Fall Arts & Culture
10 Pride on the Silver Screen: Fargo-Moorhead LGBT Film Festival Returns in Full Color 12 City of Lakes Art Fair Debuts This October at Lake Bde Maka Ska
14 Eleanor Lerman Confronts the Passage of Time and Grief In ‘Oleander Marriage’ 16 ‘Hyperactive’ – Local Creator TELLALI reveals that Truth is Stranger than Friction
18 Substack Superstar Shay Andrewin is Doing the Most 20 A Queer Musical Duo Bringing New Sounds to Music
22 The Ache of Unspoken Love: Samah Meghjee’s Bold Debut 26 ‘Role Model’ – ARENA DANCES Founder and Choreographer Mathew Janczewski Choreographs No More, Mostly 28 New Play Explores Queer Love in the Digital Age
INSPIRATION IS JUST THE BEGINNING
See a powerful mission in action — one that includes you. Join us in sparking a love of science in every learner. Look closer at the science happening in St. Paul.
Science Museum of Minnesota
Volume 30, Issue 790 • September 4-17, 2025
EDITORIAL
Managing Editor Noah Mitchell 612-461-8723
Editorial Assistant Linda Raines 612-436-4660
Editor Emeritus Ethan Boatner
Contributors Lakey Bridge, E.B. Boatner, Natasha DeLion, Alyssa Homeier, Terrance Griep, Shane Lueck, Elise Maren, Jen Peeples-Hampton, Linda Raines, Aspen Rush, Gregg Shapiro, Randy Stern, Susan Swavely, Natalie Trimble, Sommer Wagen, Carla Waldemar, Todd P. Walker, Emma Walytka, Spencer White
ADVERTISING
Vice President of Sales & Advertising
Barry Leavitt 612-436-4690
Account Executives
Nathan Johnson 612-436-4695
Richard Kranz 612-436-4675
Sales & Event Administration
Linda Raines 612-436-4660
National Sales Representatives
Rivendell Media 212-242-6863
CREATIVE
Creative/Digital Director Mike Hnida 612-436-4679
ADMINISTRATION
Publisher Lavender Media, Inc.
President & CEO Stephen Rocheford 612-436-4665
Chief Financial Officer Doug Starkebaum 612-436-4664
Administrative Assistant Michael Winikoff 612-436-4660
Distribution Metro Periodical Partners 612-281-3249
Founders George Holdgrafer, Stephen Rocheford
Inspiration Steven W. Anderson (1954-1994), Timothy J. Lee (1968-2002), Russell Berg (1957-2005), Kathryn Rocheford (1914-2006), Jonathan Halverson (1974-2010), Adam Houghtaling (1984-2012), Walker Pearce (1946-2013), Tim Campbell (1939-2015), John Townsend (1959-2019), George Holdgrafer (1951-2024), Julie Dafydd (1951-2025)
and
Submit letters to Lavender Magazine, Letters to the Editor, 5200 Willson Road, Suite 316, Edina, MN 55424 or e-mail editor@lavendermagazine.com.
For our Privacy Policy, go to LavenderMagazine.com/resources/ privacy-policy
LAVENDER MEDIA, INC.
5200 Willson Road, Suite 316, Edina, MN 55424
612-436-4660 Office
612-436-4660 Subscriptions/Distribution
612-436-4660 Lavender Advertising
BY NOAH MITCHELL
Welcome to Lavender’s 2025 Fall Arts & Culture issue! As the weather begins to turn and you start to think about making plans under a roof and surrounded by four walls, we have plenty of options to keep you entertained.
If you’re looking to get out of the house, check out “Maybe You Could Love Me” at Mixed Blood Theatre, “Only Ugly Guys” at Gremlin Theater or the new ARENA DANCES show “Debut” at the Luminary Arts Center, all of which are featured in this issue. The FargoMoorhead LGBT Film Festival looks to be worth the drive, too (assuming you don’t live in Fargo-Moorhead, in which case it’s a nobrainer).
If you’d rather stay put at home, we’ve got you covered, too. Local artist TELLALI or Brooklyn-based duo Boyish can soundtrack
Rose Valland: Going the Extra Mile — and Beyond Autumnal Arts to Fall For
your attempt at a homemade pumpkin spice latté (or any other less-ridiculously-stereotypically-fall-time activities you have planned). We also interview poet Eleanor Lerman and local literary multi-hyphenate Shay Andrewin for those hoping to curl up next to the fire with a good book (or the Substack app on your smart device, I suppose).
It is, however, fall, and not winter, and the weather is still more than good enough to enjoy the outdoors. (This is actually the best weather we get all year, some might say.) If you’d like to take advantage of the weather while it lasts, pay a visit to the City of Lakes Art Fair at Lake Bde Maka Ska. The fall colors should be on full display by mid-October, and it’ll finally be cool enough to really break out your fall wardrobe — two good reasons to get outside!
I hope at least one of the artists we’re featuring in this issue inspires you to check out their work. I don’t expect that anyone picks up an issue of Lavender and immediately fills their calendar with everything we’ve written about. But, if I can get you to really connect with just one of the works we feature, I think I’ve done my job.
OUR LAVENDER | A WORD IN EDGEWISE
BY E.B. BOATNER
In his foreword to the revised English translation of Rose Valland’s 1961 memoir, “The Art Front: The Defense of French Collections 1939-1945),” Robert M. Edsel recounts her birth in November, 1898, her early studies in Lyon and her transfer to Paris, obtaining degrees in art and art history from the École nationale supérieure des Beaux-Arts, the École du Louvre and the Sorbonne. In 1932, she landed a job as an unpaid assistant at the Jeu de Paume museum, close to the Louvre and the Tuileries Garden in central Paris.
These specifics of location, Valland’s art background and her dedication to her nation’s art treasures became crucial to the nation once Hitler’s forces struck and Paris fell on June 22, 1940.
The Nazis took over the Jeu de Paume as a central clearinghouse for their looted artworks and valuables. But they allowed the now 41-year-old, bespectacled, hair-in-a-bun, unobtrusive Valland to remain as a French presence for show and museum upkeep (and, under orders of her boss, Jacques Jaujard, Director of National Museums).
Although the nation’s museums had already moved their most valuable works to various French chateaux, there continued a constant flow of looted art treasures from Jewish sources; family collections, dealers, the very homes of those removed by Nazis. The invaders precisely catalogued all these items — information secretly copied by Valland. Unknown to her overseers,
she was fluent in German and had an eidetic memory. Day after day, Valland made notes, photographically copied records at night and listened to gossip during the day, passing information along to Jaujard at the Louvre. Her small office was in charge of the phone calls; she listened. She deciphered carbon copies and printed or made negatives of Nazi photographs.
“The Art Front” text is almost dry compared to the daily physical dangers Valland faced and overcame, but when she first published in 1961, many on both sides were still alive, so Valland let the files speak for themselves. The facts are compelling. This English edition is footnoted, and Valland’s calm voice and straightforward narration highlight the turmoil in the nest of the Nazi elite, grabbing for the spoils.
Hitler himself wanted certain items, e.g., Vermeer’s “The Astronomer,” for his fantasy Fühermuseum to be erected in Linz, while Göring, second in command and self-proclaimed art authority, wanted whatever he could personally collect from the museum, ever scheming to outmaneuver the other jackals circling the treasure. Göring, sometimes with his art agent, Bruno Lohse, made 21 recorded trips to the Jeu de Paume. On July 27, 1943, Valland witnessed and recorded the Nazi burning of “degenerate” modern works by the likes of Picasso, Dali, Miró and Klee. When denied, she had the proof.
Valland recounts the battle to the very end in August 1944, as crowds filled the Place de la Concorde and the Tuileries to welcome their liberator. Sudden rooftop shots brought chaos; the Jeu de Paume was swarmed. Trying to keep the panicked public from entering the art-filled basement, Valland herself was suspected and “was forced to lead a search of it with a tommy gun levelled at my back.”
The Liberation of Paris and the arrival of the American Monuments Men did not mean Valland’s work was done. Trust did not come easily; she did not readily divulge her knowledge. In time, “when the time is right,” as she’d promised, Valland accepted Lieutenant James J. Rorimer as an ally, and, after French officials finally realized she would be of greater use in Germany, was given her commission, joining the French First Army as a lieutenant and a Fine Arts Officer.
Between October 18, 2009, and January 10, 2010, I, and scores of others who flocked to the MIA’s “The Louvre and the Masterpiece,” could approach Vermeer’s “The Astronomer.” For this unique opportunity, we must thank Rose Valland. Her meticulous documentation led the Monuments Men to Austria and the Altaussee Salt Mine, where, looted in Paris from the Rothschild family, Vermeer’s gem had travelled on Hitler’s personal train and was buried. Recovered, the masterpiece was returned to the family, later acquired by the Louvre, and, briefly, swam into our ken.
Photo courtesy of BigStock/Nongkran_ch
In Greater Palm Springs, ever y traveler belongs. Explore a vibrant oasis where inclusivit y and individualit y shine beneath endless blue skies — and mark your calendars for November 6–9 to join us for Greater Palm Springs Pride,an annual celebration of love, joy, and communit y
BY EMMA WALYTKA
Pride on the Silver Screen: Fargo-Moorhead LGBT Film Festival Returns in Full Color
On the rural festival’s 16th birthday, uplifting queer stories, histories, joy and resistance will be at the center of the showings at the Fargo-Moorhead LGBT Film Festival this year, spanning from October 2-5.
Shawn Cotter, Fargo-Moorhead Festival Director, says there is a deeply-rooted need for queer film festivals to exist, with media in general disvaluing queer stories by underrepresentation and going into “pigeon holes” when it comes to queer characters’ fates.
“You know, lesbians are constantly dying in media, and it’s like — what? Why?” they say. “It’s the same thing with gay men in the ‘80s and ‘90s — everyone died of AIDS. Queer women have a similar pattern. It’s always cancer, you know?”
As a queer activist in a small populated area, Cotter says that one of the biggest challenges is being “spread thin,” with there being lots of work to get done, but not enough folks to do so.
Each year, there are usually around 200 submissions, including those that Cotter himself obtains from active recruitment from distribution partners he has worked with at other festivals, one of them being the European Film Market in Berlin.
Cotter says he attends festivals like these as opposed to more mainstream festivals like Sundance because of the inclusion of queer sub-programs, ones that hold spaces, breakout rooms, speed pitch meetings and networking opportunities for queer people.
When selecting films, Cotter says he looks for films that aren’t too traumatic, selecting films that put queer joy and centricity at the forefront.
“Looking back at previous showings, I wonder, ‘Why did we show a film where the gay best friend is the secondary character … what does this have to do with our lives?’” Cotter says.
In 2022, just 23.6% of films included LGBTQ+ characters. In 2023: 27.3%. Yet, in the most recent GLAAD Studio Responsibility Index, only 23.6% of films included LGBTQ+ characters, with several of the characters in less prominent roles.
“It’s just one of those things — what can we do better? There’s a huge history of queer representation in cinema,” Cotter says. “Through the work I’ve done
with Wicked Query and also in Fargo-Moorhead, I’ve realized the breadth of queer experience and storytelling through film. It’s kind of amazing, especially internationally.”
According to the 2024 GLAAD Studio Responsibility Index, Netflix launched 49 total films, with 14 being LGBTQ+-inclusive, ranking as “poor” on the GLAAD scale. A24 produced 16 films, and nine of them were LGBTQ+-inclusive.
“I feel like we have to give ourselves permission to be homo-centric, to be queer-loving, and also try not to get lost in the quicksand of how heavy life is,” Cotter says.
What makes the festival so special is the direct access the audience has to the filmmakers, with the crowds post-showing in the historic 1920s Fargo Theatre, housing conversation, connection and a deep appreciation for queer films within its walls.
This year, Cotter says he is shooting for six program blocks, with an emphasis on what he refers to as “wine pairings,” pairing shorts with longer-form feature films.
Not only will wine be “served,” Cotter says he hopes the programming gives the effect of a “pie in the face moment,” a celebration of letting loose and throwing glitter onto everything. “We need to start throwing more pies.”
With over a decade of experience in directing and programming, Cotter says one of the most important things he has learned is to consistently ask yourself, ‘Who am I reaching to?’ emphasizing the vitality of continuing to learn about others in the work you do.
“I feel like my life is enriched by the work that I do,” Cotter says. “I see lesbian stories, I see trans stories, I’ve seen nonbinary stories. I see BIPOC stories. I see, you know, stories that are not my own, and I can learn things from them.”
When it comes to emerging filmmakers in the industry, not discounting the value of smaller film festivals and simply picking up a camera, talking to other filmmakers and not aiming for perfection because there simply is “no formula.”
“We constantly see our stories being silenced and our people being erased,” Cotter says. “The more we can do it for us and by us, the better off we’ll be. We can’t wait around for others to tell our stories or to save us from the tide that’s coming. We need to act.”
Suite 1600 Medical Arts Building, 825 Nicollet Mall, Minneapolis, MN 55402
City of Lakes Art Fair Debuts This October at Lake Bde Maka Ska
Falling leaves, crisp fall air and the return of pumpkin spice bring joy to many as autumn arrives. Nothing beats an outdoor outing with a backdrop of gorgeous reds, oranges, browns and yellows, and everyone’s stylish fall outfits (often featuring scarves or cute boots).
With the fall vibes in mind, Homespun debuts its City of Lakes Art Fair at Lake Bde Maka Ska. With about 140 artists, live music, interactive art activities for all ages and food vendors for everyone’s taste, the fair is a perfect excuse to head to the lake with your family or friends.
“We saw the opportunity to kind of latch onto the beauty of the season and launch something around the lake during peak autumn foliage to both celebrate the season and give artists another creative outlet to be able to showcase their work in the city,” says Homespun Events Manager Nichole Showalter.
The fall fair also provides local artists with an opportunity to sell since art fairs tend to lull during the autumn season, says Showalter. The fair will have over 20 mediums represented, ranging from sculpture and painting to woodworking, metal and fiber art.
“We really love to host our art fairs in just beautiful spaces that lend themselves to family, friend and community gatherings,” Showalter says. “[People] can expect a very vibrant, welcoming energy. That’s really what we pride ourselves on in our art fairs, the energy. The artists are there and ready to engage with the folks that are attending.”
Bde Maka Ska is right in the backyard of Uptown, providing an opportunity to rejuvenate the city after years of construction. After taking a stroll through the art fair, take a walk around the lake and into the neighborhood where many hidden gems lie, including Black Walnut Bakery and Magers & Quinn Booksellers.
“I’m really excited that we’re bringing something to the Uptown community again. Uptown has gone through considerable change in the last five years, so I think we’re really excited to give folks an excuse to come back to Uptown, to check out the small businesses and the local businesses that can really use support during this ongoing time of construction,” Showalter says.
Although artists, vendors and performers aren’t announced yet, Showalter says they plan to have a variety that appeals to everyone’s taste. Food vendors can range from Tibetan food to classic American, while musical performances can include jazz, cover bands and family-friendly performances.
Showalter has worked on many art fairs while at Homespun, including the Minneapolis Sculpture Garden Art Fair, Edina Art Fair and the Homespun-owned-and-produced Minnehaha Falls Art Fair at the State Fair Grounds. With its reputation for strong art fairs, Showalter says they are able to find artists due to their strong relationship with the artist community and artists looking forward to their next fair.
Art fairs are a staple for the Twin Cities, especially with the strong arts scene and community support. Showalter says the fairs’ artists, musicians and food vendors are the true taste of the local artists who are an integral part of our city and community.
“When you go and you support the artists at our art fair, any of your purchases are going right back into the pockets of our local creatives that are so integral to just our cities and to making our cities beautiful and enjoyable,” Showalter says.
She also says they focus on ensuring the space is accessible for everyone, including being wheelchair and mobility device friendly, sharing details ahead of time and ensuring nobody has issues when it comes to experiencing the art fair.
Spend some time at the City of Lakes Art Fair this October by talking to the artists about their process, buying some great art and enjoying the autumn scenery on the lakeside. Don’t forget to take the chance to stroll around the lake or check out the local businesses.
“Art fairs are just a rare combination of creativity, culture and connection, and they are approachable, family-friendly and free to attend, so they’re accessible even during economic uncertainty,” Showalter says. “You can just show up in support, take a walk, listen to some music, have a few chats with some neighbors you may have never met before and then head home.”
City of Lakes Art Fair
Saturday, October 11, from 10 a.m. to 6 p.m.
Sunday, October 12, from 10 a.m. to 5 p.m.
Lake Bde Maka Ska between W. Lake St. and W. 32nd St., Minneapolis, Minn. 55416
Eleanor Lerman Confronts the Passage of Time and Grief In ‘Oleander Marriage’
All it took for Eleanor Lerman’s life to change was one book. At 15 years old, Lerman was living in a beachy Queens, New York City neighborhood called Rockaway. One day, she decided to take a trip into town. She ended up in a drugstore where she idly walked about before noticing some books for sale.
“I had gone into the town to a drugstore, and there was a rack of books in the front of the store. I was just biding my time, and I was looking through the books, and there was a book called ‘The SpiceBox of Earth’ by Leonard Cohen. … I knew him as a songwriter and singing on the radio, I didn’t know he was a writer,” Lerman says. “So, I got on the bus home, and I read this book. By the time I had gotten home 20 minutes later, my life had changed, because I knew what I was going to be. I was going to write, write seriously, and I knew how I was going to write, because I had finally found the key to poetry.”
This hadn’t been Lerman’s first exposure to poetry, but it had been the first time she truly understood it. Up until this point, her background in poetry was only what was taught to her in school. There she had learned the more traditional works of the famous writers before her, written in styles that she couldn’t fully understand. It was through reading Cohen’s style of writing that she unraveled the way in which a poem works. And, once she figured this out, she knew she was going to be a poet.
“When I was in school, the kind of poetry they read us … I didn’t understand any of that,” Lerman says. “But Leonard Cohen was writing in real language. You know, simple, beautiful, rhythmic language; I understood it, I knew I could do it, and from then on, I was very serious about it.”
Only three years later, at 18, Lerman found herself managing a business that manufactured parts for harpsichords. At work, she would write poems on a blackboard that was intended to be used for writing what parts were needed. A neighbor, who had been passing through their building to get his mail, eventually asked who was responsible for the poetry. Lerman let him know the work was hers. He told her that he enjoyed it, and he really thought she should get it published.
“I had never thought of doing that. So, I … had all these poems in a folder, and I sent them to, I think, Leonard Cohen’s publisher, who wrote me back and said, ‘Well, Eleanor, we don’t really publish any poets besides him, but this is really great work. I think you should send it to Wesleyan University Press,’ which I did,” Lerman says. “And, they published my first book. That’s how it all began, and that first book was a finalist for the National Book Award. I was one of the youngest people nominated for that. It got me into a famous literary feud with three women writers.”
The feud, Lerman described, involved a misunderstanding between other contenders for the prize. Lerman had found herself being misunderstood when she was telephoned by three different women
asking her to join a protest. Lerman recalls responding to Adrienne Rich, another famous lesbian poet, with her perspective.
“I had said to Adrienne … ‘We are the feminist movement. Look at me. I’m 18, I’m living alone, I’m supporting myself. You know, my problem is not men. My problem is that poets don’t make money,’” Lerman says. “So, they all got very mad at me. … So, this is all to say, when I was younger, there was a whole big deal. I had my 15 minutes of fame. But then things quieted down as they always do. … Since then, I’ve written novels and collections of short stories and several books of poetry.”
Despite a short break that Lerman described as “nothing to do with anything,” she has persistently written in different forms and styles throughout the years. Her moment of fame never interfered with her writing, and she has continuously brought out new material. In her latest release, a poetry collection titled “Oleander Marriage,” Lerman’s history and present fuse together through each poem to create a connected tale of grief, love and memory; highlighting how she has emotionally revisited her past and what it has revealed to her.
“I think I’m a very sort of workman-like writer. When I finish something, I usually have an idea where I’m going to finish one book; I usually have an idea that I’m going to start another,” Lerman says. “And, while I was writing whatever came before this, … I had been collecting ideas for what I was going to write next. And, I actually think this book was written last summer. And, I just sat down, and I wrote them one after another, so they are connected.”
Growing up, Lerman and her brother tragically
lost their mother at a young age. Very soon after, their father remarried, and they were introduced to their stepsister, who had untreated schizophrenia. This experience led to Lerman and her brother leaning on one another for support as they grew older and confronted their childhoods. Lerman sectioned the book into two parts. The first part centers both her reflections on this time in their life.
“The first section of the book is born from those endless conversations with my brother about my mother, our mother, and you know, the grief and the pain and all the things that happened to us when she died,” Lerman says. “This woman that we lost that we don’t even remember … because after she died, my father essentially said to us, ‘She died, here’s the new mommy, let’s get on with life.’”
As described, Lerman’s first section of the book is heavy with emotion. Each poem spills into the next, flowing from vignette to vignette. Lerman’s use of figurative language delicately captures the complexities of emotions and how they evolve throughout time, something her brother noted upon reading this collection.
“He also said to me that … ‘This is the first thing you’ve written, I think, where hope is not what I feel when I finish this,’” Lerman says. “He said, ‘I really feel the weight of grief and time.’ And, I said that’s probably what’s here.”
The second half of the book pulls from Lerman’s more recent life as she writes about the memories and experiences she has gained through her marriage. These poems, while lighter than the first section, do not pull away from the bittersweet emotions that come upon rumination of a life well lived.
“The other person the book is dedicated to is Robin. And, so it’s about, you know, the wonderful parts, and also the very difficult parts of a long marriage,” Lerman says. “We’ve lived with each other since I was 49-50; she’s 10 years younger than me. So, we’ve gone through a great deal in all that time.”
While the book is sectioned into parts, Lerman makes it clear that the poems are all connected through the way time warps and changes memory and emotion. This connection is pronounced through the fluidity of the poems, where bits of imagery appear and reappear throughout the collection.
As the reader follows along, they are met with many different stories. One poem may share a vignette of a warm summer day spent mulling over art, the next, a resignation at having to come to terms with the passage of time. Overall, Lerman’s collection evokes the feelings of inner conflict one faces when they confront their life as a whole.
Eleanor Lerman’s latest work, “Oleander Marriage,” revisits her career, her family and her memory as she reflects on her life. As each poem invites the reader to slip into the next, the reader is confronted with the joys and losses of beauty and pain. To purchase her book or learn more about her, please visit eleanorlerman.com.
•LGBT
•Great
•Mid-Century
•A+
‘Hyperactive’ – Local Creator TELLALI reveals that Truth is Stranger than Friction
“I can’t give this up,” the young artist confesses, proclaims. “It’s one of my main motivators and passions in my life.”
The “this” and the “It” are the same thing, of course — self-expression — and, as is the case with Twin Cities-based TELLALI (“tell-a-lie”), self-expression can take many forms.
TELLALI catalogs: “I’m into mediums of art like graphic design, photography, directing and videography, and I do a lot of my own artwork.”
In recent years, tunes and ‘tude have risen to the fore of the young creator’s consciousness.
“Listening to artists like X, Juice WRLD, Nicki Minaj, Madonna, Playboi Carti, Destroy Lonely, Lil Uzi Vert, Charli XCX, SOPHIE, Halsey, The Weeknd, Troye Sivan, Prince and others over the years made me fall in love with that sector of music so much,” he recalls. “It’s a very addictive sound I don’t get tired of.”
He named his own collective interpretation of this addiction “hyperactive and rage,” and, having named it, made it his own, shaping it into an 11-song mixtape entitled “ADHD.”
“Having ADHD, I thought the title was fitting, and I wanted to explore more of that with each song,” the artist comments.
“ADHD”possesses 11 tracks, delivered in a voice that sometimes croons and sometimes croaks, a voice that delivers lyrics which sometimes confess and sometimes confound, the “hyperactive and rage” pushing the listener along like sonic rapids. That’s the How of TELLALI’s songs … but the What of his songs is often determined by his gender identity.
“It affects the subject matter of my songs a lot,” TELLALI admits freely.
This acceptance of influence marks a maturity within the still-young artist who notes, “It’s started to mean a lot more to me as I’ve grown up and I’ve had to let go of fears of judgment and more especially in some of the spaces and genres I dabble in.”
Conversely, this facet of self isn’t all-consuming — the facet is just that: a facet.
“It’s a part of me, it doesn’t make me entirely who I am, but it does mean something to me,” TELLALI reflects and re-reflects. “Especially in the current climates of the world.”
Even more intrinsic to his identity is the young artist’s stage name. “After switching names a few times when I was sixteen in late 2015, I wanted a name that had the letters T, A, E and I,” he remembers. “I don’t know why, but I figured it out and did TELLALI. It stuck ever since then.”
Photos courtesy of TELLALI
Other inspirations stuck, as well, including the Twin Cities themselves … but not in the way one might initially expect.
“Things I’ve experienced here reflect in my music,” TELLALI observes. “Meeting people through the internet who live here and getting to build friendships and creative projects is amazing.”
Those communications invariably revolve around the artist’s art … and his mixtapes are dependably met with mixed reactions.
“It’s always been mixed,” TELLALI reports. “When I first started releasing music in 2016 in high school, it was praised, but also it didn’t feel like it was super appreciated.”
This Mozart-esque precociousness couldn’t last forever, of course.
“As I got older and started releasing more and gaining new listeners over the years, [the audience feedback is] positive with some negatives mixed
within,” he says. “With some wanting me to do one type of music more, but overall, it’s been supportive.”
TELLALI is determined to turn that support into a foundation on which he might build a career by realizing specific goals.
“To gain a bigger audience, spread my music and art through the world to different people who connect with it,” he muses.
That connection requires something to connect with, naturally.
“I really wanna do an album,” TELLALI supposes. “I’ve done many mixtapes, EPs, standalone singles; whatever my creativity takes me to next is what I will do. Albums are a bigger thing for me, and I still feel like over the last nine years, I haven’t had my first debut album yet, just a lot of buildup to that moment.”
But until that moment arrives, TELLALI will always have “ADHD” to rally around. As the artist himself puts it: “It’s abrasive, a high-energy project that has a sound that is polarizing and therefore not for everybody, but I do hope some people enjoy the sound and can have a great time jamming to it.” open.spotify.com/album/2MlhkgRgF7q21pImgMvxUA
Before Pride, there was pain.
Jack Cooper's Pain Before the Rainbow reveals the haunting realities faced by gay men in the 1970s-and the courage that shaped queer survival. Beautiful, raw, and unforgettable, these stories remind us why visibility and freedom matter today. A POWERFUL STORY OF LOVE, LOSS, AND SURVIVAL STONEWALL BOOK AWARD NOMINEE A POWERFUL STORY OF LOVE, LOSS, AND
“Courageous and insightful...”
-Elizabeth Ann Atkins
“Uplifting and unforgettable...”
- Glenn E. Kakely
Paperback ISBN: 978-1-956879-82-7
Ebook ISBN: 978-1-956879-83-4
Substack Superstar ShayisAndrewin Doing the Most
The writer/book club facilitator/literary magazine editor talks community, creativity and following their passions as a young, queer Black person
Like many young people fresh out of college, 22-year-old Shay Andrewin has been attempting to answer the question of “What next?”
And like many fresh graduates, instead of doing something with their psychology degree like their mom is telling them to, they say they’re just “vibing” at the moment.
“Vibing,” of course, meaning amassing over 16,000 subscribers on their Substack publication, facilitating a local chap ter of a book club with an international reach and creating and editing their own literary magazine.
Still, they insist with a sheepish grin, “I’m just a regular guy!”
Andrewin’s Substack page, “Notes on Being,” was born at Nina’s Coffee Cafe in St. Paul. We met there to chat on one of those Minnesota summer days where the heat plays chicken with you (you think it’s OK to wear pants, but you still come home swampy). Our table was next to a Little Free Library, and we laughed at the number of divorce self-help books inside.
Andrewin writes extensively and beautifully about their experiences as a queer Black lesbian. Their writing, in fused with passionate honesty and intimacy, brings to mind the Latin root of the word “am ateur,” “amare,” meaning “to love.”
“I started [Substack] because my friend would post articles all the time that she reads and I thought, ‘What, that’s so cool!’” they explain. “I got the app and I saw that it’s just a bunch of queer people sharing their art, so I was like, ‘I think I’ll just hop on and do that!’ It just felt like a very comfortable space to share my art without being judged.”
has chapters across the country and the world. Then, in January, they were asked to facilitate a Twin Cities chapter.
“I’ve gotten a lot more comfortable being [the facilitator,] cause when I first started, I was so nervous!” they say. “I had [AfroReads], but I was too scared to hold events. Now I can’t wait for Saturday to come! It definitely allowed me to step out of my comfort zone when it came to talking to groups.”
The Twin Cities chapter of the Noname Book Club meets on the last Saturday of every month to discuss different pieces of radical Black literature. Monthly reads and meeting dates and times are posted on the @nonamereads Instagram.
Andrewin says their favorite Noname read so far is “Blessings” by Chukwuebuka Ibeh, which tells the story of a man growing up queer in Nigeria who is sent to a seminary school by his father.
“It’s just a really fun time to sit there and discuss books with like-minded people,” they say. “Even if you haven’t read the book, you can still come, since not all of our discussions are about the book. More people should come through.”
Andrewin’s latest pursuit has been starting a literary magazine from scratch, which they say was motivated by boredom and the whiteness of similar magazines at the University of Minnesota.
“I’m lowkey Tyler, The Creator if he was a regular guy,” they say, mentioning the rapper and fellow Pisces releasing his latest dance album just because he wanted to.
Tagged as “A publication by us, for us,” “HOMIES” showcases Black creativity on an immense and international scale — Andrewin says they’re shocked by the amount of submissions they’ve received, some all the way from Nigeria.
“The fact that it reached all the way out there, like when I got [the submission email], I was so gagged, like, what do you mean you’re submitting work from Nigeria?!” they say. “Most of the work has gagged me.”
Indeed, on my own Substack feed, I’ve seen folks insist that Substack is not social media, but rather a space for people to be authentically creative.
Andrewin’s most popular piece to date, “The Weight of Wanting Love,” is a reckoning with their feelings of having to earn love by constantly giving and learning to accept their inherent worthiness. It’s a weighty piece that describes a widely felt insecurity with the rawness of a journal entry.
Judging by the piece’s like count, over 24,000 people have resonated with Andrewin’s words in some way.
“At first, no one was reading my art, until one random day it just blew up, and I was like ‘Okay, cool!’ I just went along with it,” they say.
Their queer commentary, “Bring Back the Fingers,” is “A Masc Lesbian’s Ode to the Lost Art of Touch” that discusses lesbian sexuality with playful charm. “I want to be like Solange” is an ode to one of their inspirations, whom Andrewin says they were listening to before meeting with me.
“Her music creates a space that feels sacred and deeply personal, yet universally resonant. Every song feels like an invitation to let your guard down, to heal, to just be,” they wrote.
If “Notes on Being” is any indication, Andrewin is most definitely following in Ms. Knowles’ footsteps.
Andrewin is bringing people together not only through their own writing but also by encouraging others’ intellectual and creative pursuits.
Andrewin started their own Black book club, The AfroReads Collective, aspiring to build a community similar to rapper Noname’s book club, which
Andrewin says they want “HOMIES” to become something big, with their response to issue one — out August 15 — things may be headed that way.
“I feel like if I had a magazine and it became big and I could, like, interview local artists, that would be dope,” they say.
I joke that they wouldn’t need their psych degree in that case. “No, actually!” they chuckle.
Still, to Andrewin, “HOMIES” is about a lot more than fulfilling their own creative pursuits or avoiding the field in which they earned their degree.
“Community saved my life, I’m not even gonna joke about it,” they say. “Having people around me who look and act like me, it really helped me become who I am today. ‘HOMIES’ isn’t just a magazine you pick up and flip through, it’s a community of people who put it all together.”
For as long as I’ve been in Andrewin’s orbit on social media, they’ve exuded an effortless coolness and humor that makes their success in so many pursuits seem like a given. Throughout our chat, though, it became clear how following their creative passions has made them more confident.
“The world we live in today is trying to not have people pursue arts and just keep them in this little box, and every time I do step out of my comfort zone to do something like that, it just feels very empowering,” they explain. “Like I’m going against what everyone wants me to do.”
They insist that everyone can — and should — find a way to be creative.
“Literally just do s—. Once you get an idea, just do it. Even if you think you don’t have the money or resources, find a way to do it.”
Photos courtesy of Shay Andrewin
A Queer Musical Duo Bringing New Sounds to Music
Boyish will release their debut album, “Gun,” Sept. 12 on the record label R&R. “Gun” transports listeners to a fictional town of Boyish’s own creation. Inspired by their countless adventures through “middle-of-nowhere” places in the U.S., India Shore and Claire Altendahl tell a love story that slowly unfolds as each song plays.
The duo first began the songwriting process for their upcoming album in October 2023. However, it wasn’t until April 2025 that the recording and production process started, collaborating with producer and musician Loren Humphrey in Tuxedo Park, N.Y., to bring the eclectic 11-track album to life over two months.
“He happened to be flying to LA on the day we reached out, and we got food one time and decided to do it together,” Shore says. “[We] went to New York and lived with him and recorded it at his home.”
Humphrey’s portfolio is filled to the brim with iconic artists and projects; having worked alongside Lana Del Rey, Cults, Arctic Monkeys and many more.
They recorded on an AMPEX MM-1200 two-inch tape machine. With the nature of the machine, any mistake that was made while recording forced the duo to rewind the tape and do a complete restart. Altendahl described Humphrey as a “tape wizard” who helped them solidify their artistic sound, given the lack of room
Alexandra showed off her pole dancing abilities in the “Jumbos” music video that was released on July 18. Shore and Altendahl did a live performance of the song directly behind her.
“BIG” is a guitar-heavy single that was released in August, displaying the duo’s wide range of gentle melodies and angsty instrumentals. While the album is designed to be experienced in chronological track order, telling the tale of a lovestruck couple in “Gun,” they also say the listening experience with the album on shuffle can be really enjoyable and fun too.
“My biggest hope for this album is, when people hear it, they are transported into that world,” Altendahl says. “I love when an album has that effect on me.”
The two met while attending Berklee College of Music in Boston, but didn’t become Boyish until shortly before the COVID-19 pandemic. In February 2020, just before the world shut down, the indie-alternative duo released their first EP, “Garden Spider.”
Boyish used the lockdown as an opportunity to establish their unique sound. After releasing another EP titled “We’re all gonna die, but here’s my contribution” in 2021, they launched into stardom.
Shortly thereafter, Music Forward Foundation awarded Boyish with the LGBTQ+ Emerging Artist Award in 2021. They also appeared on an RSDxVans vinyl compilation feature alongside Taylor Swift, Julien Baker and Girl in Red.
They’ve since also collaborated with several other well-known artists, including King Princess and Rachel Chinouriri, and toured with Minnesota-native band Hippo Campus, The Beaches, Claud and Spill Tab.
To celebrate the release of their upcoming album, Boyish will be performing at Troubadour in Los Angeles on Oct. 22 and Bowery Ballroom in New York City on Nov. 6. These performances follow their return to the U.S. from their first-ever headline European tour beginning this September. U.S. tour dates are to be announced soon.
Visit boyishmusic.com to learn more and to view their current list of shows.
The Ache of Unspoken Love: Samah Meghjee’s Bold Debut
Two women have been friends for years, their lives intertwined by family, faith and familiarity. Yet, beneath the surface lingers a question neither of them dares to say out loud: what if this is more than friendship?
That unspoken tension drives “Maybe You Could Love Me,” the new work by playwright Samah Meghjee presented by Theater Mu, debuting September 13-28 at Mixed Blood Theatre in Minneapolis. Equal parts tender, funny and heart-wrenching, the play explores the complicated dynamics of the two heroines.
“The show is about two young Muslim women who have been friends for years, but are always on the cusp of something more,” Meghjee explains. “They are struggling and grappling with that love and tension for each other in a world that doesn’t accept that.”
SEASON OPENING
Søndergård, DiDonato and Strauss
SEP 18-19
With a voice “nothing less than 24-carat gold” according to The Times, DiDonato will perform Berlioz' Les Nuits d’été
U.S. BANK MOVIES & MUSIC
Star Wars: The Empire Strikes Back in Concert with the Minnesota Orchestra
SEP 30, OCT 3-5
The full film projected on the big screen as the Orchestra performs the John Williams score.
Beethoven Fifth Symphony
OCT 16–18
One of the most well-known symphonies paired with a piano concerto by Anna Clyne, performed by Elisabeth Brauss.
U.S. BANK MOVIES & MUSIC
The Goonies in Concert with the Minnesota Orchestra
OCT 24–25
HEY, YOU GUYS! Hear the score performed live as the movie projects on the big screen!
Jazz at Lincoln Center Orchestra with Wynton Marsalis
NOV 1
The legendary Jazz at Lincoln Center Orchestra and its trailblazing leader return. The Minnesota Orchestra does not perform on this program.
The story grew out of Meghjee’s journey. She grew up in Florida in a conservative Muslim community, wearing hijab and adhering to the rules of her faith. When she went to college, her beliefs started changing. A visit home during her senior year sparked the moment that would eventually inspire her play. Reconnecting with an old friend, she nervously admitted she had a boyfriend, only to learn her peers back home had long been experimenting with sex, alcohol and marijuana.
“I was like, ‘Why didn’t you tell me?’ And she said, ‘You were a snitch,’” Meghjee says with a laugh.
That same night, she came out as bisexual. The dismissive response she received highlighted the complicated intersections of faith, identity and belonging.
Those contradictions now form the emotional landscape of “Maybe You Could Love Me.” One friend stays rooted in their community, while the other leaves and later returns, forcing them to confront how they’ve grown and how their relationship has changed.
Bringing the play to life has been a dream, Meghjee says, thanks in large part to Theater Mu. Her script was first selected for the company’s New Eyes Festival last year, one of only two chosen out of roughly 80 submissions. Director Katie Bradley approached the reading with care and sensitivity, later returning to helm the full production with the same attention to nuance.
For Meghjee, it was crucial that the play not be misinterpreted as an attack on Islam.
“I don’t think Islam, fundamentally, believes that gay people shouldn’t exist,” she says. “That’s a cultural issue, a patriarchal issue; colonialism influencing specific values on certain immigrant communities.”
With the help of cultural consultants and actors who understand the complexity of the world onstage, Meghjee has created space for nuance: a story that acknowledges pain without villainizing faith.
Though “Maybe You Could Love Me” deals with themes of heartbreak and cultural constraint, it’s far from dour. Meghjee describes the piece as a dramedy, one that mirrors the unpredictability of real life.
“It’s really funny,” she insists. “I try to infuse even a tragic love story with as much humor as possible. The two actors are incredible, their chemistry is off the charts and they’ll make you pee yourself laughing.”
That blend of levity and longing makes the story all the more relatable.
“Very few people are going to be able to relate to the play, identically,” Meghjee says, “but their relationship leads to this universal experience that we’ve all had: falling in love with someone that you can’t have for whatever logistical or emotional reason.”
The Twin Cities, with its vibrant theater scene and multicultural communities, feels to Meghjee like the perfect launchpad.
“The theater community here is unbelievable, and people really care about live art and seeing a play, which I think is really hard to find,” she says. “Theater Mu is so fantastic, approaching theater-making with Asian voices first, and expanding that in the past couple of years to South Asian voices — and seeing that as an expansion, not a deviation — is really beautiful.”
With “Maybe You Could Love Me,” Meghjee is staking a claim for stories that are both unapologetically queer and Muslim. In doing so, the play invites audiences to care deeply for lives that may look different from their own, yet echo their most familiar emotions. As she puts it, “even if you don’t totally know these people inside and out, you still can feel their feelings. And you have an abundance of empathy for them.”
Beautifully Updated End-Unit Townhome in Prime SW Minneapolis, MN: Offered at $475,000 5501 Humboldt Circle, Minneapolis, MN
Discover this spacious and tastefully updated end-unit townhome featuring 3 bedrooms, 2 bathrooms, and an attached 2-stall garage. This home offers both style and functionality. Located in the highly sought-after Kenny neighborhood of Southwest Minneapolis, you'll enjoy a perfect blend of quiet residential charm and convenient city access. SW Minneapolis, Kenny neighborhood location!
Stunning Custom Estate on 2.6 Acres: Offered at $1,375,000
13187 Dellwood Road North, Stillwater, MN
This expansive 5-bedroom, 4-bathroom estate offers over 4,500 finished square feet of luxurious living space, nestled on a beautifully manicured 2.6-acre lot. A true custom-built masterpiece, this one-of-a-kind home features a well-appointed chef’s kitchen and an impressive list of updates throughout. Step outside and be enchanted by professionally landscaped grounds, highlighted by a tranquil cascading waterfall just outside the primary suite’s bathroom—your own private oasis!
‘Role Model’ – ARENA DANCES Founder and Choreographer Mathew Janczewski
Choreographs No More, Mostly
“It’s so much more than just what’s up on stage — it’s really about shifting the ecosystem of the community.”
Such is the ambition of Mathew Janczewski, artistic director of the Minneapolis-based contemporary dance company, ARENA DANCES, for the past 29 years … but that title, along with other things, is about to change: starting in the fall, Janczewski will be subletting the studio’s choreography duties for the first time ever.
This means that ARENA DANCES audiences shall soon indulge in the variegated machinations of three different choreographers, two out-of-towners, one Minnesotan and zero Mathew Janczewskis. Each non-Mathew will craft a 20-30-minute dance brought to life by local dancers.
“Dancers are the instruments, the medium, and the voice — the living art through which choreographers create,” the re-invention’s press release proclaims. “This repertory model prioritizes long-term relationships between choreographers and a core ensemble of versatile dancers, allowing for deeper exploration, trust, and artistic risk.”
The new business model has a preexisting name, of course: those in the know call it “a contemporary repertory dance company.”
This will translate to a different experience for anyone in attendance, including, especially, long-time patrons.
“[Audience members] are going to get a variety of choreographers,” Janczewski promises. “[The new choreographers] will be presenting a variety of styles, aesthetics and topics. It’s really about uplifting the work and sharing it with the whole community.”
But why the change? The press release announcing the evolution probably puts it best: “ARENA DANCES envisions a bold, inclusive future for contemporary dance. By investing in dancers and choreographers, embracing diverse voices and creating emotionally powerful performances, ARENA DANCES will continue to be a catalyst for artistic innovation and a stabilizing force in Minnesota’s shifting dance landscape.”
Almost every aspect of ARENA DANCES will change … but not every aspect.
“It’ll keep ARENA DANCES’ name — it’ll just lose my name in the logo,” Janczewski notes with an uncertain laugh. “I’m going from creative director to executive director.”
This swearing-off of the notional doesn’t mean Janczewski will spend the next year choreographing his thumb twiddles.
“I feel like my full-time job is fundraiser,” Janczewski reports. “We’re good for this year … but national funding is a little scary right now.”
That funding doesn’t only cover the planning of the dance numbers.
“I’m giving [the new choreographers] the opportunity to make work with other dancers, as well as experience Minnesota, as well as Minnesota getting to experience outside dancers,” Janczewski points out. “So, I have a full-time company now, which is different, as well — before, it was always project to project. Now I’m able to give a salary to the dancers.”
But those dancers will earn every penny.
“The fall premiere of this new company will be September 19 and 20,” Janczewski declares. “Our fall show is called ‘Debut,’ which is kind of funny after 30 years, but it’s the debut of this new model, and I’m super-excited — the work is very subtle.”
This Neapolitan presentation will be brought to life within the Luminary Arts Center, which describes itself as “A playspace to amplify the power of discovery and uncover originality with liberated imagination.”
ARENA DANCES’s short-term goals and long-term goals both teem with promise.
“The whole year is booked with choreographers,” the executive director says. “I want this to continue as a force forward.”
Moving thusly, the dancers will enjoy a reward more profound than money.
“It’s really exciting because I have cream of the crop dancers, and each will be training in a new style,” Janczewski gushes. “Before, it was all my [choreography] work. Now they can experience a different style.”
These changes aren’t merely changes for change’s sake: they’re a necessary phase of growth.
“For me, it’s really about the community and not my work, honestly,” Janczewski insists. “It’s really about uplifting people’s work and sharing it with the community.”
Because of his concern for the local community, this wasn’t a reinvention that the executive director took lightly.
“I’m definitely crazy,” Janczewski confesses cheerfully. “These are the new things that I’m excited about. I certainly have enjoyed community support over the past 29 years, and I hope people will join me on this journey.”
ARENA DANCES arena-dances.org
ARENA Dancer: Sarah McCullough. Photo by Studio Aura
New Play Explores Queer Love in the Digital Age
Kurt Engh is making the gay theater he wants to see.
“Only Ugly Guys” is Engh’s playwriting debut, and he has spent the better part of five years pouring his creativity into this production.
The new production “Only Ugly Guys” is pushing the boundaries of what theater can be. Engh’s first play is transgressive, honest and funny storytelling. He embraces the crazy mess that is gay romance, weaving together witty dialogue and sharp cultural commentary.
A production of emerging theater company Running Errands, “Only Ugly Guys” explores the queer quest for love in the age of the internet.
Engh has spent a lifetime in the theater. He was a child actor, and he went on to study theater in college, and he has spent the last 10 years working in the industry.
After spending time in New York, a stint in Spain and a summer outside of D.C., Engh found himself back in his native state of Minnesota. He landed a gig at the Guthrie Theater, but found that working at a theater was not the same as making theater. So, he quit his job at the Guthrie and struck out on his own.
“I started writing theater, working at a restaurant, applying for grants… just doing it on my own,” Engh says. “I was thinking about a lot of gay plays that I could put on, and I wasn’t excited about any of them. I need a play, so let me just write it.”
“This came from wanting to see a play about characters that are out and really pushing boundaries … So many gay plays are either about gay birth — what I call coming out — or gay death,” Engh says. “It’s about AIDS, it’s about getting murdered, and there’s this whole lifetime in between.”
The play is a sharp departure from the aesthetic and clean-cut narratives that have a chokehold on pop culture. It is nothing like the charming and heartwarming story of “Heartstopper” or the tragic yearning in “Call Me by Your Name.” They are beautiful films, but their story tells only a small portion of the queer experience.
“Who are these nice, beautiful guys in movies?” Engh asks, reflecting on his own experiences.
“I just know sloppy messes!”
“Only Ugly Guys” leans into the craziness of the
The 2024 Cast and Crew of “Only Ugly Guys” (L to R) George Kleven, Grant Sorenson, Kurt Engh, Alex Cavegn, Jack Oleg, Leo Rossmiller, Ian Olson. Kurt Engh. Photos by Jacob Olson
queer search for intimacy. Inspired by real life, Engh walks the audience through the subcultures within the subculture in four intersecting short stories that are as honest as they are humorous.
“[These characters] are all still looking for love and intimacy and belonging … They’re just much worse at it than, like, ‘Love, Simon,’” Engh says.
“When I first started writing it, I was like, this is insane,” he continues. “But the more I write it, I’m like, I’m not being insane enough. This is so true. Yeah, I’m not being insane enough.”
Engh’s play is by the gays and for the gays.
“It’s like its own language … I feel like gays speak in movie quotes, and that’s a way of having intimacy within a community,” he says.
“Only Ugly Guys” draws inspiration from screenwriter Julie Klausner. Her distinct comedic style assumes the audience’s intelligence, a tool Engh put his own twist on with biting jokes that a mainstream audience might not have the queer social media literacy to grasp. The play’s dialogue is peppered with just enough niche slang and plays with the idea of an “algorithm-fueled culture.”
Without slowing its comedic momentum, “Only Ugly Guys” explores activism as a permanent fixture within the queer experience, confronting the undeniable reality that the community is deeply affected by the larger political landscape and, on a smaller scale, politics within the queer community.
Each of Engh’s characters is a gay archetype: the queer influencer, the late-bloomer mainstreamer, the demon twink and the himbo.
“Gay men get these six personalities you can choose from,” he says. “We get handed these personas or identities, because that’s like the representation that we seek.”
Engh encourages his audience to break with assimilationist expectations or expectations imposed on them, even from within a marginalized community.
“Each character in the play has a moment where they get to their breaking point … Do they go beyond that breaking point, or do they retreat back to what’s comfortable to them?” Engh says.
Regardless of your proficiency level in gay brainrot, “Only Ugly Guys” is a poignant and funny exploration of modern romance that is sure to entertain. See the production at Gremlin Theater Sept. 12-27.
Production photo from 2024 “Only Ugly Guys” (L to R) Leo Rossmiller, Alex Cavegn, George Kleven, Jack Oleg.
The friendly neighborhood tour of art and artists in Longfellow, Minneapolis! 120+ Artists! LoLaArt.org
Community Connection brings visibility to local LGBTQ-friendly non-profit organizations. To reserve your listing in Community Connection, email advertising@lavendermagazine. com.
ANIMAL RESCUE
Second Chance Animal Rescue
Dedicated to rescuing, fostering, caring for, and adopting out dogs and cats into forever homes.
P.O. Box 10533 White Bear Lake, MN 55110 (651) 771-5662 www.secondchancerescue.org
BUSINESS ASSOCIATIONS
Quorum
Minnesota's LGBTQ+ and Allied Chamber of Commerce working to build, connect, and strengthen for a diverse business community. 2446 University Ave. W., Ste 112 St. Paul, MN 55114 (612) 460-8153 www.twincitiesquorum.com
ENVIRONMENT
The Nature Conservancy
TNC is an environmental nonprofit working to create a world where people and nature thrive. 1101 W. River Pkwy., Ste. 200 Minneapolis, MN 55415-1291 (612) 331-0700 minnesota@tnc.org www.nature.org/minnesota
EVENT VENUES
Landmark Center
A classic venue, with a grand cortile and beautiful courtrooms, accommodates celebrations of all sizes.
75 W. 5th St. St. Paul, MN 55102 (651) 292-3228 www.landmarkcenter.org
GRANTMAKERS/FUNDERS
PFund Foundation
PFund is the LGBTQ+ community foundation that provides grants to students and grants to non-profits. PO Box 3640 Minneapolis, MN 55403 (612) 870-1806 www.pfundfoundation.org
HEALTH & WELLNESS
Aliveness Project
Community Center for individuals living with HIV/AIDS – on-site meals, food shelf, and supportive service.
3808 Nicollet Ave. S. Minneapolis, MN 55102 (612) 824-LIFE (5433) www.aliveness.org
MEDIA & COMMUNICATIONS
Radio K
Radio K is the award-winning studentrun radio station of the University of Minnesota.
330 21st. Ave. S. Minneapolis, MN 55455 (612) 625-3500 www.radiok.org
COMMUNITY CONNECTION
MEDICAL SERVICES
Red Door Clinic
HIV and STI screening, treatment, education, and referrals. Doxy PEP, nPEP, PrEP, and Reproductive Health. 525 Portland Ave., 4th Fl. Minneapolis, MN 55415 (612) 543-5555 reddoor@hennepin.us www.reddoorclinic.org
MUSEUM
Bell Museum, University of Minnesota
Discover Minnesota’s rich natural history through engaging exhibits, wildlife dioramas, and an exciting planetarium experience!
2088 Larpenteur Ave. W. St. Paul, MN 55113 (612) 626-9660 bellinfo@umn.edu www.bellmuseum.umn.edu
Minnesota Historical Society
Create your own adventure at MNHS historic sites and museums around Minnesota. www.mnhs.org
Minneapolis Institute of Art
Enjoy masterpieces from all over the world & every period of human history. Free admission daily!
2400 3rd Ave. S. Minneapolis, MN 55404 (612) 870-3000 www.artsmia.org
Science Museum of Minnesota
Mississippi Riverfront Museum featuring dinosaurs, hands-on exhibits, Omnitheater films, and interactive science performances. Café onsite.
120 W. Kellogg Blvd. St. Paul, MN 55102 (651) 221-9444 www.smm.org
PERFORMING ARTS
ARENA DANCES
ARENA DANCES presents innovative contemporary dance, fostering community, dialogue, and inclusion through performance and education 711 W. Lake St., Studio 308 Minneapolis, MN 55408 (612) 804-0238 www.arenadances.org
Chanhassen Dinner Theatres
The nation's largest professional dinner theater and Minnesota's own entertainment destination. 501 W. 78th St. Chanhassen, MN 55317 (952) 934-1525 www.chanhassendt.com
Children’s Theatre Company
Children’s Theatre Company excites the imagination with world-class family-friendly theatre for kids, teens, and adults.
2400 3rd Ave. S. Minneapolis, MN 55404 (612) 874-0400 www.childrenstheatre.org
Guthrie Theater
Open to the public year-round, the Guthrie produces classic and contemporary plays on three stages. 818 S. 2nd St. Minneapolis, MN 55415 (612) 377-2224 www.guthrietheater.org
Minnesota Opera
World-class opera draws you into a synthesis of beauty; breathtaking music, stunning costumes & extraordinary sets. Performances at the Ordway Music Theater - 345 Washington St. St. Paul, MN 55102 (612) 333-6669
www.mnopera.org
Minnesota Orchestra
Led by Music Director Designate Thomas Søndergård, the Minnesota Orchestra, one of America’s leading symphony orchestras.
1111 Nicollet Mall Minneapolis, MN 55403 (612) 371-5656, (800) 292-4141 www.minnesotaorchestra.org
Ordway Center for the Performing Arts
Leading performing arts center with two stages presenting Broadway musicals, concerts & educational programs that enrich diverse audiences. 345 Washington St. St. Paul, MN 55102 (651) 224-4222 info@ordway.org www.ordway.org
Twin Cities Gay Men’s Chorus
An award-winning chorus building community through music and offers entertainment worth coming out for! 1430 W. 28th St., Ste. B Minneapolis, MN 55408 (612) 339-SONG (7664) chorus@tcgmc.org www.tcgmc.org
RELIGIOUS & SPIRITUAL
All God’s Children Metropolitan Community Church
A welcoming, inclusive, safe place to explore and discover God’s love for ALL God’s children. 3100 Park Ave. Minneapolis, MN 55407 (612) 824-2673 www.agcmcc.org
Hennepin Avenue United Methodist Church
Everyone is welcome at Hennepin Church! Vibrant Worship. Authentic Community. Bold Outreach. 511 Groveland Ave. Minneapolis, MN 55403 (612) 871-5303 www.hennepinchurch.org
Plymouth Congregational Church
Many Hearts, One Song; Many Hands, One Church. Find us on Facebook and Twitter. 1900 Nicollet Ave. Minneapolis, MN 55403 (612) 871-7400 www.plymouth.org
St. Anthony Park United Church of Christ
We are an Open & Affirming, Progressive Christian Community. Real Church. Real People. Real Life. 2129 Commonwealth Ave. St. Paul, MN 55108 (651) 646-7173 www.sapucc.org
Westminster Presbyterian Church
An open and affirming congregation, welcoming persons of all sexual orientations, gender expressions and identities. 1200 Marquette Ave. Minneapolis, MN 55403 (612) 332-3421 www.westminstermpls.org
SENIOR LIVING
Lyngblomsten Community Services
Empowering older adults to live well at home through caregiver support, memory-loss enrichment, & wellness education. 1415 Almond Ave. St. Paul, MN 55108 (651) 632-5330 www.Lyngblomsten.org/CServices
Senior Community Services
Providing non-medical services that meet the changing needs of older adults & support their caregivers.
10201 Wayzata Blvd., Ste. 335 Minnetonka, MN 55305 (952) 541-1019 www.seniorcommunity.org/lav
SOCIAL SERVICES
Friends & Co
Fostering meaningful connections for older adults for 50+ years. Offering quick drop-in chat line, phone & visiting companionship services.
2550 University Ave. W., Ste. 260-S St. Paul, MN 55114 (612) 721-1400 www.friendsco.org
Lutheran Social Service of Minnesota
Serving all Minnesotans with individualized services that promote full and abundant lives.
lssmn.org | (651) 642-5990 | (800) 582-5260
Foster Care and Adoption | chlss.org | (651) 646.7771
PICS (Partners in Community Supports) | (651) 967-5060
Pooled Trust | (888) 806-6844
Supported Decision-Making | (888) 806-6844
TRAVEL DESTINATIONS
Westopolis
Minnesota’s Sweet Spot! St. Louis Park & Golden Valley offer exceptional dining, attractions, shopping, hotels and event space.
1660 Hwy 100 S., Ste. 501 St. Louis Park, MN 55416 (952) 426-4047 www.westopolis.org
OUR SCENE | CANNABIS CULTURE
BY JEN PEEPLES-HAMPTON
Cannababe Do It?
Is That Even A Question? Minnesota’s Babes Already Are
More often than not, those who are queer, women and neurodivergent are questioned on their abilities because of their differences. Being misunderstood isn’t a choice; it’s a reality many of us face. Cannababe MN is showing the possible in the impossible by being Minnesota’s very first queer, neurodivergent, woman-owned dispensary.
Cannababe MN is a space that welcomes all through events, social gatherings and genuine fellowship. Lucie Bradt, creator, founder and CEO of Cannababe MN, is the “greenprint” of this renaissance that evolved into a movement born from a desire to build a connection with others.
Cannababe MN describes itself as “an inclusive, neuro-divergent, queer, and womxn-friendly space,” with an initial focus on shaping experiences as a small boutique and hemp dispensary in Minneapolis’ Longfellow neighborhood in 2024.
“My desire was to create a space that blended creativity, cannabis and community where people could shop curated stoner accessories and hempderived edibles while gathering in a safe, inclusive environment for women and queer individuals,” Bradt says.
In the spring of 2024, Bradt brought on Elle LaMere as a business partner and social media manager. This helped Cannababe MN grow into a movement that encouraged collaboration with others, allowing the brand to thrive in the event world.
The demand for Cannababe MN led them to begin hosting monthly gatherings that people looked forward to and eventually evolved to open houses that provided free crafts, puff and paints, queer dance parties, sound baths and junk journaling at open house events.
“Nearly 2,000 babes haave attended one or more Cannababe events!” LaMere says.
You may be wondering if you read “puff and paint events” correctly. Let’s shift for a moment to bring some data and facts about cannabis in Minnesota to cultivate a better understanding. In 2014, the Minnesota legislature passed a law to legalize medicinal cannabis under certain medical conditions and ailments, and in 2023, Minnesota House File 100 legalized recreational cannabis use.
Many people may not realize that cannabis also helps with menstrual discomfort due to the ability of the cannabinoids in CBD and THC to connect with the body’s endocannabinoid system to ease pain signals. There are also topicals, edibles and low-dose options that can be easier on the body than over-the-counter pain medications.
Bradt and LaMere say that cannabis can also help people who have issues with sleep and stress regulation.
Rest assured, Cannababe MN strives to not only build community but to be educational leaders on the benefits of cannabis while boldly challenging the misconceptions that surround it.
“In high school, I was diagnosed with ADHD, and in my mid-20s, I learned that I had autism. So together this is defined as AUHD,” Bradt says.
Bradt embraced her pillar of creativity as a source of strength through the support of cannabis as a tool for managing overstimulation, anxiety and chronic pain; common challenges for many neurodivergent individuals. Cannababe MN is the birth of something new. Something necessarily different, as the cannabis industry is primarily cis male-centric — an environment that aims to share the space through diversity on all spectrums of differences.
“I felt like it was difficult to find work that felt sustainable and didn’t lead to burnout. The traditional work environment didn’t really work for me & others like me,” Bradt says. “Cannababe inspired us to create a space that people felt welcomed from all walks of life and were able to freely express themselves, connect and enjoy cannabis without judgment.”
The vision for Cannababe MN’s dispensary and boutique is to be an all-in-one stop. Visitors and customers can explore cannabis, plant medicine and stoner accessories that are curated by their guiding principles of “funky, eclectic, joysparking or unapologetically pink,” LaMere says.
“We want a playful aesthetic that is a deliberate appeal to inner-child healing,” LaMere adds.
If you are interested in a new spot, or you’re new to the experience of cannabis, Cannababe MN suggests starting with comfort and safety. Recruit a close friend you trust in a familiar space. Bradt and LaMere highlighted leafly.com as a resource to learn more about different strains and other people’s experiences.
Cannababe MN’s goal for the future is to have storefronts in several major U.S. cities established as a nationally recognized name that forges inclusivity, creativity and recreates the narrative around cannabis.
To follow Cannababe MN’s story and their continued success, visit their social handle and website listed below!
Instagram @cannababe_mn cannababemn.com
