EMMIE Fall 2021 Issue: The Crush Issue (Ohmme Cover)

EMMIE FEATURING

FALL 2021

ohmme + julien baker

HOW TO BE A LATIN LOVER A INTO

BRIEF

XOXO (A PLAYLIST) SONGS

LOOK BOLEROS

QUIET

A HISTORY ON THE

FOR

UR

CRUSH

STORM OF

R&B RADIO

T R I A L S & TRIBULATIONS OF CRUSHES STORIES EMMIE

BETTER OFF ALONE (?)

A

FROM STAFF

PLAYLIST

LIVE GALLERY JULIEN BAKER COVER

STAR

P H O T BY EMMIE

O S STAFF

<3

FOR THE RECORD CAFE CODA A

LOVE

ALBUM

LETTER

O H M M E COVER

REVIEWS

STARS

<3

ROADBLOCKS & RECOVERY W/

NEAL

FRANCIS

STAFF EDITOR IN CHIEF DEPUTY EDITOR IN CHIEF ART DIRECTOR ALBUMS EDITOR CONCERTS EDITOR FEATURES EDITOR PHOTO EDITOR SOCIAL MEDIA MANAGER WEBSITE MANAGER WRITERS

ART

PHOTOGRAPHERS

ON THE COVER

IZZI BAVIS RILEY YOUNGER MORGAN DOOLEY AMANY KHREIS SHARON KORETSKOV ARTHUR MACHADO PERRI MORAN MIA WEISFELD SHELBY LEN AMANY KHREIS AMELIA ZOLLNER ARTHUR MACHADO BECK KELLER BETH WALSH CAMILA TRIMBERGER-RUIZ CORI DYNER DOMINIC DORAIS BURT IZZI BAVIS KARLA PONCE MARY WENTHUR MORGAN DOOLEY PERRI MORAN QUENTIN HOLLE REEGAN FRANZMEIER RILEY YOUNGER SAFFRON MEARS SALLY FORD SHARON KORETSKOV SHELBY LEN CLAIRE WILCOX DOMINIC DORAIS BURT MORGAN DOOLEY RILEY YOUNGER SHARON KORETSKOV PERRI MORAN AMANY KHREIS IZZI BAVIS MADDIE WILSON PERRI MORAN SHARON KORETSKOV JULIEN BAKER OHMME

I am enthralled with the idea of love and the butterflies I chase in my stomach. Last year I spent my free time daydreaming about anything that wasn’t the small apartment I was confined to. I spent hours dedicated to the possibility of love, adventure and change. Two issues of EMMIE came from that daydreaming, and I am beyond proud of the work that my team was able to complete remotely.

With the reintroduction of in-person interaction and school, new challenges arose but as a team we embraced them with open arms. Meetings remained on Wednesdays but instead of on our computer screens it was in the Memorial Union. Things changed, but we wanted them to change. All the writers and contributors piled in and were eager to create. And we did. The Crush Issue is a physical representation of new possibilities and the longing for more.

It tells readers that EMMIE is still here, and we have so much to share.

The Crush Issue allowed us to be vulnerable, honest and curious. I am beyond proud of my staff, without them this issue would not exist. This issue showcases the work from new members and old members. For some this was their first semester on campus, for others this was their last. Their hard work paid off. The issue is beautiful— created together with love and an appreciation for music, literature and crushes.

I want to thank everyone that continually gave me a chance— to lead, to create, to share. The Crush Issue is dedicated to daydreamers and romantics; for people who have a million crushes and for those that dread having one. This issue was founded on a summer of opportunity and a year of excitement. I hope you see yourself in these pages.

Since the COVID-19 pandemic, EMMIE Magazine has been committed to following CDC and University sanctioned guidelines. For the Crush Issue this has looked like a combination of remote and in person photoshoots. The Julien Baker shoot was done entirely over Zoom; all of the photos were directed by our staff.

The Ohmme shoot was done in cooperation with the University’s guidelines. Our staff was masked while the artists were unmasked and outside. Everyone had two doses of the vaccine. For more information, please check out our website emmiemusic.com.

With love,

IZZI BAVIS EDITOR-IN-CHIEF

ALB U M

S BY EM W E MIE ST I V AF F E R

North Carolina singer-songwriter Indigo De Souza occupies an important space in her fans’ catalogues. With a wide variety of musical influences, her sound doesn’t seem to be an extension of any others’, but entirely unique. Her 2018 debut album, I Love My Mom, became known for augmenting indie-rock with classic song-building and confessional lyrics. However, many songs on the project lacked hooks or individuality.

After a three year hiatus, De Souza dropped her sophomore album Any Shape You Take to great reception. The tracklist opens with “17,” an energetic, bedroom-pop departure from what fans had come to expect. Production on later tracks integrate this style to fleshout De Souza’s signature sound. “Die/Cry’’ and “Real Pain,” possibly the darkest cuts off the album, exemplify her impressive vocal range over grungy instrumental. Narratively, De Souza depicts herself in a place of anguish— even codependency. The later “Hold U” is strippedback, feel-good with an infectious hook. Repetition of lines such as “it’s gonna be alright” showcase a healthier relationship with grief than the album’s openers. The closers progress to a place of reconciliation, concluding on a point of high-energy and much-needed catharsis.

INDIGO DE SOUZA ANY SHAPE YOU TAKE

WRITTEN BY DOMINIC DORAIS BURT

6 / EMMIE

Any Shape You Take stylistically builds on De Souza’s established sound. Changes in genre reflect topical shifts, accompanied by some contained intimate points. Effectively, this diversity creates a more expressive tracklist— which comes across less formulaic and more impactful than her previous project. The album’s short runtime can make the shift between influences somewhat abrupt. In some of its darker moments, its energy prevents it from taking the time to transition. Nevertheless, De Souza’s captivating vocals seem to be best complimented in a varied soundscape, which she will hopefully further develop in future projects.

SCOR

7.3 : E

Awake. Asleep. Alone. The song “ENTERTAINMENT” blares through my ears, a synthesis of static melting, metal clambering, cars screeching. I can finally take a deep breath after its 50-second run-time, eyes open and I can see the song in front of me. The lyrics roll off my tongue like dripping globs of strawberry ice cream. This fantastical synthetic rock song transports me into a dissociative state. I feel oddly at peace, the ambient bird noises in conjunction with the constant strum of the guitar. The lyrics tell me a story that ends with “I keep descending and no one remembers my face, my name.” I feel Asleep.

SPIRIT OF THE BEEHIVE ENTERTAINMENT, DEATH WRITTEN

BY

RILEY

YOUNGER

This album swallows me whole and spits me back out again. I am immersed in the hypnotic dissociative beat track. ENTERTAINMENT, DEATH as a whole is more than just an 11-track album: it is a culmination of unique poems that share thoughts of nothingness and emptiness, some are just phrases repeated over and over again. “THE SERVER IS IMMERSED” is one of the more easily digestible songs on this album. Each track follows an atypical song structure— there’s not a central course or traditional verses. This style of composition keeps Spirit of the Beehive’s music hypnotic and interesting. “IT MIGHT TAKE SOME TIME” is an example of how a song does not have to be lyric heavy to still be entrancing. The lyric “it might take some time” is repeated about nine times and serves as a mantra throughout the song. Even though short in length, this album perfectly complements melancholy moods. I am Awake.

I recommend listening to this album when isolated. To truly appreciate the words spoken on the tracks, you have to be encapsulated by the solitary nature of your deepest thoughts. Listening to the repetition of the album title on the last track “DEATH” feels like you have fallen down a long whimsical hole of introspection, kind of like Alice in Wonderland. Alone in the woods, Asleep in the grass, Awake in my bed; those are the times that this album makes sense. I find comfort in the uneasiness of songs like “GIVE UP YOUR LIFE” and “WRONG CIRCLE.” This album curates an out of body experience and as a listener you feel as if you are on a trascendental trip. Escapist music is not a new genre; however, the music Spirit of The Beehive is making is more than escapism, it’s a collection of synthetic hypnotic rock stories. I want to be Alone.

SCORE:

7.9

Lorde’s newest LP, Solar Power, is meant to be a pinpoint and unraveling of self-reflection.

Instead, it’s a misguided project devoid of any true insight. After her catapult to fame with the release of Pure Heroine and the immense success of Melodrama, Lorde spent four years detoxing from the perils of social media and being an artist in the limelight. Before the entire project dropped, the lead singles of “Solar Power’’ and “Mood Ring” created mystery and excitement on the internet for what Lorde would bring in the culminating project. However, as a whole, the album seemed unclear and the music insignificant. The attempt at combining satire and Lorde’s grapple with fame didn’t mesh well together. It ultimately reads as her subscribing to the sort of superficial and shallow behavior she is trying to deride. She expresses feelings of not wanting to be the savior people have made her out to be, yet fails to elaborate and define herself as anything other than exactly that. In “Mood Ring,” Lorde attempts to satirize this archetype of a person who relies on the performative practices of modern spirituality -using it to critique shallow Western practices. Yet, on tracks like “Stoned at the Nail Salon” (which depicts an existential crisis of sorts) it displays an attitude all too similar to the one being critiqued. This message is unclear and likely goes over most people’s heads. Before the album’s release, Lorde talks about the impact of witnessing climate change, looking critically at spiritual practices and leaving the limelight, yet the album does not draw us in extreme emotion to any of that or anything at all. Musically, it doesn’t do much to push the envelope either. The reminiscent sounds of 2000s pop and rock fall short of any expectation we had from the second album produced alongside Jack Antonoff. Solar Power seems awfully timid compared to the dramatic and intense work on Melodrama. From the lack of production and vanilla vocals, there are no stirrups or sparks in the project; it’s a straightline and unexciting compilation of songs. Overall, the project is shallow and incoherent.

I’ll still be jamming to parts of this album despite the lack of consistency and direction.

L O R D E SOLAR POWER WRITTEN

BY

KARLA

PONCE

SCORE:

3.9

7 / EMMIE

C S

L A I R L I N

WRITTEN

BY

AMANY

O G

KHREIS

Where and how an album was written can define it more than anything else. As soon as you learn Clairo took away to the mountains of upstate New York to make the switch from bedroom pop to the singer-songwriter roots of 1970s folk music, you can’t separate it from Sling. This is a common trend. When thinking of For Emma, Forever Ago, a cabin in the middle of Wisconsin immediately comes to mind. Sufjan Stevens’s state albums, Michigan and Illinois, were named directly after the places that inspired them. On Blue, the songs were written as Joni Mitchell took a break from touring and travelled across the world, and you can hear that in her music.

Clairo’s sophomore release follows in the footsteps of these albums. Sling is a moment of growth—Clairo experiments more with harmonies and lyricism, abandoning the bedroom pop influences that once confined her music. On the catchiest and most popular track from Sling, “Amoeba,” the lyrics are hard to crack, distancing Clairo from the confessional songwriting on her debut release Immunity. Her lead single “Blouse” is more direct. Lines like “If touch could make them hear, then touch me now” put Clairo up there with the best songwriters of her generation. Sling is Clairo’s first time co-producing with pop titan Jack Antonoff, who received a good amount of backlash this year for recycled sounds and stretching himself thin. Despite the criticisms, Sling still stands out from the other projects he worked on this year (Solar Power, Chemtrails Over the Country Club). Clairo may be influenced by the likes of Carole King, Joni Mitchell and the ladies of the Laurel Canyon movement (she’s referenced Mitchell on critics’ favorite “Bags”, “Mitchell said I should be just fine,” and titled a five-minute instrumental interlude on Sling’s “Joanie’’ after her dog that was named after Joni), but she never strays from sounding like herself. The layered harmonies and instrumental breaks become Clairo’s defining features. At times, her vocals can sound quiet and hushed—a problem Clairo has always had in her music and live performances. Regardless, Sling is an incredible album, blending classic folk, chamber pop and jazz into a cohesive, solid work. The soft, lush melodies and saccharine lyrics take listeners away to the mountains with Clairo and her most personal memories.

SCORE:

7.1

Black Country, New Road’s For The first time is the highly anticipated debut album from UK’s post-punk darlings, their introduction to the music scene already sets them as mainstays of the contemporary art-rock movement. The band’s sound is extremely difficult to classify accurately, it’s a unique chaotic blend of the post-punk aggressive nihilist ethos with touches of art jazz instrumentation and anguished spoken word vocals… and I love it. The London-based septet has been building up buzz in the post-punk community through word of mouth over the past two years and this secretiveness proves itself to be the key to the band’s ethos.

With the unassuming band name and cliché title tracks, accompanied by a stock image for the album cover I initially went through this album without high expectations. To my surprise, I was presented with 40 minutes of meditative cathartic melodies.The interplay between the seven band members is balanced: there is never a time when one band member outshines the other. We see this in the opening track “Instrumental:” as the second an infectious saxophone settles, we hear singer Isaac Wood’s raspy vocals, topped by beautifully chaotic violin arrangements that culminate in a brooding reflective experience. Although, the lyrics can feel uncomfortably personal and revealing at times in tracks like “Science Fair,” as he fetishizes a Cirque de Soleil performer, or discussions over suicide in “Athens, France.” Wood exposes his insecurities and self-doubts in a fantastic mix of spoken word and post-punk shouting. For the first time is one of those rare, stellar debut albums; it’s grittiness and nihilism completely entrance you to what feels like a 40 minute jam session amongst extremely talented troubled musicians. Black Country, New Road establish themselves as a powerhouse in the post-punk community with their debut.

SCOR

7.8

E:

8 / EMMIE

BLACK COUNTRY, NEW ROAD FOR THE FIRST TIME WRITTEN

BY

ARTHUR

MACHADO

J A P A N E S E B R E A K FA S T J U B I L E E WRITTEN

BY

SAFFRON

MEARS

Between being a New York Times Best Seller, self-proclaimed foodie, director and frontwoman of Japanese Breakfast, Michelle Zauner kept busy over the last few years. In their third studio album, Japanese Breakfast’s Jubilee explores the joy that emerges from sorrow in their celebratory return. After years of feeling defined by the grief of her mother’s passing, Zauner created this 10-song collective as an “album that embraced feeling.” Through the use of heavy synthesizers, breathy vocals and an astounding horn section, Zauner creates a celebration of joy in a collection that left a lasting impression on me. Jubilee blends uplifting beats with sorrowful lyricism. The album’s opener, “Paprika,” sets a strong standard for the rest of the tracklist. The song explores the complexities of fame, with dark lyrics describing her fear of being known: “How’s it feel to be at the center of magic / To linger in tones and words? / I opened the floodgates / And found no water, no current, no river, no rush.” As the album merges into more upbeat songs like “Be Sweet” and “Slide Tackle”, Zauner’s celebratory vision comes to the forefront of Jubilee. A strong sense of vulnerability is present within the second half of the album, with sorrowful tracks like “Kokomo, IN” painting a story of longing in a small town and “In Hell” a track exploring Zauner’s acceptance of death. In the sci-fi pop track titled “Savage Good Boy,” Zauner uses lyrics that illustrate class disparity and capitalism: “I want to make the money ‘til there’s no more to be made/And we will be so wealthy, I’m absolved from questioning.” Through a mixing of styles from synthesized upbeat melodies to subdued orchestral tones, Zauner crafts an unlikely mixture of genres into a fully realized project. Jubilee closes with “Posing For Cars”, a song about loneliness and the love that grows from it. As the guitar riffs and vocals slowly build upon one another, joy and longing merge together. When the album came to a close, I was left with a bittersweet feeling of emptiness that left me wanting more. Overall, Japanese Breakfast’s Jubilee beautifully encompasses Zauner’s journey through grief and joy with a fun and versatile tracklist.

RE:

SCO

7.8

​​ Supergroup Big Red Machine, composed of The National’s Aaron Dessner and Justin Vernon of Bon Iver, teamed up again to release their sophomore album this August. How Long Do You Think It’s Gonna Last? may be the question you find yourself asking while listening to this 15-track body of work. The soft sounds of the album fall short of what one would expect from two artists whose previous work has received so much critical acclaim and is beloved by fans alike.

The album showcases each artist’s strengths but does not give anything new. Dessner produces more of the melancholic piano and string tracks he is known for and Vernon showcases his impressive vocal range. Yet, the album sounds too reminiscent of work the artists have previously produced that I am left feeling like I had heard this record before. The album starts off strong with “Latter Days” featuring Anaïs Mitchell. Mitchell writes what ends up being some of the most poetic lyrics on the record: saying, “You were talking back to an act of God.” I quickly began to lose interest with each subsequent track and found my attention slipping.

The most enticing aspect of this record is the immense amount of features. All but five songs include a feature, ranging from Fleet Foxes and Sharon Van Etten to Taylor Swift. While they are not wholly unwelcome for adding more life to the album, there is a certain reverence for the work that is lost because it is diluted with so many outside voices. “Renegade” featuring Taylor Swift was a fan favorite; the song loses its shine when you realize it sounds like a leftover from Evermore, Swift’s latest project with Dessner, that got recycled onto this album.

In an interview with Zane Lowe for Apple Music, Dessner said that Big Red Machine is an excuse for him and Vernon to collaborate. “An excuse” is precisely what this album feels like.

The record lacks heart, a clear story and any innovation. It ends up feeling like a fun extracurricular rather than a focused project. How Long Do You Think It’s Gonna Last? is a pleasant record but fails to live up to expectations and inspires little thought after listening.

BIG RED MACHINE HOW LONG DO YOU THINK IT’S GONNA LAST? WRITTEN

BY

BETH

WALSH

SCORE:

5.5

9 / EMMIE

It’s hard to think of anything worse than waking up in the middle of a vibrant dream and then being forced to carry on through the monotony of work and school. In their sophomore album To See the Next Part of the Dream, anonymous Korean solo artist Parannoul bottles this feeling up and turns it into a shoegaze portrait of escapism. Combined with the artist’s vocal recording equipment of choice (a literal Samsung Galaxy 5), Parannoul’s decision to produce a fully virtual album influenced by DIY and emo scenes might sound like a nightmare. In Parannoul’s case, though, everything sounds so authentically tangible that it just works. During the final minutes of “Youth Rebellion,” Parannoul cranks out a fiery drum solo, and it perfectly emulates those unpolished, sloppy acoustics you’d hear at a basement show. This hazy sound compliments Parannoul’s yearning for an escape from daily life especially well. The dream that Parannoul presents throughout the album is well tied together, though it’s not all roses. Parannoul sings with the cadence of someone disillusioned by daily life, but at times, their voice teeters over the edge of sounding lazy, drifting between notes with little stability or direction. The album can also feel a bit uneven, with stronger songs like “Beautiful World” stacked at the beginning and more forgettable songs lingering toward the end. As the album comes to a close, it reaches a satisfying resolution both sonically and thematically. While acknowledging its temptations, Parannoul rejects escapism on the album’s final track “I Can Feel My Heart Touching You:” “I don’t have to be scared anymore / I’m not running away anymore.” Parannoul’s dreamy album is over in one hour. It fades out into nothingness in a bit of an unsatisfying note, though it never strays from Parannoul’s mission: to make you hear their dreams.

SCORE:

7.7

TO SEE THE NEXT PART OF THE DREAM PARANNOUL WRITTEN

BY

AMELIA

ZOLLNER

I don’t think anyone was expecting Olivia Rodrigo to explode the way she did after dropping “Driver’s License” in January of this year. Within its first four months of release, Rodrigo was praised by Taylor Swift, had an “SNL” sketch written about the song’s success and hit over one billion streams on Spotify. Then in May, the much anticipated Sour dropped, launching Rodrigo to superstardom, and currently standing as the 15th most popular artist on Spotify. I of course listened to it immediately on the Friday it dropped along with millions of others, but didn’t revisit it until I was assigned to review it this semester.

Despite every song having hundreds of millions of streams, I can’t help but feel that a large portion of this album is very forgettable. Tracks like “traitor,” “happier” and “1 step forward, 3 steps back” don’t provide much for the album except for beefing up the runtime. These tracks are expecially substandard when compared to songs like “brutal” and “good 4 u.” The two pop-punk tracks are where Rodrigo stands out the most.

OLIVIA RODRIGO S O U R WRITTEN BY CAMILA TRIMBERGER

While I typically preferred more pop-punk influence on the album, most of the songs are extremely catchy with solid hooks. The tracks centered around existing as a teenage girl in 2021 (“brutal,” “jealousy, jealousy”) felt so real. Though, with eight of the 11 songs on the album centered around her relationship with Disney co-star Joshua Bassett, the repeated storyline got old halfway through the album.

My only vice with the lyrics--other than subject--was in “deja vu,” when Rodrigo claimed to be the one to have introduced Bassett to the music of Billy Joel, which left me cringing at the not-likeother-girls energy and confused as to how a 20-year-old musician didn’t know who Billy Joel was.

Despite the weaker moments on the album, Sour is an extremely exciting debut album, especially for a Disney star. While I hope we get more Paramore-esque songs from Rodrigo in the future, I’ll still be listening to whatever she drops next.

SCORE:

10 / EMMIE

5.9

In a recent interview with Pitchfork, vocalist and multi-instrumentalist Camae Ayewa (otherwise known as Moor Mother) jokingly called her most recent release, Black Encyclopedia of the Air, her “sell-out” record. Sure, it might be more accessible and digestible than other efforts of hers (take her 2019 avant-garde jazz odyssey Circuit City for example), but “sell-out” is definitely a misleading title. Not only is this a short-sell, it’s completely inaccurate. In the span of about 30 minutes, the breadth of texture, tone and theme spans just as far as any of her previous efforts. If anything, this album hones its instrumentals and lyrical content with a scientific accuracy that stands out from the rest of her oeuvre. As a pair of metaphorical nunchucks, Moor Mother weaponizes the lyrical content and instrumentals together fiercely.

The album concerns itself thematically with the nonlinear nature of the passage of time.

Particularly, the ways in which things of the past haunt us in the present day. The first emergence of this theme isn’t through lyrics, it’s through instruments. The lo-fi organ that introduces the third track “Race Function Limited” recalls an organ sound that could be found in mid-century gospel, a Black American music tradition whose reverberations can be found from Marvin Gaye to Kanye. The organ returns in the track “Iso Funk”, this time playing a diminished sounding riff, looping hauntingly like a broken record.

Another vintage instrument used in Black Encyclopedia that stands out is the analog 808 synth high hat that punctuates “Race Function Limited.” This particular high-hat’s timbre can be found in almost any early Chicago house song, a genre that is thoroughly a part of Black American culture. It is also a referent to queer culture, as house music’s first home was the underground gay clubs of South Chicago such as The Warehouse. It’s a touching homage to pay, but at the same time the high hat’s frenetic rhythm is urgent and anticipatory. In a way, her instrumentation here asks us to reckon the past with the present: what has changed? What has stayed the same?

The closing track “Clock Fight” brings Moor Mother’s antagonism with the forward march of time to the fore. Over a climbing violin melody and choppy samples of eerie whispers, she chants “Done fought the kitchen clock / And the master’s clock / And the work clock / And the god clock / And the tax clock/ And the witch clock/ And I ain’t gotta fight no more.” All the references up to this point which reach back to the past, the instrumentals I mentioned above as well as lyric references to family lineage, such as in “Made A Circle”, are reincarnated once again. Moor Mother leaves it unclear as to how this fight can be won, circumscribing the entire album in a question mark. Overall, if Black Encyclopedia is what constitutes a “sellout” record for Moor Mother, I think she deserves to be at the top of the Billboard charts.

MOOR MOTHER BLACK ENCYCLOPEDIA OF THE AIR WRITTEN

BY

SHELBY

LEN

SCORE:

7.0

11 / EMMIE

12 / EMMIE

SONGS TO SEND YOUR CRUSH a playlist by emmie staff

SUPER CRUSH — TIGER TRAP I WANNA BE YOUR GIRLFRIEND — LUSH FORGET ME NOTS — PATRICE RUSHEN DON’T DELETE THE KISSES — WOLF ALICE NOWHERE NEAR — YO LA TENGO WHEN YOU WAKE UP — LEO SUN MY SLIME — FOUSHEE UM GIRASSOL DA COR DE SEU CABELO — CLUBE DA ESQUINA DAFFODIL DAYS — OSCAR SCHELLER KNOW YOU BETTER — BLACK PUMAS HERE’S WHERE THE STORY ENDS — THE SUNDAYS FOR THE FIRST TIME — MAC DEMARCO PIANO FIRE — SPARKLEHORSE VALENTINE — THE GET UP KIDS FLY — BLOODWITCH

13 / EMMIE

let’s get in treble

I’m all that about bass

You had me at cello

mp I’d ju clef a off you o f r

You’re all that jazz

14 / EMMIE

A Love Letter To:

e I’ll mak e h t you hit tes o n high

From: Abigail & Andy Vibrant. Free. Awe-inspiring. Revelatory. These adjectives astutely describe the one thing you’re missing in your authentic Madison weekend: Late Night Jam Sessions at Café CODA. I had the privilege of speaking with the inspirational Abigail Arkley and charismatic Andrew Jones.

Both are self-proclaimed pioneers of the Café CODA jazz scene. A joint once littered with uptight humdrum, Café CODA transformed into a community of young artists who are, as Arkley puts it, “baring their souls on stage.”

Much like the origins of jazz itself, the revived club was founded on excitement and connection. Arkley describes her introduction to Café CODA through social bonds with her peers, only possible through a mutual love of music. In conjunction, Jones dramatically recounts an unforgettable night and a serendipitous (albeit coerced) initial decision to attend a Saturday night jam session: “They dragged me there, the club was dead... We just played a bunch of tunes and had so much fun.” From the start, the infectious nature of the space became essential to the lives of these young musicians and an entire community of hopefuls in Madison. Still, naysayers

wanna play?

I’d scale you

might demand to know: what makes the club uniquely relevant? According to the musicians, it’s a combination of people and art form. Arkley depicts a community of support and creative freedom. “Show up,” she says, “and everyone is so welcoming, you’ll come out with five new friendships.”

Reminiscent of Madison’s commitment to challenging social norms, Arkley also describes her personal interest in the genre: “I love how jazz tends to go against the grain, that’s what I’m drawn to as a musician.” Similarly, bassist Jones recounts a comfort in the vague form, where conventional academia misrepresents the organic nature of jazz. A classically trained pianist and a cappella patron, Arkley will graduate from UW-Madison in the spring with her sights set on a career in performance.

Similarly, Jones emphasizes his gratitude towards his time at UW. Here, he has the unique ability to pursue a commitment to studying climate change as well as bass, balancing these interests with comparative ease. Not to understate the value of the university, but to stress the significance of the local music scene, both artists have been tremendously inspired by their experience at Café CODA.

e plug m r in, tu n me on

looking sharp!

pluck my heartstrin gs

let’s duet

blow my horn

ke my You ma kip a heart s beat

Following an invigorating summer making connections at the club, their music interests have broadened and intensified.

Whether acknowledging the impact of their peers, or drawing inspiration from the colors of the genre, Café CODA has inspired a musical Renaissance in these Madison musicians. A final word of advice from Jones, addressed to any dullards still questioning their place at Café CODA or the eloquence of improvisational jazz: “Sometimes you have to do things that make you uncomfortable to open your ideas.” I suppose there’s only one way to know for sure what all the hype is about— you’ve gotta join the scene. Show up at Café CODA on Saturdays at 11:00pm for a taste of this delectable experience. I hope to see you all there.

Beck Keller

we’re in tune

we’ve got major potential

From: Sebastian & Henry When creating a list of things that are “Wisconsin,” jazz might not be that high up there. However, there is a popular culture of jazz seen throughout Madison and it all comes down to Café CODA. Known as one of the major hubs in Madison where jazz flourishes, Cafe CODA “presents the musical works of local, regional and world-class musicians as it offers a sizable contribution to the Midwest American music scene.” Two performers and strong advocates of this space are Sebastian Roman and Henry Ptacek. From Peru to Florida to Sun Prairie to Appleton, Wisconsin and from Appleton to… Appleton, begins the relationship of these two musicians. Skipping back a few beats, let’s talk about the individual experiences that kickstarted each of their journeys with jazz.

let’s get saxy

y press m s button

love at first set

Andy Jones photographed by Maddie Wilson

Sebastian Roman was not always the saxophone player he is known as today. After moving from Peru, he started his musical expedition with producing. It was not until after ninth grade when he shifted from EDM to live instrumentation, with major influence from Peru as well as artists like Jimi Hendrix.

He joined his first jazz band with a friend and thus began playing the sax. Once in college

y

tickle m keys

let’s make music on my sheets

you’re electric

h

play wit me

15 / EMMIE

let’s get in treble

ack come b to my flat?

let’s reach crescendo

I’d u bang yo

e I’ll mak e h t you hit tes o high n

as well as learn from a plethora of different musicians.

Café CODA is a cultural center that constantly emits a powerful spirit and energy.

Sebastian mentions the lineage seen at this cafe as a way that ties him to the influential musicians who came before. The visions of Vincent Davis, Duke Ellington, Thelonious Monk, John Cultrane and his quartet, and many others are revived in this cafe.

I’m all that about bass

“Do whatever the fuck you want!”

Henry Ptacek (left) and Sebastian Roman (right) photographed by Maddie Wilson

You had me at cello

mp I’d ju clef a off you o f r

You’re all that jazz

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at Lawrence, located in Appleton, Wisconsin, he started to play some gigs. This is where he met his drummer boy, Henry Ptacek.

Henry Ptacek spent his childhood playing piano in his home of Appleton, Wisconsin. It wasn’t until after spending the whole seventh grade listening to a singular album on repeat when he switched paths from piano to drums. A few years later, in high school, as Henry deepened his interest in jazz, he would stroll over to Lawrence occasionally to play. Thus began the fraternization between the drummer and sax, Henry and Sebastian.

When asked about their experience performing in Madison and at Café CODA, both Henry and Sebastian responded almost unanimously. Both musicians emphasized the strong sense of community and family that offers them the freedom to express themselves and their music unconditionally. Henry discussed this idea of a “safety net of emotions” that allowed him to explore his voice

wanna play?

I’d scale you

Both Ptacek and Roman had much input when answering about what advice they have for aspiring jazz musicians, or musicians in general. The musicians disclosed numerous motivational phrases and words including commitment, confidence, and like bolded up above… “do whatever the fuck you want!”

Be yourself “relentlessly and unforgivingly,” they say, and a spark will occur.

To end on individual notes, Henry accentuated tradition and legacy when involving oneself with jazz. For all of those aspiring to pursue music really listen up here as it is truly clear how passionate Henry was when speaking about this. “Be a student of music and nothing else” was the first piece of advice given and taken by himself. Henry continues to follow this musical journey by taking his own directions rather than an institutionalized map. Although on his own path, he stresses the importance of “honoring the masters of where the music came from, mainly Black Americans.” Involving many of those musicians previously mentioned, Café CODA is a place that presents the opportunity to honor and connect with these legends.

Along with that, follows complementary advice keeping in focus with honoring

e plug m in, turn me on

looking sharp!

pluck my heartstrin gs

let’s duet

the masters, in which Sebastian believes that one needs to listen and sing along to more music than practiced in order to improve and spark one’s passion. Sebastian’s journey in jazz was guided by his passion, along with this ability to “find colors in music”.

After absorbing these key remarks, make sure to go check out Café CODA and see Henry, Sebastian and many other insanely talented local musicians perform as it truly is an experience!

Cori Dyner

From: Ari & Luke The city of Madison has a special way of attracting all kinds of genres of music. In the heart of Madison lies a special place called Café CODA. The owner, Hanah Jon Taylor, touches the lives of many individuals, influencing them into the world of jazz. His presence and the unique space he provides captured the attention of young artists Ari Smith and Luke Leavit.

Both of them grew up outside of Madison, but fell in love with playing music at a young age.

Through the influences of grade school band and extracurricular music activities, they began their careers.

Ari strumming the bass and Luke on the keys, the two roommates found their way into the genre-bending nature of jazz. Jazz is known for improvisation and is not bound to one category. It changes with the flow of dialogue through the musicians moods and playing style. Its rich history stems from a wide category of Black American music. Jazz is a genre produced by blends of all kinds of music from church hymns to barroom tunes. It has historically created a way of expression and new-

let’s get saxy

y press m s button

blow my horn

ke my You ma kip a heart s beat

found freedom with music, something that Ari and Luke agreed to have changed their lives. “I think music for me is about healing, community, and communication and so it has this wonderful quality to transform what we think are bad feelings like frustration, anger, uncertrainity, loss and make it something else. And for me that’s really important when I’m playing to really respect its power. Music’s power,” said Leavit.

During the pandemic it was difficult for both artists to feel this power without an audience to perform to. However, Café CODA provided a place where they could perform and keep a safe distance from each other, playing with plastic protective screens and using live video footage so audiences from all around can still participate in their jam sessions. Coming off

love at first set

we’re in tune

we’ve got major potential

you’re electric

Ari Smith photographed by Maddie Wilson

y

tickle m keys

let’s make music on my sheets

h

play wit me

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let’s get in treble

I’m all that about bass

You had me at cello

mp I’d ju clef a off you o f r

ack come b to my flat?

let’s reach crescendo

the tail end of the lock-downs during COVID-19 brought each of them a sense of newfound inspiration. Seeing younger generations attend performances and the excitement it brings to once again play in front of an actual crowd.

“The jazz scene here exists independently from the university, which I think is really cool,” says Ari Smith. Jazz helps incorporate people in the surrounding communities and shows how Madison can be a place of many traveling talents. It is not limited to just jazz classes or clubs at the university, but spreads deep into the societies of Madison.

Café CODA has been a big part in their lives as well as their music careers. Hanah Jon Taylor is not only just the owner, but a “good friend, collaborator, and mentor” to Luke and Ari. He gives a safe place for musicians to investigate new sounds and offers a space to experiment, pushing them to listen and learn new repertoire. Guiding them and teaching them new life and music skills.A moment where they both knew they were ‘crushing it’ was a morning at Café CODA. Ari, Luke and Hanah Jon Taylor were playing and began to improvise a blues tune. At the end, Hanah announced the song to the audience saying, “this is the 10 A.M. Friday October 22nd Blues. You are never going to hear this again in the same way.”

Playing this improvisation with one of their idols and being recognized for their talents continues to stick with them and drives them to fully embrace the power jazz music has to offer.

Their passions are shown through the way they speak and their excitement to see how jazz has grown in the city of Madison.

Though they might not admit it, their passion for music crushes it far beyond their expectations.

Mary Wenthur

You’re all that jazz

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wanna play?

I’d scale you

I’d u bang yo

e I’ll mak e h t you hit tes o high n

From: Gabriel Gabriel B. Taylor grew up in Madison, Wisconsin under the wing of world-famous jazz multi-instrumentalist Hanah Jon Taylor— his father. Hanah Jon Taylor spent years following jazz music around the world, playing saxophone and flute in groups like Chicago’s AACM (Association for the Advancement of Creative Musicians) and with musicians Richie Havens, Nina Simone and Miles Davis. Through his exploration, he envisioned Madison’s very own jazz club. It would be the first of its kind in town. Rather than create another bar for locals to chat loudly over the music, he wanted to foster a listening room; a place where music is the focus and artists feel comfortable venturing

Sebastian Roman (left), Hanah Jon Taylor (middle), and Isaiah C

e plug m in, turn me on

looking sharp!

pluck my heartstrin gs

let’s duet

into contemporary and uncommon territory— a place for the avant garde.

Like most great venues, the club had humble beginnings. A GoFundMe eventually led to the construction of the first site on Dayton Street in a building known as “the fountain.” The club functioned there until three years ago when it moved to its current location at 1224 Williamson Street.

Since its existence, Café Coda has attracted musicians from all around the world, each with vastly different playing styles becoming the heart of the jazz community in Madison. On any given weekend you can walk into an intimate room filled with an array of styles from classical, free and avant garde jazz, to world music and funk. While it is unlikely to see your favor-

blow my horn

ke my You ma kip a heart s beat

ite DJ or Hip Hop group here, you will find a space dedicated to the music and to the progression of the music.

At the beginning of summer 2021, Sebastian Roman and Henry Ptacek— two young local musicians— approached Gabriel with the idea of starting an ongoing late night jam session hosted by Café Coda on Saturday nights. The duo was looking for a place to play, and they knew a handful of other local musicians with the same intentions: to play in front of people each week in a professional, but relaxed environment.

They wanted a place to jam. After figuring out the logistics with Gabriel’s father, the weekly jam sessions were scheduled and a younger crowd started to populate Café Coda. This was a change for the regulars.

“Seeing the excitement this young crowd has for such an old and dated art form that dates back to centuries before they were even born gives me so much hope for the future of jazz” said Gabriel. “It’s not about money for Seb and Henry. They just want a place to play. They haven’t found other places in Madison to do so… in many ways, Café Coda is the perfect match.” The Café Coda staff enjoys the enthusiasm and variety this new group of musicians brought to Madison. Since Coda’s opening Gabe noticed more and more jazz shows booked at venues across town, and more recently a resurgence in live music. It seems that together Café Coda and the younger generation of musicians continue to push for the advancement of music and put Madison, Wisconsin on the map.

Reegan Franzmeier

love at first set

we’re in tune

we’ve got major potential

you’re electric

Collier (right) photographed by Maddie Wilson

let’s get saxy

y press m s button

y

tickle m keys

let’s make music on my sheets

h

play wit me

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THIS FEATURE RELIES HEAVILY ON A PERSONAL ANECDOTE REGARDING THE ARTIST CUCO, HOWEVER IN 2020, ALLEGATIONS AROSE THAT BOTH CUCO AND HIS BANDMATES WERE BEHAVING I N A P P R O P R I AT E LY TOWARDS UNDERAGED FANS. THE WRITER AND THE EMMIE STAFF DO NOT SUPPORT CUCO OR ANY ARTISTS WHO BEHAVE IN THIS WAY.

WRITTEN BY CAMILA TRIMBERGER-RUIZ

HOW TO BE A A BRIEF LOOK Despite being raised by a Mexican mother, I didn’t hear my first bolero until I was 15-yearsold. I remember sitting in the kitchen in 2017 when Cuco, one of my favorite artists at the time, dropped “Piel Canela” on his soundcloud.

I pressed play, and since the song was only one minute and 18 seconds in length, I replayed it immediately. By the second listen, my mom, who was reading at the dining room table said, “Piel Canela? This is Abuelo’s favorite song.”

While my Abuelo was very hip and energetic for his 60s, I truly doubted that he was listening to Cuco with his buddies down in Guanajuato.

My mom then explained to me that the original version was written in the 1950s by Félix Manuel “Bobby” Rodríguez Capó, though the version my Abuelo adored so much was sung by Los Panchos.

“You know if you like it,” my mom continued, “I’ll call him and ask if he can ship his records para tu tocadiscos.”

After our conversation had ended I took myself to Spotify, searched up Los Panchos and launched myself into the world of boleros.

The genre emerged out of Cuba in the late 19th century and is defined by slow tempos, a 4/4 meter and themes of love being the lyrical center of every song. Whether the love is new, bittersweet, unrequited, everlasting, or even betrayed, boleros are always about love.

The first bolero, a song called “Tristezas,” was written by Pepe Sanchez in 1883. Sanchez primarily wrote trovas, a genre similar to boleros in the way that they both are romantic and heavily rely on guitar; however “Tristezas” is completely

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LATIN LOVER INTO BOLEROS different from the sound associated with boleros today. But what really began to differentiate the genre from trovas was when it found its way to Mexico.

The sound traveled sometime during the 1940s after being featured in Mexican cinema and has been intimately intertwined with the culture ever since. When boleros hit Mexico they were no longer being performed by a singular trovador, but rather groups of three guitarists. The other significant sonic difference between Cuban and Mexican boleros is that the Mexican performance abandons Afro drums, which define Caribbean music.

The band that is often credited with popularizing boleros was Los Panchos. The trio was composed of Alfredo Gil and Chucho Navarro, both from Mexico, as well as Hernando Aviles from Puerto Rico. The group was formed in New York in the 1940s with all three on guitar, Aviles singing lead and Gil and Navarro singing harmony. They relocated to Mexico and gained their popularity through covering classic songs in the bolero genre such as “Besame Mucho,” “Sabor a mí” and “Quizas Quizas Quizas.” By 1949 they signed with Columbia Records.

Soon boleros were gaining popularity throughout all of Latin America and even the United States. By 1960 Los Panchos were touring Asia, spreading boleros across oceans. In 1964 they collaborated with American singer, Eydie Gormé, which is now perhaps their most recognizable album today.

Virginia Lopez, however Los Panchos were known for launching the genre. The bolero boom lasted until the 1970s when romantic singers of Latin America began to explore other genres, like bachata, which derives from the bolero sound.

Though the genre faded out of the mainstream, it still remains popular today, though most fans are confined to older generations. The romantic singers of Latin America still exist, and modern covers of boleros are constantly being produced.

The earliest popular example is with Mexican singer, Luis Miguel. In 1991 he released his eighth studio album titled, Romance. It featured 12 modernized covers of popular boleros like “No Sé Tú” and “No Me Platiques Mas” which caused a wave of young people to discover the genre.

The same thing happened to me, and I can only assume so many others, 26 years later when I first heard Cuco sing “Piel Canela.”

Now, my Abuelo did end up sending me some of his old records for my tocadisco, or record player, back in 2017. Though despite constantly proving how well I care for my physical music, how much I appreciate the bolero genre and his lack of his own record player to listen to his music, he is still too attached to his bolero albums. They’re the songs he used to sing to my Abuela when they were young. The bolero is timeless, and extremely personal to each of its listeners. With classic sounds and peak romantic lyrics sung by the most incredible romantic artists of the 20th century, the genre will never go out of style.

Of course there were other bolero artists popular during this time like Los Tres Caballeros, there were also the iconic voices of Benny Moré and

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& Recovery

Roadblocks Roadblocks

Written, designed, and photographed by Perri Moran

Neal Francis and his journey from solitude to sold out shows

22 / EMMIE

The greenroom at The Sylvee is a comfortable space.

High ceilings, a couple of couches, a refrigerator stocked with refreshments and tucked into a nook in the corner, an out-of-tune upright piano, a shelf, a lamp and a big red armchair. This nook is where I found Neal. How perfect, I thought to myself, I’ll be able to start my piece by saying I found him next to the piano... if only he’d been playing it. After a casual greeting, a promise that he’d change his shirt (he had a blue tee shirt on— the only color I’d specifically requested he not wear for portraits) and 300 or so photos later, we sat down in an untidy- albeit temporary- dressing room to chat as the headliners for the evening, Black Pumas, soundchecked on the other side of the wall.

I figured we’d mostly talk about the somewhat recent move to his new label, ATO Records, or his upcoming (now released) sophomore album, In Plain Sight, or the tour and what it was like opening for Black Pumas. However, I did give him an easy “out” if we did get into the deeper questions (spoiler: we did) by saying he could decline answering at any time. He replied in a way that was true music to a journalist’s ears, by telling me he doubted there’d be anything he wouldn’t answer. And so we began.

Where It All Began

Neal Francis O’Hara, or Neal Francis as he’s known to the music world, was born into a music world of his own. Whether it was the influence of his mother playing the piano in his childhood home or his father’s constantly-spinning collection of almost 800 records, something drew young Neal to music.

“I guess I was probably two or three when I started just messing around and they got me piano lessons when I was four,” Neal said. Before

long, Neal was trying to play jingles that he heard on television and songs from the radio. Despite the piano lessons, he got away with playing things by ear. “I regret it now, but I never applied myself. I don’t think I had a choice, being a child.”

In middle school, Neal had a role in his school’s musical and in high school he and some friends had a band. But by his 20s, he was considering quitting music. “I wasn’t sure that playing music was gonna be my career,” Neal said. Because of his Catholic upbringing, he grew up thinking that “a career in the entertainment industry was not a viable option.”

Neal began pursuing a degree in architecture at the University of Illinois-Chicago after high school. Architecture, drawing and making models were other hobbies that carried into young adulthood that seemed, at the time, like better career choices than music.

However, the success Neal started seeing with the Chicago-based funk band he played with in the early 2010s made him think differently.

In this band, The Heard, Neal met bassist Mike Starr and drummer PJ Howard, both of whom he remains close with to this day. Unfortunately, Neal’s time with that band came to an end. For the first time, he considered a solo career, seeing it as his only option.

“Playing solo was kind of the only option in a way...” Neal said, trailing off. He exhaled and continued. “By the time I got sober, I wasn’t really in anyone else’s bands,” he said with a laugh, “I wasn’t really a reliable person.”

At this point, around 2017, whenever he wasn’t working, he was writing his own material. Having main tained some relationships from his previous project, Neal would get together and workshop with his former bandmates, Mike and PJ.

23 / EMMIE

“They were always encouraging me after I fucked up,” Neal said.

Despite having almost no idea of how anything in the industry worked, Neal did know one thing: he needed to record. He saved all the money he made playing gigs and flew to Los Angeles to record four songs— the first four on his debut album Changes. Neal sent the four recordings to all of his contacts from The Heard and the new project started to gain some traction. Things fell like dominoes.

Neal met his manager, Brendan O’Connell, whom he still works with today.

“My manager,” Neal said of Brendan, “was the guy who got behind me at that very early stage. Before I had anything else going on, I met my manager and I got a lawyer.”

After a manager and lawyer were behind him, record labels started getting interested. Then an investor agreed to fund the rest of the album.

And then after a show, an interested agent approached Neal.

“It was just like one thing led to another,” Neal said. “And once you’ve got an agent, a label, a manager, and a lawyer, well, you’ve got something happening.”

For the first time in the interview, Neal adjusted his position, leaning forward slightly. “I’m very lucky,” he said, “but I also did the work.”

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“

People say this all the time, but it’s the confluence of hard work and luck.

A New Chapter

Neal is now at the point in his career where the beginner’s luck has worn off and his successes are coming solely from hard work.

In the summer and fall months of

2021, he opened several shows for the Grammy-nominated R&B/ Soul group Black Pumas. In November 2021, he put out his second album, In Plain Sight, with ATO Records. And without the beginner’s luck, this was a result of a lot of hard work and overcoming roadblocks, one of which being living through a pandemic.

Although he was able to find inspiration in it, the pandemic was not easy on Neal. “I found out after I got sober from alcohol and drugs that my addiction would manifest in

other areas in my life— if it’s food, if it’s sex, if it’s compulisvely being on Instagram or the internet,” he said. With nothing but time on his hands, he searched for sustainable solutions to managing addiction, leaning heavily into meditation.

Neal had lots of time and space to meditate and make music.

Throughout the pandemic, Neal inhabited the living quarters of a now closed church in Chicago, where he spent his days writing and playing. About 80% of the writing for In Plain Sight was done during the pandemic with the instruments and resources that were at Neal’s immediate disposal, and all of the demos for In Plain Sight as well as the album recordings were created in the church.

All this time spent in one place had its pros and cons. The album began to resemble a journal of sorts— Neal said of In Plain Sight, “It has to do with isolation, and fear, and anxiety, and remorse for the things I was stuck with in my head.”

Having an album to work on was cathartic. “I’m really grateful that I was able to do that with my time,” Neal said. “If I didn’t have a project like that, I would’ve been much worse off mentally. It was something keeping me going, and at times, it really felt futile, but having something to work on at all was important.”

What It’s All About

way. As the weather warmed in 2021, Neal and his band, comprised of Kellen Boersma (guitar), Mike Starr (bass) and Collin O’Brien (drums), began touring again at last. “I really do enjoy touring because I enjoy playing shows and I enjoy the people in my band,” Neal said. “They’re my favorite people.”

And that’s really what it’s all about in Neal’s mind— doing what you love.

Despite all of the available time, a few obstacles came up while Neal worked on the album. He didn’t have the liberty of choosing and flying out to a recording studio or using equipment other than what he already had in the church.

For In Plain Sight, Neal and his band used a fully analog recording process as opposed to the hybrid of analog and digital that they used while recording Changes.

They also worked with a renowned mixing engineer, Dave Fridmann, who “lent his own touch” to the album, Neal said. He also made the decision to exclude any auxiliary instrumentation in hopes of staying as COVID-safe as possible.

“Right off the bat that would make the sound quite different,” Neal said.

Different, but different in the best

”

something that is already popular.

Try to make something that you truly dig, and do that the best you can, and make it so good that people can’t ignore it.

That is what Neal is doing— making music that he loves inspired by the influence of music that a lot of people love. And so, “by proxy,” as he put it, “ hopefully it’ll be palatable to enough people to sustain a career.”

Things certainly look promising from the outside if sustaining a career is the goal, but it seems that there is something even more important to Neal.

As we wrapped up our interview, I asked him to give me some free career advice that he wished he would have known at my age. After a few moments of hesitation, he took a breath and offered this: “Don’t try to go after a sound that you think is gonna be popular or try to reverse engineer

“It’s not how much money I might make or all the glamour stuff.

That may never exist and it probably will never exist how it exists in your mind, so it just has to be about getting off playing shows. If you’re doing the best you can and if you enjoy playing with the group you’re with then you’ve got it made.”

Neal’s album In Plain Sight is available now via ATO Records wherever you listen to music. He’ll return to Madison for a headlining show at High Noon Saloon on January 13th, 2022. Tickets are on sale now.

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YOU TOLD TOLD ME ME YOU YOU YOU LOVED ME...

ME...

LOVED “Lovesick”

“Acolyte”

Alice Phoebe Lou

Slaughter Beach, Dog

“You Are The Best Thing”

“Concrete”

Orion Sun

Ray LaMontagne

“Hope”

“You And I”

Modern Baseball

Caribou

“Love U Like the Sun In June”

“Right Side of My neck”

Ryan Scott

Faye Webster

“Kiss Me”

“Paprika”

DPR Live

Japanese Breakfast

“Yelling at The Moon”

“Not a lot, Just forever”

Motel Breakfast

“Sweet Dreams, TN”

The Last Shadow puppets

Eartheater

26 / EMMIE

Adrianne Lenker

“Sweet”

Cigarettes After Sex

BUT WITHOUT YOU I FEEL FREE! “No Chill”

“Mouth”

DuckWRth

Bush

“IOWA”

Slow Pulp

“A Dream With A Baseball Player”

“Pretty Pictures”

Indigo De Souza

“Walz (Better Than Fine)” Fiona Apple

Faye Webster

“Moon Song” Phoebe Bridgers

“Dance Little Liar”

Arctic Monkeys

“Harvard” Diet Cig

“Nice Nice”

Zella Day

Rina

“Purple Haze”

Sawa yama

Dazey And The Scouts

“Nothing (Until Something Comes Along)” Fur

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Playlist Curated by Emmie Staff ARt By Dominic Dorais Burt And Claire Wilcox

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WRITTEN BY IZZI BAVIS SHOOT DIRECTED BY RILEY YOUNGER

29 / EMMIE

Julien Baker joined the Zoom call and I let out a breath I didn’t realize I was holding.

Sitting before me thousands of miles away in her apartment was Julien Baker— a 26-yearold rising rockstar with three solo studio albums and an EP with Lucy Dacus and Phoebe Bridgers under the name Boygenius.

Originally from Tennessee, Baker started playing music when she was 15 and never stopped. She’s grown as an artist and as a person, working to weave honesty and acceptance into her music. Baker played Madison earlier this fall at the Majestic, winning the hearts of hundreds. She is set to hit other major cities across the country in the coming months with Dehd and Ratboys, she guest appeared on Phoebe Bridgers tour and played a reunion show with Boygenius this November. Needless to say, I was intimidated; as our conversation went from “who do you

30 / EMMIE

have a crush on?” to “what do you want your legacy to be?” I felt as though we left the call as friends.

Baker quickly relaxed into our conversation discussing the nuances of crushes— it was exhilarating. Through a smile she admitted that she and her friend, Lucy (possibly Lucy Dacus?), had crushes on each other when they first met. With a laugh, we continued to explore crushes, and she told me a story about a crush that ended in a Valentine and an album. Through some self-reflection, Baker disclosed her issues with intense initial infatuation. She explained the importance of understanding attraction, admiration and friendship. “Part of maturing in my

relationships was being able to identify all the different confluence of ways I can be attracted to and be interested in a person and allow myself to move through crushes that exist without having to relegate them immediately to a romantic or sexual engagement.” Baker expressed other challenges she faced growing up, specifically in terms of being a young queer person. “I think especially having very little knowledge imparted to me by an older queer community when I was young, I existed very much in this world of if you feel attracted to someone then that’s the only mode in which you can interact with them,” Baker explained. It’s difficult to divorce feelings of attraction and friendship, it’s hard to have fluid relationships. Baker is still navigating the age old question: is this platonic or romantic?

As she continues to venture into the world of love and art, Baker has grown tremendously.

It’s evident in her writing and in her approach to this recent tour. “I realized when I look back at [my work] now, I try to write in a more complex way about longing,” she said. The longing she refers to is present on Little Oblivions, released on Matador Records. The album is a brutally honest look into her life and the challenges she faced with herself.

Issues of mental health, sobriety, doubt and acceptance are present throughout. Baker released the record in early 2021, just on

the verge of mass vaccinations. Life was still stagnant and quarantined. The record is a diary entry for Baker; she explores deeper parts of herself with a full backing band. The album is special, and the tour ahead of her is exciting. I asked her what she does to take care of herself— it’s been years since she was last on tour and a lot happened for everyone during the year of isolation. She told me that it’s all about finding a balance. “It is strenuous and it is difficult. It’s emotionally and physically taxing. But it’s rewarding,” Baker said. Her ability to know and understand what she needs is what makes her human. She made it clear that touring is difficult, especially during a pandemic. Finding moments of solitude helps her feel secure.

Julien Baker is a household name amongst my friends and music peers. Her music is personal and draws people in; it’s special. I asked about her legacy— something vague and imagined. How can you conceptualize a legacy? What does that even mean? She sort of laughed at the question. “I don’t want to be in a museum or a plaque or statue, or an award or a Hall of Fame for musicians or top 100 albums of whatever by Pitchfork. That stuff is gonna go away and be lost in the ether eventually,” she said. She wants something more abstract but in a way more real. Baker wants kindness and change.

31 / EMMIE

“I want people to remember things about my character.”

Baker said. Hearing her talk about her legacy was inspiring— her focus is on being a good person. But how do you be a good person? “I hope that having said things aloud about forgiveness, or talked about compassion in interviews show up, not as me being recognized with a legacy, but just people taking that nugget of information and changing their own behavior,” Baker explained. It was honest and raw. For a moment I saw Julien Baker— not as an icon or a rockstar, not even as a musician. I saw her as a human who wants to impact people.

Through her music and ability to connect with those around her, I’d say Baker is well on her way to fulfilling her goals. It’s hard work, not something that happens in one conversation or one album. Baker’s dedication to change is what will eventually establish herself with a legacy.

Leaving the Zoom meeting I let out another breath. Her words to her younger self echoed in my ears: “Be more merciful with yourself and don’t create imagined rules for your life and how to live it that you inevitably break and feel like a failure.” A lesson everyone needs to learn. Interviewing Baker reminded me why I fell in love with music journalism— the ability to connect with musicians and hear their stories.

The Crush Issue is based in love and appreciation for those around you, Julien Baker embodies this. As we continue to navigate the world, I’m reminded of the interconnectedness that arises and the importance of relationships, from the smallest interactions to the largest.

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WRITTEN BY MORGAN DOOLEY PHOTOGRAPHED BY PERRI MORAN SHOOT DIRECTED BY RILEY YOUNGER

35 / EMMIE

The deep love and connection between Ohmme’s Macie Stewart and Sima Cunningham felt increasingly palpable as I sat across from the two of them in a grassy patch of Chicago’s Belmont Harbor. In accordance with our beloved Crush Issue, I began the interview by asking “When is a time that you really felt like you were crushing it?” The duo established overwhelming mutual care and support when instead of responding to my question in terms of a personal or even a shared success, the two naturally thought to answer with their proudest memory of the other. In reflecting upon their first trip to Europe, Sima recounted: “The word crush is making me think about the fact that our spinal cords were crushed because we were carrying all of our guitars and our amplifier...And actually one of my favorite moments of Macie crushing it ever in life is when we had like a really late night playing a show in Berlin, and we had to get this amp back to the apartment that we were

36 / EMMIE

sleeping in. And it was a six-story walk-up.

Macie just really wanted to go to bed, but we really had to get this amp up there. And she just picked up this 150-pound amplifier and carried it straight up the stairs like Superman.

It was nuts. And she crushed it.”

Macie then chimed in, “Also in terms of crushing it, Sima booked that whole Europe tour herself. So she also was fucking crushing.”

This dynamic stems from a long-standing and ever-changing relationship between the pair and their music. Though Ohmme officially started in 2014, they’ve known each other and have been working together for much longer.

After growing up in similar musically-oriented households, Stewart and Cunningham went on to attend the same high school in Chicago a few grades apart, both played in bands as well as worked on their own individual projects. Cunningham has released music under their own name for nearly 15 years and

Stewart has just put out their first solo album, Mouth Full of Glass. As the two spoke of the other’s own music, their eyes lit up. “It’s incredible,” Cunningham softly interjected at the mention of Stewart’s aforementioned record. A uniquely beautiful aspect I picked up on in Ohmme is the fact that individual endeavors of creative expression are not seen as competition but rather as a means of improving and getting to know one’s self better and in turn, being able to make the collective thing, Ohmme, even better with it.

“I think when you go outside of the thing that is so all-encompassing and you come back to it later you kind of are shown the beautiful and very unique parts of it. I feel like I learned about the unique parts of our partnership through making a thing on my own because it showed what parts of myself and what parts of Sima come out in Ohmme”

“It’s really intense and sometimes challenging but it’s the best thing ever.”

It’s this sort of complex relationship which transcends “normal” roles that makes Ohmme so special. For Stewart and Cunningham, Ohmme has become an entity. It’s something that’s never done evolving. And although the events of the past 18 months have clearly shifted the ways in which their partnership functions, they’ve viewed these challenges as an opportunity to make their relationship even stronger.

“It forced us to think outside the box on how to make things with each other. “ And it is with this positive outlook that Ohmme has begun their ascent back into the semi-normal after their tour earlier this

The support they show for one another, both in their solo careers and otherwise, feels so intrinsic that it manifests itself in the subtlest of ways, giving insight into a level of respect and intimacy that isn’t so common. Although to be fair, Stewart and Cunningham have grown connected in a way that they both agree is far from common.

“At this point, it’s more than a friendship. We’re really like siblings, but also, it’s beyond that too, we’re business partners, we’re creative partners. We say we when we started our business LLC, we got married. We’re very obviously best friends, you know, but it feels like something beyond that.”

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fall with fellow Chicago-based indie rock band Deeper. Though the pandemic made it so band members couldn’t really see anyone outside the touring group, they turned this into an opportunity to grow closer, complimenting the tour experience on its ability to turn a couple of bands on a bill into a community, into a family.

“It felt like a really cool, intentional way to get back to touring.”

Continuing this momentum forward, Ohmme emphasized their growing gravitation toward theatrics and performance.

“I think after a year of questioning what performance is, what performance can look like, and what life is without performance, I think it is a really exciting thing to the both of us to really do it up.”

The two highlight a plethora of artists as influences to Ohmme but comment that their recent inspirations are artists that they find

really bring on the drama: not only in the expected melodramatic sense of the word but also drama in a fun, at times absurd, way, particularly noting the B-52’s and Kate Bush. The duo mushed about their love for Kate Bush, a love that has grown so integral and all-encompassing for them that they’ve decided to express it to the world.

Ohmme told us their plans of putting on “Full Bush,” a Kate Bush tribute show, scheduled for early December in collaboration with Chicago performance artist Alex Grelle of the Grelley-Duvall show.

As the interview wrapped up and Stewart and Cunningham prepared for their cover shoot, I was filled with a sense of accomplishment and inspiration. Listening to these two best friends detailing their shared successes reminded me of my relationship with my own friends. My friends and I have put so much love and energy into the Crush Issue. We’re crushing it—and that feeling is just so much sweeter when you are surrounded by people you love.

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“Shower me with your sweet love ME drop I willSHOWER bathe in every Through the seasons WITHallYOUR Let it pour and never stop” SWEET LOVE -Smokey Robinson, I WILL BATHE IN “A Quiet Storm”

EVERY DROP THROUGH ALL THE SEASONS LET IT POUR AND NEVER STOP SMOKEY ROBINSON, “A QUIET STORM”

WORDS WRITTEN BY QUENTIN HOLLE BY ART BYQUENTIN CLAIRE WILCOX HOLLE fateful Washington D.C. night 1976,a younginstudent the ever-changing worldLindsey that they lived for OneOne fateful Washington D.C. night in in 1976, named Melvin covered a younglate-night student named Lindsey in. Accompanying this station new style of Black the regular musicMelvin host for Howard University’s campus radio 96.3 WHUR. After covered for the regular late-night music host radio was new experimental styles of soul, his show that night, music changed forever.

for Howard University’s campus radio station funk, R&B and jazz. Tracks from this era 96.3 WHUR. After his show that night, music things.gained Some delved Following the Civil Rights Movement of the 1960s represented when Black many Americans higher educachanged forever. into the current socio-economic climate tions, well-paying jobs and wealth at rates never seen before, media in many populationofcenters and celebrated the progress madewas like Washington D.C. pivoted towards representingAmerica the identity of Black Americans.

Radio Following the Civil Rights Movement of the during the Civil Rights Movement, like Marvin one of the most important means of this change, providing a place for people to get their news, 1960s when Black Americans gained higher Gaye’s What’s Going On or Stevie Wonder’s relax and feel a sense of belonging and community in the ever-changing world that they lived in. educations, well-paying jobs and wealth Innervisions. Others, like The O’Jays’ Back Accompanying this new style of Black experimental styles Let’s of soul, R&B and at rates never seen before, media in radio many was new Stabbers and Al Green’s Stayfunk, Together jazz.population Tracks from this era many things.focused Some delved intoofthe current centers likerepresented Washington D.C. on themes family, lovesocio-economand unity. ic climate of America and celebrated the progress made during the Civil Rights Movement, pivoted towards representing the identity of The latter style of music was one of Melvin like Marvin Gaye’s What’sRadio Going Onone or Stevie Wonder’s Innervisions.

Others, Back Black Americans. was of the most Lindsey’s favorites.

Whenlike he The was O’Jays’ tasked to fill Stabbers and Al Green’s Let’s Stay Together focused on themes of family, love and unity.

The important means of this change, providing a in as a host for WHUR, he chose a selection latterplace stylefor ofpeople music was ofnews, Melvin Lindsey’s WhenR&B he ballads was tasked to fill in as a host to getone their relax and favorites. of his favorite and smooth for WHUR, he chose a selection his favorite R&Bjazz ballads and smooth to soundtrack feel a sense of belonging and of community to soundtrack a latejazz summer night in a late

summer night in Washington D.C. From this show, a new era of music blossomed.

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Melvin Lindsey introduced firsta show using song “Quiet Storm.” After Washington D.C. From this his show, new era of Smokey throughRobinson’s a vibrant musical soundscape, the station manager of WHUR, Cathy Hughes, heard an extremely positive from music blossomed. creating a story through the response use of music and Lindsey’s experimental show, she offered Lindsey his own show in a permanent time slot. spoken word. The best quiet storm hosts had Every night at 7P.M. the mellow synths, calming guitar and intimate Melvin Lindsey introduced his first showrelaxed using drums, sultry and seductive voices that theyvocals used of Smokey in as Melvin his invoke show with his deep, SmokeyRobinson’s Robinson’s track song would “Quiet fade Storm.”

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Some of the most popstorm would get its name. The show gained was the first station to play quiet storm 24 ular quiet storm tracks included “Lovely Day” by Bill Withers, “I Keep Forgettin’” by Michael major local success. As a result, the format hours a day, earning the station name The McDonald and “Ribbon in the Sky” by Stevie Wonder. Notable quiet storm albums included was exported to other major markets.

Quiet Storm. The original quiet storm station, Diamond Life by Sade, Never Too Much by Luther Vandross and Between the Sheets by the WHUR, became the most popular FM station Isley Brothers. Tracks and albums like these defined the quiet storm experience as a genre The format and style of a “quiet storm,” as in Washington D.C. By 1990, every major and setcoined, the tone of relatively each individual it was was uniformshow. across market in the United States had their own the country. Most of the shows began with quiet storm show.

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ART BY 41 / EMMIE CLAIRE WILCOX

THE TRIALS & TRIBULATIONS OF CRUSHES In high school my friend Josie would always joke that I happen to fall in love with roughly every seventh boy I meet. While I want to say this is hyperbole, she isn’t that far off because I do tend to gain crushes very easily (even though I never pursue them). However, walking around with a statistic this high, there’s also a high chance that I will randomly choose the wrong person to like.

It was July 2019, I was at journalism camp and I was assigned to write a feature story on someone attending the Evanston, Illinois Fourth of July parade. After walking around for a few hours I finally found my muse. He was tall, had dark curly hair and he had a skateboard. I realized that if I interviewed him I would have an excuse to talk to him and get his contact information. I listened to some Brockhampton to hype myself up (I was 17, okay!) and made my way towards the new love of my life. He was okay with being interviewed and we talked for about thirty minutes.

I was entranced. At the end, I took some shots of him on my Canon Rebel and asked for his information to turn in to my counselors. He told me that his name was Daniel, and that he was turning 14 next month. I wish I could have seen my face. This is why I don’t talk to my crushes anymore.

CAMILA TRIMBERGER-RUIZ

WRITTEN BY EMMIE STAFF ART BY RILEY YOUNGER

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Having a crush on an artist who died when you were fourteen is even stranger when said crush developed when you saw them play a mysterious alien in a 70s movie. Before I knew much about David Bowie and his extensive and objectively groundbreaking discography of music, I watched the movie The Man Who Fell to Earth (1976). Completely entranced by the odd film and Bowie’s performance as an alien who had literally fallen to Earth, I developed a crush on Bowie, but not a crush in the typical sense of swooning over a conventionally attractive celebrity. I was more intrigued by the enigma that is David Bowie. A gender-bending fashion icon with bright orange hair who had ideas about the world that were years ahead of his time. Most of all, his music transports me to a different time (or sometimes, planet) while his lyrics somehow stay timeless. Whether it’s dancing to “Heroes” and “Lady Grinning Soul” or singing along to “Starman” and “Fame,” every emotion has a Bowie song to compliment it perfectly. With the euphoria of this “crush,” I felt an equally strong sense of disappointment that I had never experienced before. I was too late into this world to experience a live David Bowie show or anticipate the release of a new album. Instead, with those like me, I relive the past through his art which, lucky for us, stands the test of time and continues to inspire music from artists in my generation.

MADELEINE PELLETIER

My first crush was a triplet. One, two and three were my best friend’s through Oakton Elementary School— where the cougars (our school mascot) resided. I would walk home from school with the harsh gravel hitting the edges of my growing feet, and the earnest wind would sweep me to Mulford street where he played soccer in his front lawn - a sound which would echo down the canal - creating a chorus drum line to the exploding lines of Taylor Swift caressing my ears. It was a comfort, until the “crushing” emotions of this “crush” upended. In retrospect, I experienced a similar moment to when Alice realized, possibly, this Wonderland she had experienced was all a dream— it was a moment of clarity (I wish lasted forever) when I notably decided to reject men for the REST OF MY LIFE. I can say, with full certainty, my eleven year old promise has not been kept, however re - pledged over the years, and as I consider “what a crush is to me?” I think of the pitter, patter of “soccer symphony”, and the emptiness that surges into your stomach like an earth collapsing tsunami when you realize how crushing your first crush can be.

SALLY FORD

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Growing up I wondered why it was called a “crush”— I feel like I get it now.

When I walk into the room and see them, my heart feels like it’s expanding three times its normal size but while it is trapped in a box, being crushed and squeezed and strained. The tightness in my chest is something with which I’ve become familiar. Then, a warm wave of pink flushes over me, melting my bones and glowing in my cheeks. Sometimes I just have to smile— an expression that can’t be contained. This crushing feeling in my chest is something that isn’t just manifested from seeing a person, though; also from receiving good news, a compliment or hearing a song that brings such an intense rush of dopamine that my body doesn’t even know what to do with it. The flood of this feeling can only be described as crushing— but in the best of ways.

PERRI MORAN

Crush of the week (sometimes commonly referred to as COTW) was invented during the terrible, horrendous year of 2020. In an attempt to bring joy to my floundering group of friends, I would force us to go around the circle and say our crush of that week. It remains a sweet memory. But what is “crush of the week?” How can you crush on someone for only seven days? The world was gray that year, life was dull and monotonous; crushes were all that we had. Crushes ranged from someone on Zoom to the Trader Joe’s employee.

We had crushes on each other, on our enemies and on our TAs. Crush of the week was a safe place to giggle about someone we thought was cute. It was a reminder that although we were living through history (the pandemic), life could still be funny. Crush of the week did not die once in-person school returned. I still ask. My friends ask me. In note I pass to my friends, in a text or maybe in the slight eyebrow raise. I’m looking for my crush everywhere I go.

I’m excited for the new crushes I’ll have. I’m thankful for the crushes I’ve had.

IZZI BAVIS

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Music has been my longest lasting love and will always remain my biggest crush. Maybe I don’t really remember it and it’s only because I’ve been told the story so many times, but I can tell you the first time I fell in love with music. I couldn’t have been more than four years old but I heard a band playing “American Pie” by Don McLean, and I was hooked. I know I remember singing the words to the chorus and I swear I remember how I wasn’t able to look away. I also remember the time I fell in love with going to concerts, which behind music itself, is my second greatest love. I was 12 years old and my dad took me to see My Morning Jacket, which remains one of my fondest memories to date. Seven years later that band and that night has held on tighter to a piece of my heart than any crush could ever hope to. Waiting for a new album from the artists I love is more exciting than walking into class to see the person “I like.” The feeling of the bass hitting in my chest makes my heart beat harder than any crush ever could. The butterflies I get when the lights go down and my favorite artist steps on stage are stronger than any crush has ever made me feel. My crush on music has only grown since the time I was four and I know it will be a love that will continue to endure.

BETH WALSH

I don’t think crushes are limited to people, though romanticizing everything is one of my strong suits. To me, crushes are moments when I feel so overwhelmed by positivity, hope, contentedness that I can’t help but smile and be grateful that I get to see and be seen. I have a crush on sunshine spilling into my living room after a day of rain, earl grey tea with a spoonful of honey, my cat snoring by my side as I finish a latenight assignment. Lately, I’ve been trying to crush on myself as much as I crush on the world. It’s one of those things that’s easier said than done, but from what I’ve heard it’s worth it. We’re our own biggest critics, but I’m starting to realize that we can also be our greatest lovers, our biggest crushes if we just take the time to see ourselves in the world.

SHARON KORETSKOV

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live gallery some of my artist crushes Hop Along - Izzi Bavis

Arlo Parks - Sharon Koretskov

The Blossom - Sharon Koretskov

The Blossom - Sharon Koretskov

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St. Vincent - Izzi Bavis

Waxahatchee - Amany Khreis

JaRon Marshall - Perri Moran

Phoebe at Pitchforofk Courtesy WSUM

Angel O. Phoebe Bridgers - Izzi Bavis

Angel Olsen - Izzi Bavis

Black Pumas - Perri Moran

Phoebe Bridgers - Izzi Bavis

Ticket from Black Pumas Show47 / EMMIE Black Pumas - Perri Moran

Caroline Polachek - Izzi Bavis

Faye Webster - Izzi Bavis

Erykah Badu - Bavis

Bartees Strange - Izzi Bavis

number one crush: miss faye webster 48 / EMMIE

The Blossom - Sharon Koretskov

Faye Webster - Izzi Bavis

Divino Nino - Izzi Bavis

Neal Francis - perri Moran

Arlo Parks - Sharon Koretskov

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MICHELLE - Koretskov

Remi Wolf - Sharon Koretskov

Erykah Badu - Izzi Bavis

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THE CRUSH ISSUE.