The Wake Issue 1 Fall 2018

fortnightly student magazine

volume 18 — issue 1

E-Scooter Showdown

p. 7

Diversity Quotas

p. 20

SKA-U-MAH

p. 11

Gutom Ka? You Hungry?

p. 21

Q&A: Warren Thomas Fenzi

p. 16

Swimming

p. 23

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Art by Megan Smith

OCTOBER 8—22

VOLUME 18, ISSUE 1 EDITORIAL: Editor-in-Chief

Tala Alfoqaha

Managing Editor

Chris Shea

Cities Editor

Olivia Hultgren

Voices Editor

Farrah Mina

Music Editor

Megan Hoff

Online editor

Becca Most

Copy editors

MaiLei Meyers Hannah Haakenson

Multimedia Editor

Sebastian Alfonzo

Multimedia Producer

Daniel Elder

PRODUCTION: Executive Director

Jamie Rohlfing

Production Manager

Olivia Novotny

Creative Director

Megan Smith

Finance Manager

Ella Hennen

PR/Ad Manager

Sophie Stephens

Social Media Manager

Macie Rasmussen

Art Director

Morgan Wittmers-Graves

Designers

Nicole Faouen Annie Judd Semira Mesfin

Web Manager

Nikki Pederson

Distribution Manager

Cassie Varrige

THIS ISSUE: Writers Taylor Robers, Claire Redell, Olivia Hultgren, Chris Shea, Megan Hoff, Yuoi Zeng, Kelsey Bolander, Jimmy Cooper, Esther Chan, Gabriella Granada, Š2018 The Wake Student Magazine. All Rights Reserved.

Established in 2002, The Wake is a fortnightly independent magazine and registered student organization produced by and for students at the University of Minnesota.

The Wake was founded by Chrin Ruen & James DeLong.

Savannah Stuttgen, Morgan Wittmers-Graves, Natasha Sohni Art 1 Brighid de Danaan 2 Tessa Portuese 3 Morgan Wittmers-Graves 4 Abigail Thompson 5 Sowmya Narayan 6 Emily Jablonski 7 Annie Judd

Disclaimer: The purpose of The Wake is to provide a forum in which students can voice their opinions. Opinions expressed in the magazine are not representative of the publication or university as a whole.

To join the conversation email talfoqaha@wakemag.org.

Q&A art courtesy of Warren Thomas Fenzi. Swimming and Hex of Infinite

The Wake Student Magazine 126 Coffman Memorial Union 300 Washington Avenue SE Minneapolis, MN 55455

Cover by Morgan Wittmers-Graves

Binding art from original album cover.

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4

Art by Olivia Novotony

wink! one page magazine

INSIDE

UPCOMING EVENTS

6

Letter from the Editor

9/21—10/14

10/13

7

Wonders Ice Cream Rolls Into Dinkytown Like...

Is God Is

ARTCRANK 2018

The Section of Disapproved Books

An epid woman’s revenge play that takes it cues from the Spaghetti Wester, hip hop, Afropunk

10

“Riddle MIA This”

MN Museum of American Art

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SKA-U-MAH

10/5—10/21

14

Photography feature

16

Q&A With Warren Thomas Fenzi

Making It Real: Our History with Police, Our Future Without Them

18

2026 World Cup Taking a Political Spin in North America

New Rules Workspace

21

Gutom Ka? You hungry?

23

Review: To All The Boys I’ve Loved Before

University Jazz Ensembles Concert

8

A

w/ Ayvah, Story Night

C

bike-inspired artwork created by more than 40 local artists IDS Center

10/20 Wilden3

A fashion show that will alter the genetic code of the clothing industry Modus Locus

Art exhibit exploring the power and possiblity of a police-free community

10/9

A

w/ jazz trio Evil Genius Tedd Mann Concert Hall

10/11 Arts Quarter Festival Visual art, dance, music, and theatre showcasing student and faculty talent from across the University

B

Arts Quarter on West Bang (Regis, Rarig)

10/11 Junglepussy

B

Loring Pasta Bar

C

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CITIES

Letter from the Editor Dear Reader,

You picked up a copy of The Wake. I know that much for certain. Why you did so? Intentions are decidedly more murky. Maybe you were drawn to a flashy graphic on the cover or the particular placement of this issue. Maybe your friend wrote an article for us, or you yourself wrote an article for us (since, of course, every University of Minnesota student is welcome to contribute.) Maybe you have absolutely no recollection of how or why you ended up with a copy of The Wake and are merely flipping through to entertain yourself during a hurried yet confused trek to the nearest garbage can (in which case you should take a moment to reflect seriously on your hatred of the environment). Maybe you’re a devoted reader who always picks up our issues and finds this probing to be quite patronizing. Maybe you’re not. That’s okay.

Either way, you’re here, holding our first issue of the year between your own two hands, staring at 24 color-printed pages topped with an eye that seems dangerously close to attracting a lawsuit from the Illuminati for copyright infringement, and maybe, just maybe, you’re asking yourself, “What is The Wake?”

Fair question, reader. 16 years after our creation, it still defies a simple answer.

We began with a reckoning: in ‘the wake’ of 9/11, two crusading journalism students, James Delong and Chris Ruen, found themselves living in a frightening time. Terrorism and retribution and confusion occupied the nation, and while searching for clarity, they absorbed a news cycle that instead presented more questions than answers. Delong and Ruen recognized the need for a space that allowed students to be students, to process and discuss and disagree with each other and, quite frankly, to laugh.

Thus, The Wake was born, stumbling and searching for whatever purpose we decided to give it. And we gave it much. Over the years, The Wake has morphed and changed--we’ve assumed a more arts-centric approach to news, added a multimedia portion to our content, and partnered with a podcast--but our mission has stayed the same. Whether it be through writing or art or music, students have always been speaking for themselves, we believe that they just need a place to be heard.

So listen up.

With love, Tala Alfoqaha Editor-in-Chief

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OCTOBER 8—22

CITIES

E-Scooter Showdown The newest trend in transportation takes the U of M by storm

BY CLAIRE REDELL You’ve seen them cruising down University Avenue, tossed haphazardly on a downtown curb, or perhaps even shared by a couple squeezed onto one tiny footbed. Bird, Lime, Skip, whichever one prefers.

Here’s the premise: you locate a nearby scooter on its respective app, scan a QR code, connect a credit card, and the streets are yours - until its battery dies, that is. So, what’s all the excitement about? A University of Minnesota student gives the inside scoop.

“For starters, Lime is my scooter of choice,” junior Robert Carreros says. “They’re almost twice as fast as their competitor’s scooters (Bird) and have a longer battery life.” According to the customer service reps from each company, both are capable of travelling at a zippy 15 miles-per-hour at full throttle.

Not bad.

“Personally, I always wanted an electric scooter, but my mom would never let me go near one,” Carreros adds. “So having the opportunity to zip around on a scooter is sick, especially when my friends and I have to get to happy hour.”

These Razor scooters-on-steroids are evidently loads of fun, but not to mention, highly frowned upon in some cities. Since their advent, users have been reported riding illegally down sidewalks, parking on walkways, and maneuvering carelessly around pedestrians. Additionally, for quick, spur-of-themoment joyrides, its less than likely that users are going to have helmets on-hand, worrying public safety officials that they’re putting both riders and pedestrians at risk.

Are e-scooters on their way to redefining micro mobility? Only time will tell if they will “scoot” under the radar or be put into hibernate before another 6-month winter, whichever comes first.

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Wonders Ice Cream Rolls up to Dinkytown Like...

The trendy rolled ice cream company brings its frozen creations to the U of M campus

BY OLIVIA HULTGREN It was a Tuesday when I saw it: A line of University of Minnesota students, stretching almost all the way down the corner of 14th Avenue in Dinkytown. Oh, and a giant blow-up panda. These people were all itching for a glimpse inside the grand opening of Wonders Ice Cream, a rolled ice cream parlor self-proclaimed as “The Hibachi of Ice Cream.”

So, the next Tuesday, I had to try it for myself.

There my friend and I stood, facing down a menu of 20 different ice cream flavors. I couldn’t help but sneak peeks at the employees as they unfurled liquid ice cream onto what the company calls “ice grills” and proceeded to scrape lines of it into beautiful, sparkling rolls.

While Wonders has a build-your-own option, they also offer signature bowls, which range from flavors like Cereal Killa, Matcha Berry, and Hella Chocolate to less creative names like Strawberry Strawberry and Caramel Caramel. I opted for the Brownie Smashed, my friend the Taro Berry. And yes, it’s taro like the creamy bubble tea.

After we’d each snapped photos for our Instagram stories, we plopped onto the barstools, having to talk loudly over some thick EDM beats. Not the kind of aesthetic I’d expect at an ice cream shop with two-seater tables, but the ice cream made up for it.

The taro was delightfully creamy, and the brownie blended to near perfection. At $7 per signature, it’s a commitment for sure. A commitment, however, for quality, rich ice cream in an abundance of flavors both unique and classic. And, let’s be honest, you do it for the ‘gram.

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CITIES

The Section of Disapproved Books Exposing the unjust censorship in American prisons

BY MARLEY RICHMOND What do the books “The Vagina Monologues,” “1000 Fonts,” and “Race and Slavery in America” have in common? All are banned from a United States prison, and all are included in “The Section of Disapproved Books,” an exhibit created by artist Daniel McCarthy Clifford in collaboration with Betsy Friesen, director of data management and access at the University of Minnesota Libraries, along with the help of many others. The exhibit, featured in the Weisman Art Museum from September 8 through December 16, displays the 629 items owned by the University’s library system that are banned in incarceration facilities across the country. Among them are educational texts, commentaries on race and injustice, LGBTQ narratives, stories of sexual assault and recovery, histories of the prison reform movement, and more. This censorship prevents the education of inmates, and it made Friesen ask, “How is it that you’re correcting anything?” Without giving inmates the resources to broaden their horizons and think critically, Friesen wonders if limiting access to information perpetuates a cycle that may lead released individuals back to prison.

McCarthy Clifford’s goal wasn’t simply to make an art piece out of injustice—he aims to inspire action.

Severe reactions from the Special Intelligence Service and the Department of Justice, including an investigation into an individual involved with one of McCarthy Clifford’s previous projects, prove the importance of the conversation McCarthy Clifford’s work sparks. When viewing the books, “visitors are confronted with the reality of prison censorship,” McCarthy Clifford said. This gives community members “an entry point to the conversation,” which can lead to changes in policy.

Students are encouraged to interact with the banned books and use the common reactions of outrage and dismay to drive further action.

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The Week of Startups is Here Twin Cities startup week has arrived

BY CODY PERAKSLIS The Twin Cities will show off its startup spirit this week. From October 7-14, Twin Cities businesses and entrepreneurs will hold over 200 events, all under the umbrella of Twin Cities Startup Week (TCSW). The Week kicks off its 5th anniversary with an opening party to bring people together.

TCSW started in 2014 with only a handful of organizations. “We started with the content side of it, creating education, creating workshops, creating experiences for people to come and learn,” Nels Pederson, Co-Founder of Twin Cities Startup Week, said. The Week shines a spotlight on entrepreneurship in Minnesota and helps foster that community. It expanded from solely technology to include health-care, food and agriculture, marketing and advertising, and other topics that reflect the major industries of Minnesota. Pederson hopes to keep expanding with more businesses, more arts and entertainment, more music, and more of what makes Minnesota unique and exciting.

The scope of the entire week can be overwhelming, which is why the TCSW website (twincitiesstartupweek.com) provides a calendar of events to help guide the experience. “There are so many great things going on,” Pederson said. “So I tell people to go in, build out your calendars, and really dig into what you’re trying to take out of it.”

TCSW casts a wide net with people coming to learn about industries and startups, find cofounders, find funding, find jobs, find mentorship, or just find some direction. “The Week is fun, and we want it to be an experience that is exciting and energizing for everybody,” said Pederson. To get the most out of TCSW, Pederson suggests for participants to be open to the experience and the people they meet.

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OCTOBER 8—22

“Riddle MIA this”: Escape Room Meets “The Da Vinci Code” The Minneapolis Institute of Art hosts a free augmneted reality scavenger hunt 1

BY TAYLOR ROBERS The Minneapolis Institute of Art is calling all avid mystery seekers and puzzle solvers to participate in its latest escapade, an augmented reality escape-room app dubbed “Riddle Mia This.” As the Sherlock Holmes fanatics we are, my friend and I couldn’t wait to test out our detective skills with the new art-centric game. We approached the check-in desk a bit awkwardly and said, “We’re here for the game?” The woman smiled as if we were all in on a big secret and slid us our first clue. With charged phones, we downloaded the “Riddle Mia This” app and received a message from Director Kaywin Feldman, asking us to decipher clues left around the museum by a secret society. Everything appeared normal through our phone cameras, but augmented reality images hovered over the artwork (think “Pokemon Go” for art) for some of the clues. We were stumped a few times, but my friend was determined not to use the available hints unless they were our only option.

The game led us throughout the entire three-story museum as we explored its large art collection that spanned over thousands of years.

The game was created by Colin McFadden and Samantha Porter of Advanced Imaging Service for Objects and Spaces. Located in Heller Hall, AISOS is a department supported by the University of Minnesota’s Liberal Arts Technologies and Innovation Services. McFadden and Porter help faculty and students of any field with 3D scanning, imaging, and augmented reality projects. Their goal for the game is to attract younger audiences to Mia and provide access for all. They created the game to show it’s okay to approach art in any way that engages you the most.

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“I was thinking about my own experience going to museums where I felt like I had to look at everything because I was at the museum,” McFadden said. “I felt like I have to look at every object in every room and by the third room, I’m not actually enjoying this. I’m not getting anything out of it. I’m not actually reading what I’m staring at.”

Most people view museums as a formal quiet setting, but Mia touts them as places to build community and have fun, which inspired McFadden and Porter to combine tech and art. “When you’re playing the game, you’re not just an idle viewer, you become an active engaged participant,” Gretchen Halverson, Digital Program Coordinator at Mia, said. The game uses augmented reality to enhance the experience, but it does it in limited amounts to increase engagement with physical artwork.

McFadden and Porter encourage students and staff to visit AISOS in Heller Hall 431 during open hours on Friday’s 9 a.m. to 4 p.m.

While this is the first edition of an augmented reality game in Mia, it will definitely not be the last.

Mia is currently brainstorming an edition of the game for families with younger children Halverson says. They also foresee different editions of the game as new exhibitions arrive to the museum.

There is no specific end date for the first edition of Riddle Mia This, but it may change in a few months based on placement changes of artwork in the galleries. Because of this game, my friend and I were able to live out our detective dreams for a short but fun period of time and learn more about art while doing so. We finished the game in about an hour, but we left craving for more mysteries to solve.

“We could have done a game that was entirely AR but that would have encouraged you to just sort of blindly wander around waving your phone everywhere,” McFadden said. The team is excited with the end product of the game and hopes to expand the project. “This is the type of project we would love to have happen at other institutions,” Porter said. “We’re actually going to be releasing the code as well as some how-to docs with the idea that people can take this and actually create their own experiences.”

McFadden and Porter worked with Glitch, an organization on West Bank that supports game developers, alongside UMD alumni Charles McGregor. Their augmented reality scavenger hunt won Mia’s 3M Art and Technology Award.

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CREATIVE WRITING

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Art by Olivia Novotony

OCTOBER 8—22

FEATURE

SKA-U-MAH

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Small Scene, Tight Community

BY CHRIS SHEA

THE WAKE

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FEATURE

In 2004, Jeni Larson was on Google trying to figure out exactly what kind of music she had just listened to on the radio. What she heard was a Jamaican sounding dance tune with walking basslines, offbeat guitar chords, and horn solos.

What Larson heard was ska music – a genre stylized by influences of jazz, American R&B, and traditional Caribbean music.

Upon her discovery, Larson wanted to know how to better get immersed in this genre. This is when she found MNSka, an online resource for fans and bands to host and promote shows in the Twin Cities.

“I’ve always just felt really drawn to it,” said Larson on what got her into ska. “I think it’s really fun to listen [and dance] to.”

Since then, Larson has been to over hundreds of shows and helped over the years has volunteered for MNska designing pins, shirts, and fliers.

The MNSka website was created in 2003 by Minneapolis based-band the Prizefighters members Courtney Klos and Aaron Porter as a way to create an online presence for what was a very underground scene at the time, and as a way to promote local acts and make sure some of the more national acts feel more comfortable when in Minnesota.

In the early days of the website, it was a simple list of ska and reggae shows happening in the Twin Cities. Later on, a forum was added for members of the community to interact with each other. Mind you, this all happened in era before social media became very popular.

that came over the radio. Thus a genre was born.

There was even an instance of a couple meeting on the website that eventually got married and had children.

The late 1970s saw a revival in ska’s popularity in Great Britain with the two-tone genre. This kind of ska combined the basic rhythms of the with the more aggressive power chords and politically charged lyrics of punk rock.

Today, the site features blogs and contests to further fan engagement – along with plugs in social media sites such as Facebook to better adapt with the times.

Finally, there is “third wave ska.” This came about during the 1990s when ska became popular in the United States. This sound is more punk and pop oriented with greater emphasis on guitar riffs and larger horn sections.

The site’s current show promotion is for a 21 plus show at the Turf Club in St. Paul on Oct. 26 aptly called “Skalloween.”

Many now wonder if the current scenes are a fourth wave of ska. If there is, then what is the sound?

“As long as there are local ska bands making music and putting on shows, MNSka will be there,” said Klos.

A fourth wave?

Ska’s origins can be dated back to the late 1950s

in Jamaica and is more or less the precursor to reggae – a genre that would see it’s own boom in popularity a decade later. This early form of ska, often referred to as the “first wave,” combined elements of Caribbean music such such as mento (Jamaican folk music) and calypso (a style of AfroCaribbean music) with popular American music

According to Jorge Gil, the keyboard player of the band Rocksteady Breakfast, there’s no set sound, but that a fourth wave will be something that “just ends up happening.”

If anything, the current wave includes elements from the previous, which is evident in the Twin Cities ska scene.

Bands like Space Monkey Mafia and Umbrella Bed go for the more punk-driven and distorted sound, Rocksteady Breakfast sticks to 2-tone, and the Prizefighters leans more towards the Jamaican style.

Then there are bands like the Skruffians. Rather than playing punk, they perform what is called

“As long as there are local ska bands making music and putting on shows, MNSka will be there,” 12

OCTOBER 8—22

FEATURE

“jazz ska.” It takes the same basic rhythms created in the first wave, but uses more jazz melodies.

“Everyone’s just growing and figuring out their own place,” said Gil. “Every band kind of has their own direction that they take their ska music in.”

One, not-so-big, happy family

The checkerboard

Because the Twin Cities is a further distance from other metro-areas, not too many touring bands come up all that often. So it is a bit harder to get newer people into the scene.

Part of the reason for the sudden popularity of each wave is how the music was able to travel outside of Jamaica.

“Everyone likes hanging out with everyone else” said Gil. “We try doing picnics and things like that a few times a year.”

Normally picnics – and sometimes ice cream socials – involve meeting up at a park where fans and bands can talk about concerts and exchange ideas to help expose more people to ska.

“It’s a very tight-knit community,” said Gil.

This results in an extremely close community, as for the most part, everybody knows each other, and bands try their hardest to go to each other’s shows.

Most notably this occured in the two-tone era of ska. The first wave was already popular during the 1960s in the U.K. among the “mod” subculture, but when the second wave arrived at the end of the next decade it happened to be during an increase in immigration from places in the Caribbean like Jamaica.

During this time, there was a lot of clashing between whites and blacks in the U.K. and part of the message in a lot of ska songs was racial unity, which brought about one of the long-lasting symbols of the genre: the checkerboard.

This is a tradition carried on in ska culture today, as most shows feature people of all demographics skanking in checkerboard style Vans at the various shows across the Twin Cities.

For those of you who don’t know what skanking is, it is a popular dance that uses a running man motion while kicking on on each beat and alternating bent-elbow fist punches. This is commonly done in a group such as a mosh pit, or in a circle.

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ART

BY ABIGAIL THOMPSON My work rediscovers the domestic mundane by attributing an unnatural conformity of lighting and objectification to items of everyday use.

Traditionally, the space one inhabits is particular to private practices and unattractive qualities, but my work sheds the light on those intersections of the domestic happenings and the peculiar and strange ways in which we inhabit them.

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OCTOBER 8—22

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Q&A

Warren Thomas Fenzi

BY MEGAN HOFF

Hailing from Prescott, Arizona, singersongwriter Warren Thomas Fenzi has found a home in Minneapolis’ music scene after living on the East and West Coasts. He is a member of Lucid VanGaurd and 26 BATS!, both of which are a part of the Kremblems music collective here in the Twin Cities. He released his own debut album, “WTF,” in August of 2017. I sat down with him to talk about his experience as a musician, the Grand Canyon, and misleading acronyms.

: What brings you here to Minnesota?

Warren: I moved here in 2015 to live with my first roommate [Karl Remus] from college… We only lived together for about a semester, but I would spend summers out here just playing music and getting to know the area.

: Which is your favorite instrument to play?

W: Oof...

: If you had to pick.

W: Yeah, yeah. I think it depends on the day, you know? Some days I’ll really be inspired by the drums, but other days I’m just super into tweaking my synth. I’m a little bit of an obsessive personality, so I feel like I need to meet my quota of like practicing each instrument every day.

: So with your album, “WTF,” did you do all of it yourself or did you have help?

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W: There’s quite a bit of help on there, too. For four or five [tracks] I laid down guitar, drums, bass, keys, and vocals. But there’s a lot of stuff on there that has guitar and bass and key parts and background vocals from the people in my collective that I work with, yeah.

: Speaking of the collective, Kremblems, how did you become a part of that?

W: My friend Karl started that. He really started it, I think, to create a community of musicians. I don’t think he started it with the idea that we’re going to have all these bands made up of the same people. I think he just started it to create a kind of musical community, you know? Lucid VanGuard is his group, and I played drums and percussion in that. And so, when I first moved out here, that was like the only group that was really going on. And then Bailey Cogan started her own group, which is now 26 BATS!, and I played drums in that, and then I started my group. So it kind of spawned out

OCTOBER 8—22

Q&A

of Lucid VanGaurd… I guess it’s kind of a record label, but it’s also just a community of people that love each other and play music together.

: What do you love the most about the music scene in the Twin Cities?

W: The accessibility. I was living in California before I moved out here.. but when I made the move I don’t think I knew that much about the music scene. But I think the really cool thing is that it’s a “small bubble” comparatively to these other places. The diversity and the concentration of quality stuff is super surprising, to be honest. I grew up in California and I’ve spent time in New York, so I had this coastal mentality… I didn’t even think about what is in the middle... I guess it’s just a really surprising artistic place. I would say that yeah, the accessibility and I think the community here is really set on wanting to make just good music, you know what I mean? It doesn’t feel as cutthroat or as corporate as places like LA. I remember moving here from California and I was like, “Everyone’s so humble here!” You know? I think that’s why a lot of people from here like to represent Minnesota because the music scene’s fucking dope.

: “WTF” has some interesting album artwork: a chair with a pillow that has “WTF” on it in front of a beautiful landscape. Why did you choose this? Where was the picture taken?

W: So that’s the Grand Canyon. Growing up in Arizona, a lot of these songs were written quite a

THE WAKE

while ago. They kind of just all came together, but my friends had an idea, they were like, “We should make the album cover this pillow,” that I have in my room, on my bed. My Aunt Pat actually sewed this for me when I was five years old.

: I just realized those are your initials, not the texting acronym of today.

W: Yeah, that used to be the name of the band. But I changed it to just my full name because I think it was a little bit too confusing for people… like “why would you name the band that?” That was before texting was ever a thing, so it wasn’t funny until I got older. So what we did is we took a road trip out to Colorado, Arizona, and California and we’re taking pictures of this pillow in all these different places that have meaning for me. I had always envisioned it being at the Grand Canyon, so that is actually at the Grand Canyon; it’s not photoshopped.

: How do you get over a case of writer’s block?

W: I guess right now I have enough music where it’s not an issue. Like, I’m going to come out with this EP December 4, and it’s a three-part EP. And I have a whole other record I’m currently

recording right now that will come out after that. So right now I feel like I’m in a good place where I can focus on those songs. When I am writing a lot, I’d say it comes every which way. Some of my favorite songs I’ve written actually on the drums, where I’m just like, playing a groove, and then I sing the melody to it, and then I go figure out chords to play under the melody on guitar. I try not to force it, though. I think that’s very soul-sucking…

People probably aren’t going to like it very much.

People can tell if it’s real.

: What can listeners expect from you in the future?

W: We’re going to go back out on tour in February.

With the EP, again, it’s definitely a departure from what you’ve heard [on “WTF”]. The first song is very in-your-face rock-heavy, and the second song is more atmospheric… it fades out into this string arrangement that I worked on. The name of the record is “Viven,” which means “they live” in Spanish. It’s one single composition, but it’s three songs. They flow very much into each other. I’m really excited for that.

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VOICES

2026 World Cup Taking a Political Spin in North America FIFA’s guideline on human rights confronts U.S.’ diplomacy.

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BY YUOI ZENG The World Cup is widely regarded as a cultural platform for people from different countries to collectively celebrate. And whilethis is how the World Cup is advertised and perceived, there is no doubt that the event also carries political undertones. When the U.S., Mexico, and Canada were announced as the hosts of the 2026 World Cup, it marked a shift in our relationship to the tournament given the close proximity of the event.

A temporary borderless zone will be created in North America during the month-long tournament as spectators and players alike travel between the three locations. Today, while the U.S. tries to tackle illegal border crossing from Mexico and engages in a trade war with Canada, such an arrangement seems to contradict Trump’s agenda. While the host countries strive to appear modern, diverse, and welcoming, it is easy to overlook the conflicts and struggles within and between countries. Illegal immigration has long been a problem between the U.S. and Mexico. President Trump’s push for the border wall policy was widely criticized for being inconsiderate toward families and the immigrants already in the States. With stories of families being separated and immigrants being denied citizenship, the U.S. gives off an image very different from that of an ideal World Cup host country. Given the current status, hosting a world event across three countries with significant division over diplomacy could be challenging.

According to FIFA’s “Guide to the Bidding Process for the 2026 FIFA World Cup”, the host government is required to establish a visa-free environment during the tournament in a non-discriminatory

manner. The U.S. Supreme Court upheld President Trump’s travel ban in a 5-4 ruling in June, putting strict restrictions on travelers from seven countries to the United States. This ban was questioned given FIFA’s guideline. The New York Times reported that President Trump had written three letters to the U.S. soccer officials since March, promising and clarifying the government’s stance.

The letters guaranteed free access for qualified teams, officials and fans and specifically pointed out that Trump’s strict policy on visas would not apply to the World Cup. However, the irony is evident as the U.S. adjusts its policy exclusively for the World Cup. Today, immigrants are still put under strict restrictions and border crossers still face harsh punishments. The so called “visa-free” environment is only a compromise the government made for greater benefit in other aspects such as the economy and foreign relations. In the previous years, labor conditions and abuse have been a major concern in host countries. Today, the 2026 World Cup is the first tournament in which a human rights report is required from each bidding association. The U.S., Mexico and Canada have been assessed by the Business for Social Responsibility to have medium ratings on human rights. Aspects like worker conditions, public safety, visa, and freedom of the press are taken into consideration.

under the rug for a month while the world is looking,” professor Mariano Siskind said during an interview with the Harvard Gazette. It seems that, although hosting the World Cup can be a great way to invite tourism into the host country while showcasing its economic capabilities, it does not accurately represent the conditions of the country. As both the audience and citizens, it is important to be aware of the difference between marketed and realistic images of the host country. Hopefully, while countries compete to become hosts of the World Cup, FIFA’s attempted focus on human rights will bring an awareness and, possibly, improvements on existing issues in potential host countries. After all, all the soccer fans want is a safe, fair competition without discrimination or exclusion.

The World Cup is regarded as more than just a soccer tournament. The great scale and impact of this world event ties it to the lives of soccer fans en masse as well as international social and political issues. “...[Host countries] hide poverty, dissatisfaction, and all antagonisms

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OCTOBER 8—22

VOICES

For This Bulletproof Professor, Blood Room Dividers is Thicker Than We’re still marching for our lives: What happened to Ice (Breakers) the movement?

Whether your professor kicks off the year by asking your favorite movie, or by asking you to spill blood on behalf of your clan, this semester is sure to be a good one.

BY KELSEY BOLANDER With every semester, new unfamiliarities arise that need getting used to: new class schedules, new seats to claim for the semester, and, of course, new classmates. Many students bemoan the tired, “Did you do anything fun this summer?” and alliterative name games. Meanwhile, one professor has a different idea to shake up the humdrum new semester proceedings in a charmingly renewed way. Professor William Ingwerson of the Medieval Studies Department has opted out of the traditional pleasantries of ice breakers and into an activity more suited to his area of study and teaching style, a traditional Hungarian Blood Oath.

“In the twelfth century, Scythian tribal leaders would fortify their bonds through bloodletting into a single chalice of wine while reciting ancient proverbs. The tribes would then proceed to drink from the chalice and rejoice in the will of their brethren. I thought this could be a fun little way to shake off those end-of-summer blues and start to consider our community of learning our own tribe of sorts!” Ingwerson says.

Ingwerson’s ice breaker has received mixed reviews, with many questioning the sanitation of the practice. “Man, I’ve already been through Hell Week as a pledge. This was a little much,” says sophomore Wyatt Simmons, turning slightly pale.

Boynton Clinic Health professionals cannot be reached for comment at this time.

Others have been more receptive to the ritual, praising the sense of community it has inspired.

“Put aside your sprinkler, priest, and your litanies!

No, priest, Satan does not retreat!” raves freshman Jessica Massey. Whether your professor kicks off the year by asking your favorite movie, or by asking you to spill blood on behalf of your clan, this semester is sure to be a good one.

Go Gophers!

THE WAKE

BY JIMMY COOPER Minneapolis company Versare Solutions just started manufacturing bulletproof classroom dividers. Some elementary schools are implementing reading corners that double as bulletproof cells in case of an active shooter.

Before the Parkland shooting, ten threats or attacks on schools happened each day. After?

Seventy. Only 13 percent of teenagers attending public school say they aren’t worried about a shooting. I don’t need to tell you this is an epidemic—students have been saying it for years.

Just this spring, students at more than 2,600 schools walked out in protest of our country’s lack of action. Some sat outside for a moment of silence, some left school entirely, some held “die-ins,” a tactic inspired by the ACT UP, a protest group from the 1980s. Because of the sheer number of kids who walked out across the country, people who had never spoken before were brought together over a common cause. The event in my hometown was one of the most powerful days of my life—and I do not mean that lightly.

Many students had incredibly similar experiences of overwhelming unity and empowerment.

So what happened to that power? Nothing has changed. This country still lacks common-sense gun laws, politicians are still taking money from the National Rifle Association, and we’re not even talking about it. It seems the movement has burned out. And maybe it has—maybe activism is only vogue in the moments when Buzzfeed and Huffington Post report on it and “political” slogans turn into fashion statements.

If we want real change to happen, we can’t just give up. We can’t let this moment fall into the annals of history as something brief, irrelevant, or superficial. The movement isn’t a button you can wear on your backpack with a bulletproof insert, it’s an ongoing fight, and it’s hard. It’s draining. It hurts. But collectively, we can get through anything.

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VOICES

Diversity Quotas: A Solution or a Problem?

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Is there sincerity when company diversity quotas transform the beauty of diversity into numbers in a statistic?

BY ESTHER CHAN In light of recent news and social movements, conversations about diversity and gender equality have run rampant in politics, social media, schools, etc. Racing to appease the public, many companies have eagerly promoted their dedication to organizational diversity. However, with all these boisterous voices, it brings to question where sincerity lies.

To demonstrate efforts for diversity, one of the strategies applied by companies is enforced diversity quotas. These quotas are a requirement to hire a set number of employees of a particular race or gender. Considering the fact that diversity quotas require the systematic quantification of individuals based on superficial characteristics such as gender and skin color, it calls to question whether genuine dedication for diversity underlies these efforts or if they are nothing more than the latest ploy to improve a reputation.

It feels imperative to first acknowledge that there are considerable benefits accompanying diversity quotas. They ensure that, regardless of sincerity, a variety of perspectives are nevertheless brought into the room, and a voice is given to those who otherwise would be silenced. This equal opportunity could admittedly help alleviate the inequality created by income and education gaps that historically favor white, wealthy men.

The “forced” diversity would likewise heighten productivity as various views and backgrounds intertwine, creating unique approaches and methods.

Although diverse perspectives are included in the room, it does not necessarily ensure all voices will be heard. In fact, the stigma that a diversity quota, rather than merit, is the only reason a woman or minority is hired often further suppresses their

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voices. According to a study reported by Forbes , a company’s diversity quota caused both men and women to believe that “merit seemingly played a lesser role in the hiring decision than gender.” This same study reported that this stigma drove people away from applying when a diversity quota was involved.

Furthermore, diversity quotas fail to address the true root of the issue: racism and sexism in the workplace. Quotas merely force a hiring manager to employ minorities. It does nothing to correct the issue of prejudice that, without a quota, would have led him or her to hire someone else. If anything, quotas perpetuate prejudices because an individual, whose merit and complexity are what truly define them, is instead defined by his or her external attributes. An employee becomes the company’s “token black or Asian or Latina girl”—a mere facade for the company that exploited the color of someone’s skin for a reputation.

(e.g. as a person of color, a different gender, etc.) would be a beneficial addition. If employees are predominantly white men, then a company should recognize that, rather than implementing a quota, perhaps it is the hiring team that needs reforming.

Although diversity quotas may protect us from prejudiced roadblocks, they again fail to abolish the root of the problem, which is that racism and sexism plague our society. These quotas are like air freshener over a stench; they may smell nice, look nice, and for a moment you believe they are nice, but the real problem, weeks-old trash, persists. Diversity quotas may put on a progressive facade, but in the end, they essentially fail to rectify the prejudiced minds that created this inequality problem in the first place.

Of course, this deception may not always be the case, and there are undoubtedly some sincere efforts executed by certain organizations.

However, if a company possesses a genuine dedication to diversity, it will be made evident without a diversity quota. Strategies would include programs that promote diversity and create merit-based equal opportunities such as events or initiatives geared specifically toward women or minorities. To address the root problem of hiring teams’ underlying (or intentional) racism and sexism, companies should be training them on the importance of diversity and how to navigate their prejudices. Likewise, when it comes to employing an individual, hiring teams should be a diverse panel that includes minorities and women.

A good employer would recognize that a qualified candidate who possesses a unique perspective

OCTOBER 8—22

VOICES

Gutom Ka? You hungry?

Conversations on connecting to Filipino culture through cuisine

BY GABRIELLA GRANADA There are two things Filipino people love most in this world: eating together and singing karaoke.

Apoy, a new Filipino restaurant that opened in late September in South Minneapolis, offers both. It also serves as a beacon for Filipino students who have been missing traditional Filipino food, myself included.

The word “apoy” means “fire” in Tagalog (tahgah-log), the main dialect of the Philippines. Apoy wants you to know on their website that, “If you are pronouncing “Tagalog” as if it’s a schoolyard game you would play with a piece of lumber, you are saying it wrong.”

I talked with some Filipino students about what Filipino food means to them and how cooking and sharing traditional food with others can be a powerful tool to connect with your culture.

“Food is such a big part of [Filipino] culture,” said Zoey Doto, President of the U of M’s Philippine Student Association (PSA). “When we have events we want to be able to have Filipino food but because there aren’t that many restaurants around, we end up having to cook it ourselves.”

Narra Moreen, a Filipina student in the Multiracial Student Union, visited her family in the Philippines this past summer and found herself in the same conundrum. “When I returned, I did my own research on Filipino restaurants here in Minneapolis and I couldn’t find much. The deprivation is so real.”

For many, having to cook their own cultural food has proven to be helpful in bridging a connection to their cultural identities.

“Filipinos have a deep connection with food. It’s a social interaction,” said Johnny Roberts, a member

THE WAKE

of PSA. “[Cooking Filipino food] is a process that I can share with my friends. I make desserts like cassava cake, ube ice cream, puto, and bibingka.

And when I’m sick or feeling down, my roommate always makes arroz caldo.”

connection, especially when it often feels easier to deny your heritage.

“To think about all the hardships my family has gone through, what my grandparents did for my mom, what my mom did for me … the more I thought about it, the more it became [about] respect for my heritage,” Zoey said.

Growing up in California, Zoey remembers associating visiting family with eating Filipino food—the two were synonymous. “You’d hear ‘We’re going to tita’s house!’ and you knew that meant one thing: you were about to eat.”

The act of sharing Filipino food with those you love is really the beating pulse of what Filipino culture and cuisine is all about; it’s about coming together with family, the one you’re born with and the one you create for yourself.

When Zoey moved to the great white state of Minnesota, connecting with her Filipino culture became a challenge. “[Cooking] became a really great way to bond with my mom,” Zoey explained.

She would show us how to cook Filipino dishes, like lumpia. Mostly, I think she just wanted to recruit us so she wouldn’t have to roll all of them herself.”

From our conversations on identity and Filipino heritage, a recurring theme emerged: Zoey, Narra, and I are mixed-race Filipina women, and that’s had a significant effect on the way we navigate our culture. We talked about grappling with our “claim” to our Filipino heritage.

“In Filipino culture, everyone’s family even if you’re not related by blood,” said Zoey.

I went to Apoy with my roommates during its opening week. It was their first time trying Filipino food. We shared steaming plates of lumpia, sisig, and lechon. The restaurant smelled familiar, a fried aroma of pork belly, garlic, and rice. Eating there felt a lot like eating at home, just with different family members—chosen ones.

“Recently, I’ve been thinking a lot about how I invalidate myself and don’t allow myself to accept that part of my identity because I don’t feel like I’m worthy of it,” said Narra. “When I visited the Philippines this summer, I forgot I was mixed. I didn’t feel half anything… I just felt Filipino.”

“Growing up, because I’m mixed, people would always ask, ‘Well, what are you?’” said Zoey.

“When I got to college I realized, ‘Well, I should probably figure that out.’”

Connecting with your culture as a mixed race student on a campus that is predominantly white requires courage to reach out and foster that

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SIX REVIEWS

5

Hex of Infinite Binding EP 3

A Simple Favor

BY SAVANNAH STUTTGEN Director Paul Feig managed to mix the perfect movie cocktail by combining a bold thriller with a fresh comedy and finishing it off with the perfect twist. Anna Kendrick and Blake Lively star in this delightfully dark story that dramatically portrays the ups and downs of female friendship, marriage, and life itself in a way that is original, funny, and above all, suspenseful. Stephanie (Kendrick), a perky, upbeat mommy-blogger, forms an unlikely friendship with the fashionable and mysterious Emily (Lively). All seems well until Emily vanishes, leaving Stephanie to untangle the fascinating web of Emily’s life and uncover secrets much darker than she ever imagined.

While there are some parallels to “Gone Girl” and “Girl on the Train,” this movie takes the genre of psychological thriller one (or two) steps further, and is unlike anything viewers have seen before. Audiences will immediately be drawn in by the vibrant, jaunty music, thrilled by the near perfect casting, and stunned by delightful misdirection and unforeseen events. While it may not leave viewers on the very edge of their seats, it is definitely one of the better movies of 2018 so far. Undoubtedly, it is the most original thriller to hit the big screen in a long time. Without a concrete genre, fans of thrillers, comedies, and dramas will all find something to love in this unique movie. Do yourself a simple favor and check out this new film.

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the Mountain Goats

BY JIMMY COOPER Everyone’s favorite band they don’t want to admit they listen to is back with a surprise EP, released just weeks ago. Only a band with a following like the Mountain Goats’ could pull that off—and why shouldn’t they? They’ve been around for a long time, have a cult-like following, and everyone—everyone—has to admit that “No Children” is one of the most emotionally cutting songs of all time. ​In “Hex of Infinite Binding,” John Darnielle’s slightly unsettling yet oddly comforting charm pulls the listener in immediately. However, the EP as a whole feels a lot like something a mom would listen to. Individually, the songs are an interesting bunch. “Song for Ted Sallis” introduces the typical Mountain Goats introspective drama, but with added woodwinds.

“Ted Sallis” and “Almost Every Door” feel like Guillermo del Toro’s Pan or the Cenobites from “Hellraiser” could jump out at any moment.

Without the lyrical content, “Hospital Reaction Shot” would be just another poppy ballad.

“Tucson Fog” is the most “traditional” Mountain Goats song, so for longtime fans, it’ll definitely be a favorite. It sounds like a Hozier-esque witch performing a spell crafted on the fly.

Maybe the album does exactly what the title says: hex the listener into being infinitely bound to the Mountain Goats. Or maybe it just reflects the air of magic and myth in these tunes. Either way, this EP’s title is one of the best things about it. Everything else the Mountain Goats has done slaps, but “Hex of Infinite Binding” is definitely one of their more mediocre releases.

Panic! at the Disco Concert

BY MORGAN WITTMERS-GRAVES Panic! at the Disco kicked off their “Pray for the Wicked” tour at the Target Center in Minneapolis in July. Though Panic! at the Disco put on a great show, the opening acts of Hayley Kiyoko and ARIZONA got the crowd’s hearts racing and their heads in the clouds.

The show started with frontman Brendon Urie launching up from center stage to “(Fuck A) Silver Lining” while the crowd cheered and held up their phones to take pictures. The audience was huge, covering every fanbase imaginable: preteen girls clad in black, their equally obsessed moms to young adults still wearing t-shirts from the band’s first tour. The night was magical and energetic, and Brendon was even lifted overhead and carried above the floor singing “Dying in L.A.” Most fans were screaming while others were even crying.

A few things made the show incredible.

One was the amazing trio of wicked strings that would play along to some of the songs.

The backup singers took everyone’s breath away with their sick dance moves and floor-length black gowns. Though the vocal performance was captivating, the graphics stole the show.

Large TVs displayed collages and typography that reflected the album every song came from.

Each one brought the audience back to the height of that record.

The show ended with the classics, “I Write Sins Not Tragedies” and “Victorious” which were the perfect end to a perfect night.

OCTOBER 8—22

SIX REVIEWS

Swimming Mac Miller

BY NATASHA SOHNI Mac Miller’s life encompassed an incredible amount of highs and lows. For many, his music defines their generation. In his final album, “Swimming,” Miller addresses a multitude of issues in a tasteful way. With an ambiance of nostalgia and relaxation, he guides the listener through his experiences with addiction, relationships, and fame. He addresses addiction in “Come Back to Earth,” the first track on the album. He sings, “I was drowning, but now I’m swimming,” which provides a wave of optimism to kickstart the rest of the record.

The song, “Dunno,” is a personal favorite. Miller emphasizes the existence of vulnerability within his relationship with Ariana Grande, giving it a positive spin. While the track describes specific experiences that he and Grande shared, anyone who has had a strong love for someone else can relate to Miller’s lyrics.

What is most haunting about this album is the final track. “So It Goes” explores the notion of death compared against persistence. Miller has the world in the palm of his hands, but it provides him with more challenges than successes. Life is a circle, but Miller is “still standing” despite this.

Although many now remember Mac Miller by his struggle with addiction, we should remember him as one of the most soulful artists of this decade. “Swimming” is among the best albums of 2018. Looking for music that will induce chills, introspection, and serenity? This will do the trick.

THE WAKE

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Room 25 Noname

BY CLAIRE REDELL Rolling Stone’s latest “Artist You Need to Know,” 27-year-old Noname (born Fatimah Warner), just dropped her first studio album “Room 25” after letting her initial 2016 release simmer for two quiet years. Within the 34 minute sophomore project, Noname playfully dances around heavier themes of mortality, sexuality, and heartbreak through her self-described “lullaby rap” style. Following the lapse in material after her debut album “Telefone,” Noname fills listeners in on her rising fame and journey of self-discovery through her late twenties. She also has a way of weaving in sexually and politicallycharged lyrics that practically go unnoticed under the intricate layers of jazz and reggae rhythms. “Keep the hospitals overrun-run-runrun, Chicken Little/How my city gonna run off shits and giggles?” she sings in “Prayer Song.”

“Regal” mirrors themes from a track off of her 2016 album’s “Casket Pretty:” I’m warmer inside the casket, basket atop my head/Africa’s never dead, Africa’s always dying.”

Noname also speaks on discrimination, selfesteem, and even veganism; these topics are scattered throughout standout tracks such as “Montego Bae,” “Ace,” and “Self.” From start to finish, “Room 25” brings a stark yet muchneeded contrast to the current hip-hop scene with an unorthodox approach to rap music. With the help and seal of approval from artists such as Chance the Rapper, Smino, and Ravyn Lenae, Noname’s future is bright. Already racking up swaths of critical acclaim, the Chicago-born poet is surely on her way to becoming one of the most distinguished female rappers of our generation.

To All the Boys I’ve Loved Before

BY ESTHER CHAN Based on Jenny Han’s book and directed by Susan Johnson, the Netflix original movie, “To All the Boys I’ve Loved Before” has quickly charmed the internet. This rom-com tells the story of Lara-Jean Covey (Lana Condor), an Asian American teenager, whose struggle through high school escalates when her secret love letters become not-so-secret. To convince her sister’s ex-boyfriend, a love letter recipient, that she isn’t in love with him, she enlists popular Peter Kavinsky (Noah Centineo), in the role of faux-beau.

Of course, it’s inevitable that Lara-Jean and Peter genuinely fall in love, and like all romcoms, clichés saturate this film. Whether it’s the “jock and the bookworm” love story or the nasty ex-girlfriend (whose cringe-worthy acting makes for an unconvincing threat), “To All the Boys I’ve Loved Before” undoubtedly has its contentious moments. However, although this film may be no match for the classics, its iridescent aesthetics, whimsical soundtrack, and relatability inevitably force out smiles (and maybe even tears).

If a film makes you feel anything, even the slightest tug at your heartstrings, then it did something right. Watching Lara-Jean, a young, Asian American girl, be honest with herself and brave enough to expose her heart— it becomes a little easier to feel beautiful and loved because finally, someone on screen looks like me. In the end, that is a coveted joy that nothing, not even bad acting or endless clichés, could ever overshadow.

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@the_wake OCTOBER 8—22