Studies Professor Keith Mayes, Minnesota Council of Foundations President Trista Harris, University of Minnesota Black Student Union (BSU) President Javaris Bradford, and Black Lives Matter Minneapolis co-founder Lena Gardner.

it “ultimately serves as an excuse for the University to neglect the demands of student activists.”

WAKEMAG.ORG // 5

THE WAKE // CITIES

AS LOUD AS THUNDER Taiko drumming at the U

BY JOHN BLOCHER The Institute of Advanced Studies recently held a performance, workshop, and panel discussion focused on Taiko, which translates to “big drum” in Japanese. On Feb. 11, students and community members—many of whom were already familiar with Taiko— gathered in a seminar room at Northrop Auditorium. Taiko music is at least 1,400 years old, tracing influence from China and Korea before becoming a mainstay in Japanese culture. Originally performed by one man with a single drum, Taiko was commonly played during festivals and the religious ceremonies of Shintos and Buddhists.Although it wavered in popularity over time, it was rejuvenated in the 1950s in order to revive a sense of community in postwar Japan.

KE L L E N R E NS T RO M

Taiko made its way to the United States during the 1960s at a time when AfricanAmericans had soul, Caucasians had rock n’ roll, and Cubans had jazz.The Asian-American community, in large part, lacked a defined sound. Taiko, as described by University of Minnesota professor Josephine Lee, “spoke toward a desire for social power, for a voice, a way to be heard.”

Slaying The Myth

Taiko drums are sometimes referred to as “thunder drums” due to their bold and resonant sound. The performers often rotated drums during the performance,

smiling wildly and shouting as they played. The drummer’s power is channeled through their core, as they assume a position resembling the “come at me” pose in martial arts, with their drumsticks pointed towards the sky. “Your thighs will quiver before your arms give out,” drummer Jennifer Weir said. After they finished playing, the drummers were understandably winded. Some Japanese groups run five miles uphill before they begin practice. According to Weir, however, this group is not quite as focused on conditioning. “Especially under my direction, we’re a little lazier than most Taiko groups,” Weir said. Conditioning is not the only element that differs from traditional Taiko. Originally played solely by men,Taiko is now performed predominately by women, who are estimated to make up 70 percent of the performing community, according to Weir. Smiling during a performance is also unique to Taiko groups in North America. The Taiko community has a strong presence in the Twin Cities. Organizations such as Mu Daiko, Mu Performing Arts, and Concordia University all offer instruction in Taiko, where registration is open to people of every background.

A conversation with the Dungeons and Dragons Club BY JOHN BLOCHER

Stereotyped as lazy, anti-social geeks by many, Logan Oglesby, founder and president of D&D club at the University of Minnesota, is anything but. Oglesby is a junior, an honors student studying mechanical engineering, holds two jobs, is the vice president and director of operations at Go First Robotics, and the treasurer of the chess club. He discovered D&D in high school, and upon arriving at the University, began playing with some friends in a study room at Middlebrook Hall, where they would go for nine hours at a time. As interest in the group swelled, Oglesby figured it was time to establish a club. The group draws about 20 regulars each week, but as Oglesby explained, the club has a broad purpose. “We have had numerous groups come, meet through us, and leave the nest,” Oglesby said. “That’s what it’s about—bringing people together. That’s what we do.”

6 // FEB 29–MAR 20

As far as the game itself goes, each player chooses a role, assumes the personality of that character, and goes on to complete a variety of puzzles, riddles, and challenges within the gameplay grid, each square representing a dungeon. How much time has he spent in a single dungeon? Seven hours. How you go about classifying the game, according the Oglesby, is up for interpretation. “Is this performance art? A game? Some sort of collaborative storytelling? That’s the beauty of it,” he said.“It’s so well established, so thorough, that you can make it into whatever is the most fun for you and your party.” Co-founder Michelle Smeaton shared a similar sentiment. “Dungeons and Dragons gives people a chance to be creative, which [College of Science and Engineering] classes don’t really offer,” Smeaton said. “I think you’d be surprised how many people already know something and would be willing to learn more.” Those who are interested are encouraged to join the club’s weekly meetings, which occur Friday at 7 p.m. in room 303 of Coffman Memorial Union.

AA RON MUS IC KANT

Despite receiving more than $1 billion in revenue since its creation in 1974, relatively little is known to outsiders about the popular role-playing game Dungeons and Dragons, or “D&D.”

THE WAKE // CITIES

’s

g n i s u c u a C o t Guide From what to where to why, we have all the caucusing info you need

All About Caucuses BY HANNAH KLOOS Every four years, reporters from across the nation flock to Iowa: not to admire endless rows of corn fields, nor cheer on our rival Hawkeyes, but to witness the first caucus of the presidential race. The Iowa caucus is notable because it effectively inaugurates the political season. However, other caucuses take place in many other states with far less fanfare, but as much significance.

KEL LEN RE NS T RO M

The caucus used to be the most popular method for choosing presidential nominees, but most states today opt for primaries. Minnesota is one of eleven states that still employ caucuses as their main method for presidential nominee selection.

What to Expect at the

Minnesota Caucus

Most states begin this process on Super Tuesday, perhaps the most important day of the primary and caucusing season. More delegates can be won on Super Tuesday than any other, so it serves as the first comprehensive representation of a candidate’s electability. Candidates who succeed on Super Tuesday often go on to secure their party’s nomination. The key difference between primaries and caucuses is that primaries take place on the state level and implement secret ballots, whereas

caucuses take place on the local level and permit voters to openly share their support for candidates. In both parties, the purpose of the caucus vote is to select delegates to attend a county convention. Each caucus sends a certain number of delegates, based on the population it represents, and the delegates at the county convention select delegates to go to the congressional district state convention, which choose the delegates that go to the national convention. Additionally, because caucuses are organized by local precinct, they are a great opportunity for neighbors to connect with each other and gain a deeper level of belonging within their community, increasing social responsibility and political efficacy. Popular sovereignty is the foundation of American democracy. By caucusing, citizens can play an instrumental, persuasive role in the selection of presidential nominees, as well as representatives on the state and local levels, and have the ability to do what Congress can’t: Truly affect change through debate and compromise.

BY AARON JOB The Minnesota Caucus falls on March 1, or “Super Tuesday.” Caucusing is pretty simple: Show up at your caucus location, register, state that you are a member of your respective political party, and that you’re not a member of any other party. Ideally, you’ll want to get there early so you have some time to trade ideas. You can discuss why you support a certain candidate and why you think other people should as well. Be genuine, and take an honest approach as to how you think the candidate will better your neighborhood. Promptly at 7 p.m., the caucus organizer will call the meeting to order. At this point you should stop flirting with your newly found crush and pay attention. The caucus organizer will call on

volunteers for positions that oversee the caucus process that night. Anyone can participate, and it’s an easy way for people to become more engaged in their caucus. The caucus then turns to votes. Not conventional voting, but rather standing in a specified corner to represent your candidate. If your corner has enough supporters, then you’re “viable” to win delegates. If one of the corners wasn’t “viable” after the first round, then that corner is removed and its occupants must find a new one. After the corner standing is done, delegates are awarded based on how many supporters there are, multiplied by the number of delegates awarded to that precinct and divided by the total number of people at the caucus.

People as young as 16 may participate, so bring your little brothers and sisters. It’s not just about this election cycle, but those in the future as well. By participating, you’re demonstrating to future politicians the power young people have as constituents, and how beneficial it would for them to align with your ideals. MNVotes is a helpful resource where you can register to vote, find your polling place, and even vote early by absentee. Got it? Now, on March 1, go get your caucus on.

WAKEMAG.ORG // 7

THE WAKE // CITIES

The Immersive Journalist

AIDS Reporting by Jeff Schmalz and its effect on the newsroom BY LAUREN CUTSHALL In late 1990, reporter Jeff Schmalz had a grand mal seizure in the middle of the New York Times newsroom. Shortly after, he was diagnosed with AIDS. He spent the next three years reporting on the epidemic, turning stories of statistics into stories about people. In 1993, Schmalz died at the age of 39.

In addition to “Dying Words,” Freedman has written several other books on topics ranging from civil rights to Jewish identity. In the fall of 2016, Freedman will be teaching a joint class within the English and journalism departments at the University of Minnesota.

As one of the first to write on the AIDS epidemic from both perspectives— both reporter and a person with AIDS—Schmalz helped pave the way for acceptance within the newsroom.

Freedman first met Schmalz within his first week at the New York Times. Shortly after, Schmalz took Freedman under his wing and began to mentor him both in and out of the newsroom.

On Feb. 12, Columbia University professor Sam Freedman gave a lecture based on his latest book and radio documentary, “Dying Words:The AIDS Reporting of Jeff Schmalz And How It Transformed The New York Times.” The lecture was presented by the English department and the School of Journalism and Mass Communication at the University of Minnesota.

As the two became closer, Schmalz mentioned that he was gay.

Schmalz was a writer for the New York Times, covering the AIDS epidemic in the early ‘90s. As a gay man who was diagnosed with AIDS himself, he had a unique perspective on the issue.

“[Schmalz] was the first unashamedly gay person who was out to me,” Freedman said during the lecture. While Schmalz was open with Freedman, he wasn’t as open with everyone in the newsroom. When it came to his personal life, he kept quiet around the higher-ups at the Times, especially editor A.M. “Abe” Rosenthal, who was known for letting

prejudices seep into the newsroom climate. Rumors held that Rosenthal demoted reporter Rich Meislin after he was outed as being gay. For years, the Times only used the term “homosexual” and often included a subtle bias within headlines. Freedman said the Times avoided indepth reporting on AIDS well into the epidemic.The first article, published in 1981, was titled “Rare Cancer Seen in 41 Homosexuals.” After Schmalz was diagnosed with AIDS in 1990, he continued on with a darkly humorous attitude, Freedman said. At one point, when Schmalz was told he had only two T-Cells left (a healthy person typically has 5001,500), he decided to name them: Frick and Frack. “What do you do with someone this talented and this sick?” Freedman said at the lecture. Schmalz took a break. Spending time in and out of the hospital, he

took six months off from the Times immediately following his diagnosis. Upon returning, Schmalz became the AIDS beat reporter for the Times. Previously, the Times was covering AIDS from public policy and medical perspectives, Freedman said.Yet when Schmalz took it on, he connected so well with other people who had AIDS that he made the stories into more humanistic profiles. The profiles focused on a range of well-known people with AIDS, from basketball star Magic Johnson to political activist, Mary Fisher. Schmalz continued reporting on AIDS until his death in 1993. Just a few weeks after he died, the Times ran his last article, a piece from Schmalz’s point of view as a person with AIDS. The article was titled “Whatever Happened to AIDS?” “I used to be an exception in my H.I.V. support group, the only one of its eight members who was not merely infected with the virus but who

Freedman, a close friend and colleague of Schmalz, said he began working on the “Dying Words” project because he felt Schmalz’s story needed to be told louder before it was forgotten.

At this time, it was unusual to find articles written from the first person point of view, Freedman said. It was more even more unusual for the Times to run those pieces. Two memorials were held for Schmalz. One was formal, and one was a gathering of friends at Schmalz’s favorite restaurant, Freedman said. Freedman later said he found out the more intimate memorial was originally supposed to be Schmalz’s 40th birthday party. “Dying Words” was also turned into a radio documentary with the help of Kerry Donahue, a friend of Freedman’s who is involved with the radio program at the Columbia Journalism School. The hour-long radio documentary of the same name includes recordings taken from an interview with Schmalz recorded in late 1993. “We wanted to give [Schmalz] some permanence, some immortality,” Freedman said, discussing the choice to include Schmalz’s own voice in the documentary. “We want to steal the victory from the grave.”

MA X SM ITH

“It’s going back before moving forward,” Freedman said.

8 // FEB 29–MAR 20

had advanced to full-blown AIDS,” Schmalz wrote. “Now, just a year and a half later, the exception in my group is the one person who does not have AIDS.”

THE WAKE // VOICES

To Hillary or To Hell TAY L O R D A NI E L S

FEMINISM FAILS FOR THE FEMALE FRONTRUNNER BY EMMA KLINGLER Madeleine Albright’s “feminist” comment in the wake of Hillary Clinton’s defeat in the New Hampshire primary has been widely criticized. In a blunt appeal to the female voters who had turned out for Bernie Sanders rather than the Secretary of State, Albright declared: “There is a special place in hell for the women who don’t help other women.” The statement, a favorite of Albright’s, is in other contexts a powerful expression of the importance of women working together and supporting each other. In the case of Clinton’s campaign, however, the message soured considerably. Albright and Clinton received ample criticism from female supporters of Sanders and Clinton alike. The general consensus: voting against Clinton does not make you a bad feminist. This is an important distinction that has caused a generational rift in the recent discussions on feminism. Older feminists, like Albright, fear that the younger generation has become too complacent. There is still work to be done before equality is to be achieved, and they think that any chance to lift women to the highest office should not be neglected. At the very logical base of feminism, this is flawed. The argument that originally formed feminism into being is that women are equal, and not inferior, to men. It follows that women should be allowed to make autonomous, informed decisions in the same way as men. Imposing the sort of limitations on women that suggest that they must only vote for someone on the grounds of gender is in direct contrast to the concept of equality of persons. But dissatisfaction with Clinton’s brand of feminism had begun to build even before Albright’s statement. When she initiated her campaign in 2015, she made it clear from the first speech that women’s issues would be central to her platform. She was met with general approval for embracing a positive and optimistic version of feminism. It stood in contrast to her run in 2008 in which she was criticized by many for downplaying her gender. As her campaign has progressed, however, her expressions of feminism have begun to seem more contrived and narrow. She has been criticized for a lack of intersectionality and inclusiveness, something that separates her

brand of feminism from that of the progressive millennial she strives to win over. Many point to her less-than-stellar record on supporting feminist issues in her political career, such as her change of position on issues of abortion and gay marriage. Ideological failings aside, there is no question that Clinton’s career and accomplishments to date have made huge strides for women and have solidified her as one of the most powerful and influential women of our time. In her 1995 speech at the United Nations World Congress on Women, she made her famous and, at the time, controversial statement: “Human rights are women’s rights, and women’s rights are human rights.” The first-ever female senator from New York, Clinton was instrumental in securing funding to help rebuild the city after 9/11 and advocated fiercely for the health of the first responders. Her initial efforts in developing a universal health care plan laid the foundation for the Affordable Care Act, which has expanded health coverage for millions of Americans. Even recently, in the face of a potential setback to her campaign in the form of yet another Benghazi hearing, her formidable resolve shone through the tirade of accusations, and she emerged stronger than before. It may seem odd, then, that such a strong female leader can have such a disconnect with young feminist voters. But the Clinton situation illustrates the changing dynamics of contemporary feminism. We admire Rosie the Riveter and Susan B.Anthony and respect the work they did to pave the way for equal rights. But we also need to acknowledge the needs of all those who are underrepresented, and the role that intersecting identities plays in an individual’s experience in this country. It is not enough to push for the advancement of women alone; you cannot push back from a place of disadvantage without empathizing with others who are disadvantaged. Feminism that focuses solely on supporting the success of straight, white women does not pay tribute to the roots of its establishment. If Clinton hopes to gain the support of young feminists in her bid for the presidency, she needs to show that her feminist ideology expands beyond the achievement of putting herself in the White House.

WAKEMAG.ORG // 9

THE WAKE // VOICES

Crime and Responsibility BY BELLA DALLY-STEELE Former University of Minnesota senior lecturer Rose Marie Kuehni was arrested in December 2015 and charged with the murder of her boyfriend, Douglas Bailey. Bailey was reported missing on Nov. 30 after he and then-girlfriend Kuehni failed to join his family for Thanksgiving dinner.

Former University of Minnesota

Kuehni has admitted to fatally shooting her boyfriend—which she claims was in self-defense—on Nov. 22 of last year. She also confessed to later hiding his body in their shed. Kuehni attests that four days after the murder, she orchestrated the transportation and disposal of Bailey’s body and belongings, which she packaged into two boxes and delivered to her acquaintance, Clarence Hicks. Hicks then drove the remains to Kentucky and unwittingly disposed of them. County authorities have deemed Hicks a material witness.

professor arrested on murder

TAY L O R D A NI E L S

charge, students left in the dark

When asked if Kuehni posed a threat to students, Kuehni’s defense attorney, Mark Gherty, declined to comment. Bailey’s sister, Carol, however, is not silent on the subject. “[Kuehni] had no intention for Doug to ever be found,” she said in an interview with Wake editor Russell Barnes. “This was premeditated.” The Wake interviewed Peter Hilger, faculty director of Kuehni’s construction management department, with regards to student safety. “She didn’t show any signs to me,” Hilger said when asked about Kuehni’s stability. “There was no evidence of anything strange, though I did not know her personally.”

would have been to send out a timely warning, a University email used to alert students of campus troubles such as ﬁres or muggings. “It’s a little ironic,” Karla, a University freshman said. “[The University will] send out an alert about a mugging in Dinkytown but not this. We trust those alerts.”

Hilger also told The Wake that he does not believe that Kuehni posed a threat to students.

Such an occurrence raises questions regarding the University’s responsibility to its students.While staff members were alerted of Kuehni’s arrest on Dec. 9, 2015, students have yet to receive such a civility.

Kuehni has worked as a lecturer for the University since 2003 and was instructing two online classes at the time of her arrest. Despite Kuehni’s afﬁliation with the University, the majority of the student population remains unaware of her crime. When asked what they knew about the trial, the vast majority of students reported never having heard of the incident and were stunned to learn that one of their professors has been convicted of murder. While shocked to hear of Kuehni’s arrest, students were especially concerned that the University has yet to notify them.

What’s more, retrieving information on such cases can prove difﬁcult for students.The Minnesota Daily did not cover Kuehni’s case until early February. Even if students scoured other sources for word of Kuehni’s crime, the only Twin Cities news service that made the connection between Kuehni and the University, without sourcing a wire service, was WCCO. Other timely articles were not available unless students looked into the Pierce County Herald. Unlike The Daily, the University had the capacity to inform students—as is illustrated by the timeliness in which University staff were briefed—yet failed to do so.

Trey Sorenson, a current student, had some concerns regarding the University’s handling of the case.

Understandably, the University could in no way divulge all information regarding Kuehni due to legal concerns, but nevertheless, students should have been informed to the greatest extent possible.

“I’m not upset, but it does seem irresponsible,” Sorenson said. When asked how they wish the University would have notiﬁed them, most students answered that the best course of action

10 // FEB 29–MAR 20

“It’s part of [the University’s] job,” student Bessma Dabaan said. “As students, we have a right to know.”

When prompted, the head of University Relations, Chuck Tombarge, conﬁrmed the facts of Kuehni’s former relationship with the University. He has declined to make any further statement on behalf of the University. Media relations specialist Joseph Koktan later clariﬁed the University’s position. “We do not comment on personnel matters,” Koktan said. “This is a law enforcement matter.” With the University remaining tight-lipped on Kuehni’s case, it is no wonder that the majority of students are left in the dark. Bailey added to Barnes that she had a number of questions, one of which University students can surely identify with. “I would like to know what kind of instructor [Kuehni] was, and if what she told us matches up with reality.” In the case of University students, however, this question extends more broadly; why has the University failed to notify its students of this stark reality?

THE WAKE // VOICES

The force is strong in the Skywalker family, just apparently not strong enough to stop aging. Sorry, remind me again, why is that an issue? Carrie Fisher’s highly anticipated return to the “Star Wars” franchise has recently stirred a lot of controversy concerning her appearance in the box office blockbuster “Star Wars:The Force Awakens.” Some distraught fans were shocked to discover that their beloved space princess had, in fact, aged since she last graced the silver screen, sporting a skimpy bikini over thirty years ago. An overwhelming number of upset fans voiced their disapproval on social media, scrutinizing Fischer for her weight and visible wrinkles. However, the pressure of being closely examined by the public eye is nothing new for the feisty, pint-size actress, and she fired back at the commentators in true Carrie Fisher style. “Please stop debating about whether or not I aged well,” Fisher said in a recent tweet. “Unfortunately, it hurts all three of my feelings. My body hasn’t aged as well as I have.” Per usual, the media so-righteously appointed themselves to be the judge of whether or not Fisher’s aging met the impossible standards upheld for women in Hollywood. Her failure to appear twenty years younger than her actual age proved to be her downfall. This grotesque fixation on Fisher’s appearance rather than her performance in “The Force Awakens” exposes the ageist double standard that has infested the film industry for decades. While Fisher was busy shutting down merciless commentators with impeccable sarcastic finesse, no one seemed to be bothered by Harrison Ford’s hobble or Mark Hamill’s potbelly (Were there snacks on that remote island in the middle of nowhere, Luke?). When the original crime-fighting trio reunited on the big screen, it was clear that they were not the same youthful rebels from the ‘70s. Alas, “The Force Awakens” unveiled the cold truth–not even Jedi powers can prevent growing old. Despite Ford, Hamill, and Fisher’s lighthearted approach towards aging, in a not-sosurprising turn of events, Fisher was the only one scrutinized for her appearance in the film. Throughout the press tour for “The Force Awakens”, the franchise’s favorite space couple, Han (Ford) and Leia (Fisher), proved that even after thirty years, some things never change. Fisher was still her sharp-tongued, sarcastic self, talking over most reporters, and Ford was incredibly blasé about the fact that “The Force Awakens” super-sized his wallet, making him the highest grossing actor in history. Then again, we are talking about the guy who refers to his fans as customers, so I have a sneaking suspicion that we could count the things Ford gets emotional over on one hand.

Episode VII: Carrie Strikes Back After Ford and Fisher appeared in a slew of interviews for the film, a pattern emerged. They were both asked a fair share of questions about how it felt to return to the franchise that catapulted their careers. However, the similarities of the questions they faced began and ended there. An unnerving amount of Fisher’s interviews were centered around the travesty of her aging, while there wasn’t a single interviewer who dared to ask Ford how he felt about his wrinkles. Perhaps it’s a good thing that Fisher received so much media attention concerning her age and appearance in the film. The questioning revealed an underlying issue of the ageist double standard imposed on women in the industry. Social media threw a fit when they saw what a real 59-year-old woman looked like on screen, simply because in the industry, aging is taboo. Most elderly female roles in Hollywood are handed out to fresh-faced, twenty-something year old actresses who often star opposite of actors more than twice their age. There are countless film examples, but we don’t have to look very far to find proof of the industry’s problematic age disparity. It was prevalent in the “Star Wars” franchise from the very beginning with Harrison Ford, 34, cast opposite of Carrie Fisher, 19, in the first installment of the trilogy.

The gutsy, sith-fighting princess from a galaxy far, far away, can do everything Han and Luke can...besides age

Fisher shoved a final knife in the coffin of the ageist double standard in Hollywood when she tweeted: “Youth and beauty are not accomplishments.” Some things in life, usually the more important things, truly get better with age, and Carrie Fisher is certainly one of them. And regardless of whether or not you’re satisfied with the way Princess—ahem—General Leia aged, she has far more important things to worry about than the opinions of her image. For starters, saving the galaxy from weak, power hungry men… once again. What would we do without Carrie Fisher?

H ELEN TEAGUE

BY GABBY GRANADA

WAKEMAG.ORG // 11

H ELEN TEAGUE

THE WAKE // VOICES

The Journey of While she’s always been a black role model, she has shown more confidence over the years with her race

Beyoncé BY RUSSELL BARNES

It’s a fact: Beyoncé is black. But for so many years, Western society treated her race as if it was a myth. When Beyoncé was the “it” girl of Destiny’s Child, it wasn’t because her dad was her band’s manager, or because her skin was a lighter shade of black than Kelly or Michelle. It also wasn’t just because Beyoncé was talented; Beyoncé was capable of doing what white people could do—but so much better. In a Western world where whiteness is celebrated and people of color are appropriated, Beyoncé managed to reverse these roles. I’m not saying Beyoncé is guilty of reverse appropriation or anti-blackness. What I’m saying is Beyoncé took the tactic that is used against people of color and aligned it with her talent to favor her. Beyoncé took a stereotypically white phenomena and made it her own. Is there a greater pop song released this century than “Crazy in Love?” You know there isn’t one. And girl, did it ever. Beyoncé was not your typical R&B sensation; her music was much more pop-friendly than her peers. Most R&B and hiphop stars of the late ‘90s and early 2000s, ranging from Ja Rule

12 // FEB 29–MAR 20

and Ashanti to Nelly and Timbaland, have faded into obscurity. Yet Beyoncé is still here. So what are the key ingredients to Beyoncé’s longevity? She didn’t exclusively format her music for urban radio stations, her hair oftentimes appears to be unnaturally smooth (you can likely thank wigs and weave), and she has talent.White people love this kind of thing, and white people dominate Western society. But Beyoncé didn’t let record labels headed by white executives exploit her talent. Beyoncé is a businesswoman (as her secret album release showed in 2013), and a smart one at that. She may not have “talked black,” “looked black,” or even “acted black,” but her blackness still shined. She had crossover success in white, black, Asian and Hispanic communities across the world. Young black girls can look at Beyoncé and see themselves in her. You have white rappers (such as Iggy Azalea and Macklemore) and white soul singers (such as Adele and Sam Smith) topping the charts, yet black artists in these genres often struggle to achieve prominence without sacriﬁcing part of their identity. Beyoncé has been accused of hiding her blackness for years, with accusations ranging to her lightening her skin to being accused of hiding her blackness and therefore not really being “black.”

After Beyoncé was once Sasha Fierce, we started to see Beyoncé increasingly change her public persona and elevate her confidence in her blackness. Beyoncé’s fourth album—appropriately titled “4”—saw Beyoncé take the most control of her career at that time. It would also be a sign of what was to come. With an already firmly established fan base from over 10 years in the music industry, Beyoncé began to increasingly incorporate her R&B roots into her music. She also fired her father as her manager and began to sing more often about female empowerment, further stamping her status as a role model for all women, especially those who are black. And who could forget about how she subtly announced her pregnancy at the VMA’s during her performance of “Love On Top?” Her surprise album would further play on these themes, calling out various aspects in a white-dominated culture. “Pretty Hurts” highlighted our culture’s obsession with thin women with blonde hair. “Partition” poked fun at the oversexualization of black women, with Beyoncé reclaiming sex positivity for black women. Above all, Beyoncé was not afraid to embrace her blackness. Regardless of who hates on her, she will always speak her mind, Jay-Z will always make her feel so goddamn fine; she’s “Flawless.” Enter Super Bowl 50, when she called for her ladies—backup dancers dressed in Black Panther berets—to get in formation. This performance was met with praise and backlash. Black Lives Matter (BLM) co-founder Alicia Garza welcomed her into the BLM movement through a Rolling Stone article, while Miami police officers threatened to boycott working her April concert in the city. Police officers were threatened by Beyoncé’s allusion to the Black Panther Party—a group behind a historical movement that is often not present in high school history books. Yet, this movement does have ties to the BLM movement that we are living in right now. Beyoncé’s confidence in her blackness has collided with her political activism, and they have made many uncomfortable. Beyoncé may be viewed as a threat, but the word “threat” doesn’t describe the influence she has on the world. Beyoncé is revolutionary.

THE WAKE // FEATURE

BY LAUREN CUTSHALL ILLUSTRATIONS BY LIZZIE GONCHOROVA “Happy Leap Day!” is not a common phrase. Granted, we only have one chance every four years to say it, but even then it’s a sparsely used phrase. Let’s face it: Leap Day isn’t that special. The post ofﬁce delivers, school is in session, everyone goes to work, and there isn’t even a special section of Leap Day candy at Target. But maybe Leap Day is something we should celebrate just because we can. Maybe it’s a good day to reﬂect—what were you doing last Leap Day, four years ago? Who will you be four years from now? And if that’s too existential for you, just put a skip in your step and enjoy this whole extra day for exactly what it is… more time!

WAKEMAG.ORG // 11

THE WAKE // FEATURE

Clean your toilet Seriously, you keep saying you’re going to do it, but you keep not doing it.

Tell them you like them The worst thing that can happen is rejection. And then when you reﬂect back on it, it’ll be like it never even happened. February 29? What?

#2 #3 #4

Watch movies like“Donnie Darko,”“Back to the Future,” and “Hot Tub Time Machine” Leap Day is basically as close as you’ll ever get to time warping, so get in the spirit with these holiday movies! Call your grandma If you run out of things to talk about, just yell HAPPY LEAP DAY!!

12 // FEB 29–MAR 20

Have a cheat day If you’re on a diet, you might as well break the diet on Leap Day. It barely counts.

“Leap Year” shows that spoon-feeding rom-com tropes down viewers’ throats only works when your leads are actually charming. The film stars Amy Adams, some English guy, and Adam Scott, whose talent is supremely wasted as Adams’ “stuffy” boyfriend Jeremy. Adams plays Anna, an uptight apartment “stager” who decides to travel to Dublin to propose to Jeremy because an old Irish tradition states that women can propose to their boyfriends as long as it’s on Leap Day. Otherwise, women proposing to men is definitely unacceptable. However, as fate would have it, Anna gets lost in the Irish countryside on her way to Dublin and meets a handsome innkeeper named Declan. Hilarity ensues! Anna and Declan couldn’t be more different—Anna is uptight and loves to shop, while Declan is rude and crass. Both are supremely unlikable. But the plot thickens: These two might actually fall for each other, despite only communicating to each other through yelling for half of the movie. “Leap Year” couldn’t be more gimmicky unless it was actually released on Leap Day or even in a leap year, which feels like a bit of an oversight. The film portrays Irish country folk as heavy drinkers who only speak in riddles, and women as marriage-hungry savages who just gotta have that ring. Our unlovable leads, in fact, end up having to pretend to be a married couple in order to stay at an inn overnight. The other patrons of the inn insist that the Anna and Declan kiss to prove their love, and boy, does Declan deliver. Anna knows now that she has to leave her comfortable life with her nice, likable boyfriend of four years for this goon because the magic of the countryside compels her to. Unfortunately, “Leap Year”’s only redeeming quality is its cinematography by the same person who worked on “Drive” and “X-Men.” Like Leap Day itself, I have to wonder why this film even exists at all except to perpetuate gender roles and weird stereotypes about the Irish for 100 minutes.

THE WAKE // FEATURE

What I am about to tell you is the reason why I look over my shoulder reflexively every few seconds when I walk by myself. It is not information that we are supposed to have. You see the signs and the symptoms but you can only see the source if you look for it, and even then, only for a moment long enough to realize the mistake you made trespassing into something unimaginably sinister. In order to understand, however, I need to start at the beginning. Yes, I mean the very beginning. As in “of time.” In the aftermath of the Big Bang, the momentum of the bursting singularity caused the most central particles to collide with such force that their physical structures became warped beyond the recognition of common chemistry. These particles were so unstable that they blinked in and out of existence chaotically, storing so little energy in their mangled molecular bonds that they could not be sustained. These microscopic Houdinis are known as Low Energy Alternating Particles—or LEAPs. With me so far? The story gets interesting around the summer of 1812, when a mysterious, metallic capsule was found near a fjord in southern Norway by a band of salmon fishermen. They bashed the capsule against various rocks and hard surfaces but discovered they could hardly put a dent in it, so they kept it as a divine artifact and started a small but influential cult based on the uknuselige gjenstanden (unbreakable object). Human sacrifices were regular practice, as were elaborate mathematical calculations. By their logic, every four complete solar revolutions, the alignment of the planets would be so that anybody sacrificed would have the most direct path to the afterlife. What they never knew was that the capsule was planted by a time-travelling scientist with a proclivity for population control. Filled to the brim with LEAPs, the instability of the capsule was to be used as a weapon, but ended up inspiring more murders than ever intended, even to this day. The scientist’s date of travel: February 29—a fictional date engineered using concentrated LEAPs to erase the evidence after his mission’s completion. Little did he know that nothing disappears forever... happy freakin’ Leap Day.

Each year consists of just under 365 ¼ days—not the 365 you were told as a kid. But we account for it with one whole day every four years, instead. That’s a whole six more hours to binge watch Netflix in bed each year! Chances of being born on Leap Day are about 1 in 1,464. That means being a leapling is almost 10 times more common than finding a four-leaf clover on your first try (1 in 10,000). However, if you’re a leapling who consistently finds four leaf clovers there is a 99 percent chance you’re a leprechaun. Actor leaplings include Dennis Farina who was on 46 episodes of “Law & Order” and Antonio Sabato Jr. who was on 14 episodes of “General Hospital” and 7 episodes of “Melrose Place.” Perhaps Leaplings make better daytime television stars. We can’t forget about leapling Tony Robbins! Everyone’s favorite motivational speaker was ranked 32nd on Forbes’ “Celebrity 100” back in 2007, earning over $30 million. Billy Turner—think horse trainer, not offensive lineman for the Dolphins—is a leapling who trained Seattle Slew, winner of the Triple Crown in 1977. On a leaplings 32nd birthday, their Leap Day birthday will make them only 8 years old. Talk about forever young. That also means that while other 17-year-olds are excited to see R-rated movies by themselves, a leapling who is only 17 (really 68) will be paying the senior citizen admission price at the movies.

WAKEMAG.ORG // 13

THE WAKE // Q & A

Q&A: Safy-Hallan Farah

The writer and UMN graduate shares advice to aspiring writers S a f y -Ha lla n Fa r a h is a Mi n n e ap o l i s b a s e d w ri t e r w h o s e wo r k h a s re c e n tly b e e n fe a t u re d i n Te e n Vo g u e , P ap e r M aga z in e , Sp in , a n d N y lo n , a mo n g ma ny o t h e r p u b l i c a t i o n s . Often c r itiq u in g mu s ic o r c u l t u re , F a ra h ’s o b s e r v a t i o n s a re w is e , s h a r p a n d o n -p o i n t , mu c h l i ke h e r h i l a ri o u s ly re a l Tw itter feed (@ s a f y h a ll a n f a ra h ) . We a s ke d t h e U n i ve rs i t y of M i nn e s o ta g r a d u a te to s h a re s o me o f h e r e x p e ri e n c e s i n n av i g a t i n g t h e f re e l a n c e w ri t e r’s l i fe .

PETER DIAMOND The Wake: When did you decide you wanted to be a writer, and why? Safy-Hallan Farah: I was a really performative kid, so growing up I wanted to play a lawyer on TV or be a singer. As I got older, and I realized where my strengths lie, my creativity went into writing—or, in my case, thinking about writing. Journalism kind of happened randomly, and I’m still not really sure if it’s something I want to pursue for real. As a Minneapolis resident, how did you come to write for places outside the state? How do you cultivate relationships from afar with editors at major publications, and why did you choose to stay here rather than move to a writing hub like New York City? SF: The way to build relationships with editors at publications is simple networking. I used to think I was like a dweeb who wasn’t socially savvy enough to network, but to be honest it’s really easy to network from behind a computer screen. Be passionate and nice and people will reach out to you, or at least want to keep the line of communication open with you in case you want to reach out to them. The reason so many

16 // FEB 29–MAR 20

THE WAKE // Q & A

local people get stuck here is because they know everyone from high school or from their college paper. They don’t know how to get anything that literally wasn’t given to them. It’s embarrassing, and I think it’s respectable to put yourself out there, even if you get rejected. I also recommend being active on Twitter. Even though Twitter feels like it’s on its way out, it’s very relevant to media folks. I built my following making dumb jokes. I’m in a pretty clutch position now where I don’t have to put any effort into networking or trying to be interesting online. I have a lot of solid work on my plate and good relationships going for myself, but it wasn’t always that way. In summer 2014, I had zero followers. That’s around the time I started ofﬁcially trying to get into the freelance game. One of my favorite editors started a kick-ass Facebook group that motivated me to put real effort forward. It was a really low summer, and I’m thankful to all the people who helped me during that phase.

What tips do you have for aspiring journalists and freelancers? What are the biggest challenges of being a freelance writer in 2016?

I approach it sonically, lyrically, culturally, I guess. For me, the hardest part is being concise about something so abstract. Music writing is extremely challenging but rewarding.

SF: Develop taste! Oh God, please for the love of God! This is so important because then you’ll avoid writing for garbage publications. Other than that, practice and pitch a lot, and

What kinds of stories do you think get underreported, and what can be done to change that? SF: I think stories on my own people, Somali people, are underreported. I really would like to see that change. It sort of is changing thanks to Somali girl journalists like Huda Hassan and Sarah Hagi.

//I’m interested in showcasing every

aspect of my personality—my arrogance

and pride, my messiness, my vulnerability,

develop solid relationships with other professional writers, not just editors. There are so many challenges, but one of the biggest ones is just consistently churning good work out. How do you approach music criticism? SF: I think about what I like, what I don’t like, what stands out/ is noteworthy, the context that the music comes from, etc.

SF: I used to want that. I thought that was cool. I don’t really care about branding anymore. I’m interested in showcasing every aspect of my personality—my arrogance and pride, my messiness, my vulnerability, my cuteness. All of it. Even the parts of myself that complicate whatever people already think of me. What’s a piece you wrote recently that you’re really proud of? SF: I’m excited about two pieces I recently ﬂew out to Toronto to write.

P H OTOS COURTESY OF S AFY- HA LLA N FARAH

I haven’t really chosen to stay here. I’m just waiting for the right opportunity to move to a better place permanently, whether it’s Los Angeles or New York. This city does not inspire me, and I need to be perpetually inspired to do writing that isn’t for the Internet.

my cuteness. All of it.//

A lot of journalism professors talk about the need for new freelancers to develop a “brand identity.” What are your thoughts on that?

WAKEMAG.ORG // 17

A A RON MU S ICKA NT

THE WAKE // SOUND & VISION

Syrup and Selflessness Young Thug vs. Future, part deux

BY COLIN MILLER When Young Thug and Future both release music over the and if the only experience an artist has is living in the studio same weekend, I get emotional. Such was the case a few weeks between trips to the mall and gas station (to buy all the sodas, ago when Young Thug’s “I’m Up” and Future’s “EVOL” both of course), the music they create during that time will reﬂect rolled off the production line of inimitable, addictive, autotune- that myopia, propagating the volume of bloated, generic-ass drenched rap. Last time the publishing schedules of these music. Fortunately, Future and Young Thug got the juice… and colossi overlapped, I compared the two works and determined a Costco-sized family bundle at that. Thugger’s to be superior by the criteria of lyrical creativity, sound variety, and all-around artistry. Between then and now, Speaking of family,Young Thug’s inclusion of his sisters Dora and Future has outright denied the existence of “What A Time Dolly on the last track of “I’m Up” is a wholesome reminder To Be Alive,” his fairly regrettable collaborative venture with of the Slime Season spitter’s communal values, one of many on Drake, and spontaneously dropped his recent “Purple Reign” the tape. Tracks like “My Boys,” “Ridin,” “For My People,” and mixtape, which lent cohesion to his self-bestowed alter ego “Special,” not to mention the unexpectedly upbeat “F Cancer Future Hendrix.

Meanwhile, on the dark side of planet codeine, Future’s “EVOL” details the Freebandz ringleader’s opulent, self-medicating lifestyle. Doing away with the sentimentality of Future’s past (“Throw Away” and “Hardly” come to mind, as do earlier, sappier joints like “I Won” and “I’ll Be Yours”), the mood of the album is set by the sinister grumble of opening track “Ain’t No Time”—cold, cocky and focused. Forever the gentleman, Super Future extends a gracious invitation to female district attorneys and prosecutors everywhere on “In Her Mouth” before unfurling “EVOL” in its full glory. Keeping in step with his last album “DS2,” Future enlists only one featured artist, and he chooses well. The Weeknd, hot off the buzz of a platinum album, perfectly complements one of the album’s best songs, “Low Life,” with his signature brand of sultry, dejected, sexually-charged melancholy. All in all, “EVOL” sounds like the version of “DS2” that came out in Earth’s alternate timeline wherein Ralph Nader won in 2000, which is to say “pretty good, not all that different.”

//Future wins this round purely on banger

Meanwhile, Young Thug has been perplexingly critical of Future on Twitter for spraying songs like AK-47 rounds out the side window. Ironically, both artists have been relentlessly publishing music at a pace that makes the industry look sluggish by comparison. Fans are thankful for new tunes every time they refresh a browser window, but something is undeniably sacriﬁced in the rush for currency (and either deﬁnition of currency applies). Things as crucial as album artwork end up being left by the wayside when rappers pump out mixtapes to chase relevancy and revenue.

count, even if Thugger was yelling out “Fly Sh*t Only” two years ago.

This should hardly be surprising when juxtaposed with the music itself, which big-name artists, rappers especially, churn out formulaically with minimal variation. The problem with making a hundred songs about lean, guns, three-ways and designer clothes in a month (or, if you’re Young Thug, approximately twenty minutes) is that the sound has no time to mature. Artists channel their life experience into their music,

18 // FEB 28–MAR 20

(Boosie),” all let the listener know exactly who Thugger does it for and what he will do on their behalf if need be.Thus, “I’m Up” proves to be a tape primarily about love, ﬁtting for Valentine’s Day, though this episode in the YSL saga focuses more on platonic and familial love than the romantic kind.With featured artists outnumbering tracks and a free Datpiff release, Thug’s gregariousness hits a peak on “I’m Up.” Side note: between the jubilant ad-lib “strong marijuana!” and the goofy 1940s mobster-esque voice on the hook, “Hercules” is a major standout that I will be replaying well after the highly anticipated release of the third Slime Season installment.

The victor of Future vs. Young Thug, part deux is a tough call. While “EVOL” is certainly more polished and “I’m Up” more of a deviation from the artist’s current repertoire, the projects have more in common than their digestible 40 minute runtimes—namely, production haste. I have a feeling that under different circumstances, had both rappers taken a little more time devising a concept and fully developing it (I am still unclear what “love” backwards has to do with most of the songs on “EVOL”), both records would have been improved. That being said, Future wins this round purely on banger count, even if Thugger was yelling out “Fly Shit Only” two years ago. Shawty want that wave, indeed.

THE WAKE // SOUND & VISION

ADDRESSING MENTAL HEALTH IN THE ARTS The Basilica Mental Health Film Festival BY JENNA OGLE The Basilica of Saint Mary is one of the few great institutions that have recognized the need to address mental health within its community. Every February, the Basilica holds a themed ﬁlm festival as a social event for its members. This year, the theme addressed mental health in the arts.

LAUREL TIEMAN

Film, as a form of storytelling, has the power to challenge or reinforce social discourse. Mental illness, for instance, is still relatively stigmatized in our society today.The ministry decided to showcase ﬁlm with both an educational and social aim. For the Basilica, offering a safe outlet for discussing mental health is equally as important as the opportunity to generate awareness around it.

The second film in the series featured Academy Award producer Bill Pohlad and his directorial debut, “Love & Mercy.” The biographical drama showcases the Beach Boys’ Brian Wilson in his 20-year battle with manic-depressive disorder and schizophrenia. Creative minds often straddle a fine line between genius and madness. The film certainly spoke to Wilson’s genius as well as his madness in a powerful contrast between the artist’s musical innovation and the darker reality of his psychosis. Celebrities often possess an untouchable quality that leads us to forget that they are, after all, human. Pohlad’s film draws light to these issues, recognizing that none of us are immune to sickness, including mental illness. “Love & Mercy” depicts Wilson as the musical innovator that he is. Wilson lives and breathes music—quite literally—to the point where hours are spent on end capturing the right sound in an effort to release the voices from his clouded head. Everyone seems to have an answer for Wilson: his critical father, his band mates, and eventually his radical therapist, Dr. Eugene Landy. By the 1980s, Wilson’s mental state is deteriorating. Ultimately, his chance for survival appears in the form of Melinda Ledbetter, a beautifully unassuming woman from a car dealership. The battle for Wilson’s sanity between his love interest and therapist then plays out in the most interesting of ways. Pohlad stayed after the screening to answer audience questions. A number of directors wanted to tell Wilson’s story, so a script had been floating around Hollywood with soft approval by the Wilson family. Pohlad, who was moved by Wilson’s story, eventually picked up the script, drawing inspiration from his conversations with Wilson and his desire to shed light on mental illness. Pohlad

knew that he wouldn’t be able to tell Wilson’s full story, so key elements were put into focus while others were simply alluded to, including the three years that Wilson didn’t leave his bed. Pohlad was tactful in his storytelling approach. He did his research, consulting health practitioners as reference. One can imagine the risk in narrating not only someone’s life story, but also a story addressing an important health issue. Hollywood blockbusters have to be careful not to glamorize serious illnesses like mental health. Although Pohlad’s film is first and foremost a biography, there is a key love story integrated throughout. He wanted to make an intimate film, showcasing Wilson’s childlike nature and reminding us that it takes courage to embrace those with mental illness. The love that Ledbetter displays is unconditional, which allows us to see Wilson as he truly is: a good person, despite his strained relationships with family and friends. Through the festival, the Basilica becomes a safe space for those struggling with mental illness.Viewing is a stress-relieving activity, free of charge, and includes refreshments like cookies and lemonade. After the screening, the Basilica reminds its guests of their other resources, which integrate faith into individualized programs. Brian Wilson’s story is just one of many.The buzz about mental health awareness is growing, but there is still more that can be done. When institutions other than health centers see a responsibility in addressing mental illness, all people can become aware of the issue, rather than simply the individual or family struggling with it.“Love & Mercy” sheds light not only on health issues, but also on Wilson’s personal story. Many chastised Wilson when he was suffering, attributing his dwindling state to drug use, among other bad habits. As depicted, this happens in both everyday life, and the celebrity world. Like the voices in Wilson’s head, mental illness is often subdued, manifesting itself in various ways. Thankfully, we have educational outlets like the Basilica to promote community and encourage individuals to seek help.

//The biographical drama showcases the Beach Boys’ Brian Wilson in his 20year battle with manicdepressive disorder and schizophrenia.

WAKEMAG.ORG // 19

THE WAKE // SOUND & VISION

The Warming House An intimate music experience is opening in Minneapolis

There’s nothing quite like the intimacy of seeing a singersongwriter or a band play an acoustic set to a small group of people. It allows for a deeper connection for the performer and audience through music. If that’s your jam, The Warming House will bring just that experience. The Warming House is a listening room meant to hold somewhere between 30 and 50 people. “Our mission is to provide an inviting space for musicians and listeners alike, raise up kick-ass beginner songwriters and performers, and offer continuing education and support for music industry professionals,” said Brianna Lane, executive director of The Warming House.

thrive and become successful. And this venue isn’t just for beginners. There are plenty of established artists looking for a chill gig to play. “Emerging artists will have a home here as well as people who are well seasoned and touring through,” Lane said.

This venue won’t be your typical music venue. It’s speciﬁcally for music lovers who want to listen.This is no nightclub, or bar; it’s all about the music. “Our audiences will set us apart in that they will have to be quiet and listen,” said Lane.

This concept of a micro-venue brings into question what we really look for when seeing music live. The difference between seeing a show in a football stadium, versus a nightclub, versus a bar is huge.

This will not only have an effect on the audience, but performers as well. “Artists will have to put on an intimate show that may include stories about their songs, and will be stripped down to just a guitar and voice or a very minimal band,” said Lane.

Music is largely an emotional force. Many times, it is dependent on making a connection with the performer as well as the people around you. It’s pretty difﬁcult to do that when you’re sitting two hundred feet away from the stage, especially when it requires a large TV screen to see their faces.

The idea of a music venue actually devoted to music is a great idea. So often today, people go to shows for the sake of seeing a show. Today’s shows feature big lights, loud music, pumping bass, dancing, and drinking. Yet, we forget the beauty in the art of a musician being a master of their instrument and being a great entertainer.

Of course, arena shows are often inevitable, especially for artists that have massive followings. But when you can feel the energy cast by a performer, and you can look them in the eyes, and feel what they are conveying without the need of ampliﬁcation, that’s something special.

You don’t need all the ﬂashy things to be a successful music venue. Another thing setting apart The Warming House is its commitment to an environment where young musicians can

The Warming House will produce a more genuine music environment by having artists strip down to the most basic, and acoustic instruments. This will also allow performers to tell stories and share details about their songs. Musicians who have had plenty of experience playing small venues run the venue. “We know the value of being engaged

20 // FEB 29–MAR 20

LAUREL TIEMAN

BY CARSON KASKEL

with music as listeners and to be engaged with listeners as musicians,” Lane said. Modeled after venues such as Club Passim in Boston, the Ark in Ann Arbor, Michigan and Cafe Carpe in Fort Atkinson, Wisconsin,The Warming House was also inspired by the Cedar Cultural Center, located just a few blocks away from the West Bank campus.“We fancy ourselves to be a mini-Cedar,” she said. “These are true listening rooms where the music comes ﬁrst,” Lane said. The venue will be located at the corner of Bryant Avenue and 40th Street in south Minneapolis. Opening is scheduled for March. The Warming House is another addition to an already vibrant list of small venues around the Twin Cities. Joining the ranks, of the 7th Street Entry, the Kitty Cat Klub, and the Triple Rock Social Club. Time will tell whether The Warming House becomes a household name for Minnesotans. So whether you’re a die-hard music lover or someone looking for a relaxing night of listening, give The Warming House a try. It’s a one of a kind music venue here in Minneapolis, and the closest thing you’ll get to a private house show, aside from an actual house show.

THE WAKE // SOUND & VISION

TAYLOR DA NIELS

Reboots: The Sham of Show-biz When does a TV show need to end?

BY AARON JOB In the golden age of the new medium of television, reboots are the regular. With so many good-to-great shows currently running and debuting on hundreds of channels, and viewers never giving them a second glance, the suits in California have to get their attention somehow.

February. I want to believe, but only time will tell if season 10 was good enough for future installments.

cast of characters, the show struck gold in a faux-documentary style narrative following the trouble-ridden Bluth family. Netﬂix ran a fourth season, which had a confusing format that creator Mitch Hurwitz said he hopes the ﬁfth will stray from.

“Twin Peaks,” the beloved cult classic and critical darling is scheduled to begin in 2016. The show originally aired on ABC Everywhere you look, there’s a confusing reboot. “Full House” in 1990, and after Laura Palmer’s murderer was revealed in is no exception. “Fuller House,” which is actually a lesser house, Whether it’s “The X-Files,” “Twin Peaks,” “Prison Break, the second season, a feature film was made in 1992 to serve is full of the promise of the original cast, minus the Olsen twins. “Arrested Development,” or even “Full House,” moments as a prequel to the series. The reboot has hit snags and is from the past are scheduled for the small-screen once again. surrounded in secrecy, so it’s unclear as to what part of the Viewers will find a familiar plotline, as well. While the original Spectacles of the ‘90s and early 2000s, the shows are meant to “Twin Peaks” timeline the new installment will focus on. covered the tribulations of a freshly widowed Danny Tanner give their respective franchises another grasp at the summits trying to raise his kids with the help of friends Joey and Jesse, they once held. “Prison Break,” the overly campy, farfetched, “thrilling” series aired from 2005 to 2009 on FOX. Its back and forth fully- “Fuller House” focuses on a widowed Stephanie trying to raise her kids with the help of Kimmy and D.J. Real fucking creative But to what avail? tattooed plot jumped in and out of prison, and felt complicated people. The foolish house is set to premiere on Netflix in 2016. and confusing.Viewers somewhere liked it though, as it opened to an estimated audience of 10.5 million. In later seasons Mulder, Scully. Duchovny, Anderson—the dream team, the So is it worth it? How long are these reboots meant to last? however, the show felt removed from its original storyline sexiest couple/non-couple in the recent history of the science What could be done without treading on the episodic corpses and became redundant, which explains the increasingly fiction genre. From 1993 to 2002 the special agent duo took of the original series? Nothing, creatively speaking. negative views it received. As for now, it’s in a stage of arrested down the supernatural across the U.S. Some monsters of the development and set to air sometime in 2017. week included aliens, radioactive sewage monsters, children Reboots are meant to give viewers something to spew to their Speaking of, “Arrested Development,” the show starring a slew raised by the wild, and the smoking man. Now, almost 15 social media accounts in a blinding flash of nostalgic euphoria. of big name Bluths, was picked up by Netflix after three rather years after the original final episode, a much older Anderson Meanwhile, the studios producing them get to nurse the and Duchovny return to their skeptic and believer roles, unsuccessful seasons on FOX in 2003. From Stair Carsto Bob remaining money out of a franchise before a dismal crowd. Loblaw’s Law Blog and a quirky, eccentric, and often-egotistical respectively. The series restarted in January and concluded late

//It’s about attention-seeking executives looking to scrape together the remaining resin of viewers still holding on to their childhood amidst the cluster of new.

It’s all garbage, trash, disrespectful calls to high-times past. It’s about attention-seeking executives looking to scrape together the remaining resin of viewers still holding on to their childhood amidst the cluster of new. Sure, some of the reboots might have a certain sparkle reminiscent of the original series, but that pizzazz isn’t worth bringing them from where they belong—collecting dust among a collection of home-recorded VHS tapes in the basement of an all too loving fan who wants to feel nostalgic now and again. They should end now, before they begin, again.

WAKEMAG.ORG // 21

THE WAKE // SOUND & VISION

EMILY HILL

DRAKE NITE 4

An inside scoop on the phenomenon sweeping the Twin Cities BY HANNAH KLOOS Drake: former “Degrassi” star, rapper, singer, fashion label owner, occasional actor, and now, the inspiration for a Minneapolis movement known as Drake Nite. On Feb. 11, over people piled into the First Avenue’s main room to celebrate Drake Nite’s fourth installment. The idea behind Drake Nite is simple: create a space where fans can come together and unashamedly profess their love for the 6 God, free of judgment. The sold-out event featured a four-hour long DJ set, beginning with classic party starters by a variety of rap and R&B artists, and transitioning into songs by Drake alone. The DJs, including DJ Bach, DJ Greenery, and DJ Cloud, played hits that showed Drake’s diverse catalog.The hits spanned from older slow jams like “Practice” and “Hold On,We’re Going Home,” to current bangers like “Jumpman,” the Grammy-nominated diss track “Back to Back,” and of course, “Hotline Bling.” Perhaps what was most impressive was the event’s attention to detail. Colored smoke and balloons shot out into the crowd in time with the bass, posters of Drake and the Canadian flag lined the walls, and GIFs streamed from a projector throughout the entire night. A photographer even captured attendees alongside a gigantic painting of Drizzy himself. While Drake Nite was well-organized, it didn’t take itself too seriously. It’s a cramped, sweaty, loud dance party, and it knows it. Love him or hate him, Drake’s influence is undeniable. Few artists have reached his level of cultural capital, especially in the Internet age. Drake knows what his fans will figuratively and literally like and share and he gives it to them. The popularity of Drake Nite clearly illustrates the community his music has established. He transcends age, race, gender, and genre, and that seems to really strike a chord with his fans. Drake Nite’s popularity also demonstrates Minneapolis’ appetite for events that provide an immersive, unique party experience. Drake Nite 5 is scheduled for March 17, so bring old friends, make some new friends, and get ready for a night that will have you saying that was the “best I ever had.”

22 // FEB 29–MAR 20

S O P H I E FE S S E R

Beyoncé’s

“Formation” Music Video

Kanye West’s

“The Life of Pablo”

H E LEN TEAGUE

KANY EW ES T. C O M

THE WAKE // SOUND & VISION

DIIV’s

“Is The Is Are”

BY MADISON DICK

BY PETER DIAMOND

BY EMILY HILL

Beyoncé dropped the music video for her new song “Formation” the day before the Super Bowl, during Black History Month, which is also the month of Trayvon Martin’s 21st birthday and Sandra Bland’s 29th birthday. The former was killed due to racial proﬁling and the latter was allegedly killed due to an unfair arrest and police brutality.The implications of these time and date stamps speak a thousand words.

I asked my 64-year-old dad if he liked Kanye West, and he told me, straight up, “No. He’s conceited. Didn’t he release a song with Paul McCartney?”

Reemerging four years since their last release, DIIV reclaims their ground in the indie rock world with their sophomore album “Is The Is Are.” The Brooklyn-based rock quartet is back with a 17 track album with themes of addiction, depressive intoxication, and the internal commentary of cleansing the spirit. DIIV’s singer Zachary Cole Smith was at an unexpected standstill from criminal charges and a period of reevaluating musicianship, and now channels the blips and clamor of that time off into his refreshing new project.

While the rapper released a trio of songs last year with the renowned Beatle, none of them made the ﬁnal cut of “The Life of Pablo,” (TLOP) West’s seventh solo album, which has existed in several iterations according to West’s inﬂammatory Twitter, as “So Help Me God,” “Swish,” and “Waves.”

Beyoncé’s video serves as a tribute to her being unapologetically black by embracing her southern heritage and her family. Beyoncé tells and shows mainstream listeners who may be “TLOP” forces the listener to confront West’s frantic personality, uninformed about the infinite complexity, intersections, and which he brandishes publically through his seemingly unfiltered beauty of the black community, according to Taiyon Coleman, tweets (contrast that to a highly crafted episode of “Keeping the a gender, women, and sexuality studies professor at the Kardashians”). “TLOP” functions much like the fake-glitz of reality University of Minnesota. Beyoncé also further complicates television, except West is self-aware enough to wink at the camera blackness to underscore that black identities and experiences every now and then (see the hilarious “I Love Kanye” monologue). are historically and contemporarily embedded and shaped in Not unlike the album,West is a mess of contradictions, and yet he an ongoing national narrative that is both reverberating and is somehow able to put the pieces together to make a stunningly resiliently resists monolithic definitions, Coleman said. human and empathetic work of art. “Formation” features black women owning their natural hair (including her daughter, Blue Ivy) and features different outfits from multiple time periods. Beyoncé also uses her lyrics to describe the “formation” of black women to stand together and embrace their blackness unapologetically. “Formation” is said by many to be Beyoncé’s most political video to date, and her power in both mainstream and subculture media is bringing to light issues of racism, sexism, and police brutality that previously haven’t been stated so overtly in her camp.

Symbolically, this is through his stylistic soul samples, but it’s also in his ability to throw together an all-star lineup. Chance the Rapper sings the verse he always dreamed of on the glorious “Ultralight Beam,” while Kendrick Lamar squares toeto-toe with West on the Madlib-produced “No More Parties in LA,” that breezes by in six-minutes. Kanye has referred to “TLOP” as a gospel album. In wrestling his perpetual nature to fuck-up (“FML”) with his endless search for redemption (“Waves”), it feels like a summation of West’s life to this point, always sinning before asking to be forgiven.

Lyrically, Smith draws out his reality through his melodic hush. With a sound famous for its distortion and mufﬂed tones, the directness of the words pierces through the haze. There is an intensity that lends itself to the heavily edited and anamorphic sound on this album. Although each track diversiﬁes the album, the similarity of raw, heavy subject matter streams through every last word.A unique balance is created with the combination of upbeat ballads like “Dopamine” and “Take Your Time,” juxtaposed with the 17 seconds of echoing brevity in the track “Fuck.” As the lyrics make Smith carefully relive the past, there still lives a rhythmic solidarity that grounds him and his band mates.. The album acts as a cathartic release of their months off… unexpectedly with detail. DIIV took their time between albums to create another masterful work, but now they are picking back up their whimsical sound. DIIV has now thankfully released their fans from limbo as they redirect their time lost into an album that anchors the group’s dedication to their craft.

WAKEMAG.ORG // 23

Come to our next meeting at 8 p.m. March 7th in Folwell Hall Room 12 Writers, editors, illustrators, photographers, PR enthusiasts, web fanatics, & readers welcome!

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