The wake, Issue 9, spring 2016

THE LEGEND OF RACHEL BANHAM

NEWBIES ON CAMPUS PG. 13 //

// PG. 5

JUSTICE WHO?

WELCOMING DARK MATTER

// PG. 12

PG. 21 //

NEWBIES on campus

Transfer student needs finally recognized, addressed

VOLUME 15, ISSUE 9 // MAR 21–APR 3

WANT TO ADVERTISE WITH US?

CHE AP R ATES , THOUSANDS OF RE ADERS. CONTACT THE WA K E: SER ICK SON@WA K EM AG.ORG

VOLUME 15, ISSUE 9 LEGEND OF RACHEL BANHAM// PG. 5

NEWBIES ON CAMPUS // PG. 13

TECH TALK // PG. 6 JUSTICE WHO? // PG. 12

Q&A: ERIC FOX // PG. 16 WELCOMING DARK MATTER // PG. 21

EDITORIAL: Editor-in-Chief Grace Birnstengel Managing Editor Lauren Cutshall Cities Editor Alex Van Abbema Voices Editor Russell Barnes

Sound & Vision Editors Peter Diamond Olivia Heusinkveld Art Directors Lizzie Goncharova Max Smith Copy Editors Vanessa Nyarko Joe Rush

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

Editorial Interns Emma Klingler Carson Kaskel Colin Miller Gabby Granada Bella Dally-Steele Laura Beier John Blocher Hannah Kloos Faculty Advisor Chelsea Reynolds Distributors Abigail Rommel Sam Gunderson

PR/Ad Manager Sara Erickson

Photography Interns Kellen Renstrom

Social Media Manager Abby Richardson

Illustration Interns Aaron Musickant Madison Digiovanni Helen Teague Sophie Fesser Emily Hill

Social Media Intern Holly Wilson Finance Manager Nels Haugen PR Interns Jenna Ogle Emily Planek

Design Interns Breanna Vick Erin Bankson Web Interns Laurel Tieman Julia Holmes

THIS ISSUE: Photographers Kellen Renstrom, Zach Bielinski Illustrators Lizzie Goncharova, Max Smith, Helen Teague, Laurel Tieman, Emily Hill, Sophie Fesser, Kellen Renstrom, Aaron Musickant, Madison Digiovanni, Taylor Daniels Contributing Writers Erik Newland, John Blocher, Hannah Kloos, Aaron Job, Emma Klingler, Bella Dally-Steele, Russell Barnes, Peter Diamond, Colin Miller, Carson Kaskel, Olivia Heusinkveld, Olivia Novotny, Jasen Robbenolt, Ellie Trebilcock, Lianna Matt, Jenna Walters, Laura Beier, Claire Becker, Karl Witkowiak, Gabby Granada Š2015 The Wake Student Magazine.

All Rights Reserved.

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

The Wake was founded by Chrin Ruen & James DeLong.

Disclaimer:The purpose of The Wake is to provide a forum in which students can voice their opinions. Opinions expressed in the magazine are not representative of the publication or university as a whole. To join the conversation email gbirnstengel@wakemag.org.

The Wake Student Magazine 126 Coffman Memorial Union 300 Washington Avenue SE Minneapolis, MN 55455 www.wakemag.org facebook.com/ thewakemagazine @the_wake wake-mag.tumblr.com

LETTER FROM THE EDITOR While many University students take spring break to go around the world, hitting up beaches for some much needed warmth, I decided to join six of my friends to the smoky mountains in Tennessee. After three days of typical spring break shenanigans in an awesome cabin, we went out to the mountains for four days of hiking. After one particularly draining day of hiking 20 miles, we passed out feeling like total nature-conquering bad asses. Our shelters were shared with other random hikers, and we awoke to an elderly man asking if we wanted some coffee and cookies. He told us that he fought in the Vietnam War as a sniper, hiked the 2000 mile Appalachian trail, and climbed up to these smoky mountain shelters over 500 times (he had patches and mementos to prove it).

In comparison, we weren’t badasses at all. This got me thinking about journalism, and what we do at The Wake.

In writing and reporting their stories, reporters can go the extra mile, or go beyond what others even fathom as reasonable. And, like the old man in the mountains, doing the latter creates the best, most memorable stories.

Alex Van Abbema Cities Editor

Best and Worst

BUS LINES

Metro Transit. Love it or hate it, you have to use it.

BY RUSSELL BARNES THE GOOD

THE BAD

NO.6 NO.4 NO.5

NO.16

Bringing you from the polis, this route brings you near Uptown, to Northeast, and all the way to Silver Lake Village.

One of the hidden gems in Minneapolis.

If you meet someone on the five, odds are something is about to go down, and it’s likely to be brutal.

Effectively replaced by the green line, this bus line serves no purpose unless you’re trying to get somewhere as slow as possible.

Kickstarter Campaigns That Should Exist BY OLIVIA HEUSINKVELD 1.Northrop Auditorium presents “Hamilton” the musical 2.Trader Joe’s on campus 3.Tables at the Golden Globes for U students who wish to attend 4.Free Mesa Pizza Fridays for U students 5.The Wake concert feat. Kendrick Lamar

If you had to transfer to another Twin Cities college, where would you pick?

HAMLINE UNIVERSITY

17.86% MACALASTER COLLEGE

ST. THOMAS UNIVERSITY

L IZ ZI E G ONCH AROVA

17.86%

4 // MAR 21- APR 3

AUGSBURG COLLEGE

17.86%

46.43%

THE WAKE // CITIES

THE LEGEND

of Rachel Banham KE LLE N R E NS T RO M

How our hometown hero is making history

BY HANNAH KLOOS Rachel Banham won her final game at Williams Arena on Wednesday, Feb. 24. The University of Minnesota women’s basketball team celebrated senior night right with a stunning 9088 overtime victory against the No. 5 ranked Ohio State Buckeyes.

“It was really fun,” Banham said.“It was senior night, so obviously that added a lot more emotion to the game. The senior class has beaten them every time we’ve played them in Williams, so it was icing on the cake.”

While Banham will never play another game at “The Barn,” her influence isn’t going away anytime soon. The senior’s sensational final season is one for the books.

In the past season alone, Banham set the Big 10 conference scoring record, made a thrilling buzzer-beater to defeat Iowa, scored a whopping 60 points in a single game against Northwestern, and was recently selected as the Big 10 player of the year.

“We knew it was going to come down to the wire,” Gopher women’s basketball coach Marlene Stollings said. “During the month of February she really separated herself, and it was nice to see them reward her with such a prestigious honor.”

Banham’s successes have garnered attention from high-profile athletes including Lindsay Whalen, Tyus Jones, and Kobe Bryant.

“She can do it all,” Bryant told reporters in a recent press conference. “When I saw that she scored sixty, it didn’t seem like much of a fluke to me. Until they figure out a way to solve her weapons, she’s going to continue to do it.”

//

Banham’s successes

have garnered attention from high-profile athletes including Lindsay Whalen, Tyus Jones, and Kobe Bryant.

//

“It has been really important to have a good support system. My friends, teammates, and coaches have been huge for me and have given me so much confidence throughout the year.That is what has made me play this well.”

Banham’s personal accomplishments are a testament to her discipline and will to win. However, while the records she’s earned are significant, she simply sees them as a byproduct of her determination to contribute to her team’s success.

“It’s the mentality I have to be a scorer. It’s what my team needs.

I’m realizing that I really am almost done and it’s our last couple games, and that’s what I have to do to help my team win,” she said. “The goal is to get to the NCAA tournament, so that’s what I’m trying to do.”

Some have compared Banham’s shooting style to Kobe’s. “The Banham’s future is bright. She hopes to go professional and variety of ways in which she scores—long threes, fade away jumpers, mid-range jumpers, floaters in the lane, driving layups, continue to grow as a player at the highest level her sport offers. etc.—just screams vintage Kobe,” Gabe Bichinho wrote for “I want to play in the WNBA and play overseas,” she said.

Sports Blog (SB) Nation.

“Wherever I go would be sweet, and it would obviously be awesome to stay in Minnesota, but wherever I go is a blessing. I However, high praise doesn’t come without hard work. want to play pro as long as my body can hold up.”

As a Lakeville North Panther, Banham led her team the 2011 Class AAAA State Championship, was named Minnesota’s Ms. Basketball, and earned a spot on Parade’s all-America team.

Banham has faced a variety of obstacles on her road to success, most notably, a torn ACL in her right knee. The injury prevented her from playing for the entirety of last season and caused her to take a medical redshirt. Banham decided to apply for an extra year of eligibility in order to finish out her college basketball career.

Bryant has also been an outspoken fan on social media, posting a string of congratulatory tweets in light of Banham’s “That was my lowest point confidence-wise,” Banham said. “It’s recent achievements. really hard to mentally come back from an injury. You need to put in a lot of hard work.”

“I never thought that would have happened,” Banham said. “I really can’t even think of a good word to describe it, because Banham spent countless hours in the gym building up her it’s just so awesome. It’s unreal to me. Playing the way I am and strength, but she didn’t fight her battles alone. being noticed for it, like that is crazy.”

WAKEMAG.ORG // 5

THE WAKE // CITIES

Teaching computers to talk like us

BY COLIN MILLER

The talk began with a word on Alan Turing, commonly regarded to be the father of artificial intelligence (AI) as a modern conception.

Lee explained how Turing’s definition of true AI would be hallmarked by its ability to converse indistinguishably from a human being.Although Lee failed to deliver on her promise of a Blade Runner clip making its way into the presentation, the complexity of science’s quest to rise to Turing’s challenge was engaging enough to keep an audience composed largely of high school students off Snapchat for a while.

Lee’s research is concentrated in natural language processing (NLP), a hybrid discipline that may be responsible for the development of an array of promising technologies. These might include automatic text summarization and translation—

imagine your computer or phone being able to synthesize the important points of an email or translate the Japanese instructions on that “massager” you ordered automatically—as well as information retrieval and question-based speech command models.

One major bug that NLP engineers must work out is ambiguity, Lee said. For example, when a computer hears “list all flights on Monday,” it may not be able to decide whether to promptly make a list of all flights leaving Monday or to wait until Monday before spitting out a list of every flight in its database. To compensate for this, NLP specialists must take into account the

LAU R E L T I E MAN

Cornell computer science professor Lillian Lee spoke with the palpable intellect and conversational ease of a Ted Talk veteran as she addressed the audience in a Moos Tower auditorium on Feb. 23 for her brief lecture titled, “I’m Sorry Dave, I’m Afraid I Can’t Do That: Linguistics, Statistics, and Natural-Language Processing in the Big Data Era.” Lee’s background is in computer and information sciences, fields in which she has won several awards both for her research and her teaching.

probability that a particular message will be uttered, as well as the probability that it carries a specific meaning. By applying these probabilities, programmers can bring computers closer to bona fide “Turingian” AI, and we’ll all be that much closer to marrying our MacBooks.

World’s Largest, Iciest Slip ‘N Slide Red Bull’s “Crashed Ice” World Championship 2016

BY JOHN BLOCHER

FACEBOOK RED BULL C RASH ED I CE

An estimated 140,000 people gathered outside Cathedral of St. Paul Feb. 27 for $20 parking and moderately priced Red Bull. The corresponding event, of course, was Red Bull’s Crashed Ice World Championship. St. Paul has hosted Crashed Ice for the past six years.

6 // MAR 21- APR 3

It’s not blasphemous to suggest that more folks would show up to the Cathedral if it featured an icy skate slope of death every Sabbath’s eve.The course spanned 1,600 feet, including a 12-story downhill drop known as “Mount Everest.” Skaters typically reach a maximum speed of around 40 miles per hour, but warm weather early in the day may have contributed to a more slippery, speedy track.

What appeared to be a chaotic free-for-all was actually regulated by a team of referees stationed along the course. Slamming a fellow skater into the boards is a nono, but a little elbow-nudging or booty bumping is all in good fun. It’s not common to come across a die-hard fan at Crashed Ice, most people are just out to have a good time.

The races themselves fly by so quickly—you’re probably more likely to be laughing at a nasty spill or dropping a mouth full of free beef jerky in awe rather than rooting for any specific skater.

Four skaters ran the course at any given time, the winner of each heat qualifying for the championship round. 64 men and 16 women competed

for the title. Lakeville native Cameron Naasz stole the men’s heat by just a few skate lengths, edging out defending champion Scott Croaxall, making him the first Minnesotan, as well as the first American, to win a Crashed Ice World Championship.

Canadian Jacqueline Legere took the women’s heat, who, like Naasz, secured her first Crashed Ice title.

Following the race, Naasz downplayed his victory.

“I don’t know how I did it,” he said. “I knew [Croaxall] was right behind me, so I didn’t hit the brakes and went for it.”

THE WAKE // CITIES

Crowning the Jazba Champion U-affiliated nonprofit spreads South Asian empowerment through dance

BY OLIVIA NOVOTNY The Ted Mann Concert Hall was illuminated with bright colors, upbeat music, and excited smiles as dancers took the stage for the Jazba competition on Saturday, Feb. 27, performing enthusiastic routines to Bollywood music.

Jazba means “passion” in Urdu and Hindi. The host, Jazba Entertainment, is a University of Minnesota born nonprofit that spreads South Asian cultural awareness through dance and the arts, according to their mission statement.

The spectacle featured top Bollywood fusion dance teams from across the nation, competing head-to-head for the crown of Jazba champion.

Not only did the event celebrate South Asian culture and dance, the proceeds from Jazba went to support Women In Need, a nonprofit organization in Nagpur, India. Women in Need rehabilitates the lives of impoverished South Asian women who have suffered from sexual assault, HIV/AIDS, and leprosy.

Jazba first began in early 2014 when student Anish Chandak approached some friends with the idea of bringing more Indian dance culture to the University of Minnesota. The vision was a Bollywood fusion dance competition.

“Jazba empowers Indians on campus to celebrate their culture and also raise awareness of the issues that exist within it,” Neerel Mehta, marketing director of Jazba, said.The donations that come from Minneapolis go directly to solving issues in Nagpur.

Mehta stressed how important each board member is for event’s success. “We have to get teams to apply, pick the teams, plan logistics, and educate the public about the great show,” Mehta said. “Without one of the pieces, I think we would not be able to run. We all work together to make the event run efficiently and have great results at the end.”

Mehta said he hopes more students that are disconnected from their Indian heritage will connect with it through Jazba.

In the future, he would love to see a more diverse audience getting introduced to a part of Indian culture.

ZACH BI ELI NSK I

The event is growing immensely, and the stakes were a lot higher this time around. This year, Jazba was a Bollywood America bid competition, meaning it’s one of seven competitions in the country that determine qualifiers for Bollywood America, a national competition for Bollywood fusion dance. The winner of Jazba automatically qualifies for this honor.

WAKEMAG.ORG // 7

THE WAKE // CITIES

MAJOR LEAGUE SOCCER STADIUM TO IMPACT U STUDENTS The Minnesota United Football Club brings its growing fan base to St. Paul

BY JASEN ROBBENOLT Major League Soccer (MLS) and the Minnesota United Football Club (FC) are moving closer to the Twin Cities. A new stadium, capable of seating 20,000 people, will accompany the move.

“I’m sure it will create more traffic, since University [Avenue] runs through campus,” Kish said. “Maybe not as bad as the Vikings when they played here, but it will have an impact.”

On Feb. 24, 2016, Minnesota United owner Bill McGuire and St. Paul Mayor Chris Coleman unveiled designs of a proposed bowl-shaped, open-air stadium to be built near the intersections of University Avenue, Snelling Avenue, and Interstate 94. The proposal also includes renovations to St. Paul’s midway area around Snelling.

While there is a lot of excitement surrounding the recent developments, some students remain skeptical on the club’s long-term ability to fill seats.

“I have been a long-time fan of the sport, following English clubs at a young age.The state is taking a step in the right direction by adding another professional team,” McGuinness said. “Soccer is truly a global game, and to be a part of that is awesome. It’s really exciting for the fans.”

The proximity of the club to university campuses attract those who are not current fans.

The team’s current stadium, the National Sports Complex, is located in Blaine, a northern Minneapolis suburb. Over the past five seasons the club has seen exponential growth in average home match attendance. Last season, the club averaged more than 8,700 people per match, compared to 1,500 in 2011.

However, the club will need to find a few thousand more patrons to fill the proposed capacity.

“When I did not have a car, it was hard for me to get to a game without friends,” McGuiness said. “With the stadium this close to downtown and the University, hopefully it gets filled. If so, the atmosphere would be unreal.”

“I honestly do not follow the team,” senior Carter Krengel said. “I’ll have to look into them more, but I won’t say I’m not intrigued.”

Nonetheless, the club is bound to market to students to fill the remaining seats.

“I follow the U.S. national teams, and I watched the World Cup last year,” sophomore and St. Paul native Michael Peterson said. “I’d definitely say with the team’s move to [Major League Soccer] and their new stadium my interest has increased, and I will begin to follow them more in-depth.”

“I think a lot more people will come if the tickets are cheap, especially students who are already on lower budgets,” Peterson said. “Having student nights, like the Minnesota Twins and Timberwolves do, would create more interest for students who may not go otherwise.”

Once the stadium is complete, students will be able to take the green line portion of the light rail five stations east from the east bank station and arrive just outside the northwest entrance to the stadium.

The stadium will feature an elegant flow design concept with LED lightening throughout, enhanced cell phone coverage, high-density Wi-Fi for mobile device coverage, intimate bowl style seating, natural grass, and sustainability features to minimalize environmental impact and energy usage, according to the club’s website.

“Accessibility is a key factor,” Peterson said. “All of our major stadiums are on or near a light rail stop, and I think it helps.”

“I have seen the pictures, and it looks gorgeous,” Peterson said.

“Minneapolis is a transportation friendly city, and it shouldn’t be hard for those who don’t have a car to get to the stadium,” junior Joseph Kish said.

Even though the Minnesota Vikings recently ended their twoyear tenure at TCF Bank Stadium, Kish believes the impact of another professional team near the Twin Cities campus will be felt on match day.

8 // MAR 21- APR 3

The stadium has an estimated price tag of $150 million, which will be privately funded by the club and its investors. On March 2, the St. Paul City Council approved $18.4 million worth of infrastructure renovations surrounding the stadium, according to the Star Tribune.

Minnesota United plans to break ground on the stadium in early June of 2016.

MNU NI T E D F C . C O M

Seamus McGuinness, a long-time Minnesota United fan and University of Minnesota student, believes a professional soccer club and stadium in Minnesota will be a beneficial asset to the state.

“We already have four pro sports,” Peterson said. “I do not know many people who are hard-core soccer fans, so I think they will have a hard time getting it filled.”

THE WAKE // VOICES

s n o i t p O f o O ut

Kesha’s case highlights bigger failings in criminal justice

H E L E N T E AG U E

Kornreich pointed to this in her statement to Kesha’s lawyer: “You’re asking the court to decimate a contract that was heavily negotiated and typical for the industry.” But that description, “typical for the industry,” underlines the problem here. To view these contracts and corporate interests as solid and irrefutable precludes any discussion on ways that cases like this can consider the needs of individuals. How is Kesha, or anyone for that matter, supposed to see a legal option as a viable chance if corporate contracts are held to such a high level of infallibility?

BY EMMA KLINGLER There was widespread outrage and disbelief when the news broke that pop star Kesha would not be let out of her contract with Sony subsidiary Kemosabe Records. The grueling case began back in October 2014 with Kesha’s allegations of rape and sexual assault against producer Luke Gottwald, known professionally as Dr. Luke. New York Supreme Court Judge Shirley Kornreich ruled that the contract with Kemosabe would be upheld despite the allegations and Kesha’s plea to be released on the grounds of feeling unsafe.

Though she has been allowed the concession of working with a different producer, her work will remain tied to Gottwald’s label for the duration of her contract—a minimum of four more albums.

In the aftermath of the trial results, Kesha released a statement on Facebook thanking her fans for their support. But in her comments on the case, she emphasized a key point of her perspective on the outcome: “This issue is bigger than just about me.” Her words certainly hold truth. Though her case has garnered more than the usual amount

of attention due to her star status, the complications and failings it presents are in no way unique or unheard of. On the contrary, the results of the trial illustrate the failings of the criminal justice system in protecting individuals from corporate interest and rape culture.

Some have pointed out the weak nature of the compromise to allow Kesha to produce music without Gottwald’s physical presence, though still with his label. Though she wouldn’t necessarily have to be in the same room as him, everything she produced would benefit him financially. And this is the uncontested point in the case. Judge Kornreich admitted to Kesha’s lawyer that her inclination is to “do the commercially reasonable thing.” But in this case, the commercially reasonable thing is to allow a person to continue paying dues to their own alleged abuser. Unfortunately, there is a long history of corporations being treated as people in legal matters. The trouble is that corporate interests will always hold more sway than individuals because there is more money at stake and because their contracts are well documented and, in many cases, indisputable.

But Kesha’s case was not a mere contract dispute.

This was an effort to escape the influence of the physical and emotional abuse that Kesha alleges to have experienced at the hands of Gottwald.

Unfortunately, the legal history for sexual abuse cases does not set an encouraging precedent.

One analysis of data from the American Justice Department showed that for every 100 cases of rape, only an estimated five cases lead to felony convictions. A key reason for this? Rape is a crime that is often committed with no other witnesses. In addition to that complication, the stigma of sexual assault causes many to hide the crime for a period of time, making evidence for a prosecution more difficult to find.

And this is where the criminal justice system fails yet again. We make efforts to empower victims to speak up about their sexual assault so their abuser doesn’t get off, yet are unable in most cases to prosecute. This inability to meet the victim's courage with the promised conviction perpetuates the normalcy of rape culture and the fear of speaking out against it.

Of course the law has to respect evidence and the concept of assumed innocence; however, it does not follow that we should be content with such inadequacy in response.

Maybe Kesha’s case followed the letter of the law in its proceedings, and maybe the contract was “typical for the industry.” Maybe there is no hard evidence of sexual assault against Kesha

by Gottwald. But the inability for any other outcomes to be expected is why the system has failed her. If there is to be trust in the legal system to deliver justice fairly, even in cases against powerful institutions and common practices, a conversation needs to be had about how to protect and promote the voices of individuals.

WAKEMAG.ORG // 9

S O P H I E FE S S E R

THE WAKE // VOICES

BY BELLA DALLY-STEELE Last month, Egyptian author Ahmed Naji was arrested and jailed for publishing explicit sexual content in his book, “The Guide to Using Life.” In a country such as the U.S., where the infamous “50 Shades of Grey” flooded theaters, it may be difficult to imagine a world in which representations of sexuality (tasteful or not) are grounds for imprisonment. But while it is tempting to blindly criticize the Egyptian government for what we may view as a violation of human rights, the situation is not so simple. In order to understand the forces behind Naji’s arrest, we must take a look at the concept of freedom of speech itself.

While Naji’s arrest may seem detached from our personal lives, Minnesota natives might be surprised should they turn their attention to their own state. Just last semester, the University of Saint Mary’s in Winona underwent its own confrontation with freedom of speech when faculty member Dave Hillman was fired for allowing phallic imagery in his class’s performance of “Medea: A Virgin’s Voice.” While the Saint Mary’s succeeded in maintaining Hillman’s termination, the American Association of University Professors stepped in on Feb. 3, asking the Saint Mary’s to justify the discharge.

Clearly, while Naji’s persecution would not fly in the U.S. public sector, the private sector is another story. Such a contrast should open American eyes to the blurred line that separates freedom of speech and censorship. Despite popular belief, the difference between the two is nothing if not ambiguous.

10 // MAR 21–APR 3

Egyptian Author Falls Prey to the Circle The cyclical nature of freedom of speech

Take France, for example. The country has long touted a profreedom of speech disposition, popularizing controversial critic magazines of the likes of Charlie Hebdo, even after the publication sparked terrorist attacks with satirical Muslim caricatures. But within the same country, freedom of speech has been stifled, as the French government continues to ban the use of the hijab and other headscarves in public spaces.The ban has often been referred to as a “war on Muslims.” Kippas (traditional Jewish headwear) and cross necklaces are also banned, but law enforcement is disproportionately intolerant of the hijab. Aside from targeting the Muslim community, the ban has also been a point of controversy as it is considered an oppression of women’s sexuality, forcing women to dress to a degree of modesty with which they are not comfortable.

In a country where satirical magazines are given free reign, this contradiction begs the same question as Hillman’s termination: What constitutes freedom of speech?

Most people think of freedom of speech as a spectrum; China sits on one end, with a new ban on criticism of public policies, and France sits on the other, with a laissez-faire approach to political criticism. But as we have seen with France’s hijab ban, this spectrum is not so simple. As a government relaxes its stronghold on criticism of its national policies, preferred religion, and its beliefs in general, it intrinsically incorporates laws that unconsciously prohibit freedom of expression in an attempt to maintain a “secular” environment ripe for social criticism.

In reality, this spectrum cannot sit flat on a page. As policies change to allow criticism, the very diversity they claim to strive to protect becomes stifled, in itself a violation of freedom of speech. The spectrum bends and contorts into what should be considered more of a circle. As France’s stance on freedom of speech attempts to distance itself from restriction of an interventionist government, it ends by approaching the very structure it sought to escape, sliding into the censorship section of the spectrum.

So what does this circular spectrum have to do with Naji? It means that foreign onlookers such as ourselves cannot simply turn a blind eye and chalk up the arrest to an inherently faulty form of government. We have to analyze the forces that drive the Egyptian government to stifle expression; instead of suggesting that the government radicalize in what we think to be the “right” direction, we must think about what changes could nudge the judicial system to find a better balance of freedom of speech.

THE WAKE // VOICES

Love Gloves,

STIs, and Making the

KE LLE N R E NS T RO M

Whoopie-Whoopie Boynton says unprotected sex is on the rise

BY AARON JOB Sex is great. Sex is grand. Sex is sex. If you haven’t had it yet, no rush, but it’s pretty fucking awesome. We all know college is a transitional time. More freedom, more decisions, no parents (unless you live at home or they like to imitate helicopters), less time, and perhaps a lot more sex. With dating apps like Tinder, Grindr, and OkCupid, hooking up is as easy as a couple quick flicks of the fingers. There are new treatments for STIs, and many students have a poor sexual health education.

All are possible reasons Boynton Health Service’s annual student health survey is reporting an increase in unprotected sex.

Only 52 percent of University of Minnesota students used a condom the last time they had sex, a statistic which is alarming when compared with 2013, when 61 percent reportedly used a rubber, according to Boynton. That’s almost a 10 percent decrease in the use of love gloves.

Why though? It’s 2016—aren’t people smarter than this? Haven’t we learned as a species of monkeys who love to hump, fuck, and repeat, that we have to cover our erection before the affection?

This increase in unprotected sex is due to a “combination of behavioral, biological, and cultural reasons,” the survey said.

And, it’s beginning to spread to other areas as well. The survey also provides statistics on sexually transmitted infections (STIs) diagnosed during student’s lifetimes. It’s getting itchy. Of the seven listed in the survey, chlamydia, genital herpes, and genital warts have all spiked since 2013. Chlamydia rose 1.4 percent, genital herpes rose 1.1 percent, and genital warts/HPV (human papillomavirus) rose 0.9 percent. The report states, “chlamydia is the STI most commonly diagnosed within student’s lifetimes, and genital warts/HPV is the STI most commonly diagnosed within the past 12 months.”

“We see increasing rates of STIs among students, and that is really concerning,” Eli Coleman, a sexual health specialist, said. “The fact that condom use is down is not a good thing because condoms are such a good barrier method for both pregnancy and STIs.”

Almost 7 percent said they had been diagnosed with at least one of the STIs listed on the report in 2013, and over 9 percent reported having been diagnosed with at least one in 2015.

The study did not include students married or in domestic partnerships.

While pregnancy rates have stayed stagnant around 3 percent, abortion rates have risen since 2013. Of the roughly 3 percent of students who have been involved in a pregnancy within the last 12 months, around 37 percent said it was unintentional.

Among those, 44 percent lead to abortion.

Health officials suggest that it’s hard to point the finger solely at dating apps, but they may lead to an increase in sex. They claim it’s a combination of poor sexual education and the negativity surrounding sexual health conversations.

“I don’t know that we have much data on that, whether they’re using protection in those kind of hook up situations,” Coleman added about dating app’s influence on the decrease in condom use. “What we know is that people, when they start having sex their condom use is very high, and then a relationship develops, and it drops off rather precipitously the more they have sex.”

He also noted that due to the advent of post-exposure HIV treatments, people are more willing to have unprotected sex because they feel the risk is minimized.

When asked about the current trends, many students assumed a variety of different positions.

R.T., who is single and uses a variety of dating apps said, “Yeah… are you kidding me?” when asked if she would have more sex without a condom while on birth control.

“Well you want to go there first to make sure you have one… and then I guess go to a sex help thing,” R.T. said about seeking STI treatment. “I guess the health clinic Boynton.”

“I’m not terribly worried about it. I hope people would be honest,” another student, who wished to remain anonymous, said. The student said they prefer sex without a condom because “it just feels better,” but tries to use one with new sexual partners.

SHADE, a student run sexual health group, hands out over 100,000 condoms on campus, and Boynton also has them readily available at all of their facilities.

So, until clear, let’s be smart Gophers. Don’t be stupid, use birth control, wear a fucking condom, do who you want to do, but do what you have to do. No glove, no love.

WAKEMAG.ORG // 11

THE WAKE // VOICES TAY LOR DANI ELS

BY ELLIE TREBILCOCK Tensions are high between political party leaders over who should nominate the next justice to the U.S. Supreme Court after the death of Justice Antonin Scalia. Some Senate Republicans are demanding that President Obama allow the next elected president to nominate the justice because it’s his final year in office.

It is painfully obvious why the Republican-controlled Senate refuses to confirm a court nominee. They want another Supreme Court justice with a conservative ideology.

Despite demands from some republicans, President Obama announced his intention of nominating a candidate to the Supreme Court on Feb. 13. It’s customary for the Senate to examine the president’s choice and vote to confirm or deny the nominee when the Supreme Court has an open seat.

However, Senate Majority Leader Mitch McConnell and other republican senators declared they will not allow a hearing or vote for whomever Obama nominates.

Justice Who?

Currently, the Supreme Court justices are evenly split 4-4 on political ideologies. However, whomever becomes the next Supreme Court justice will have enormous influence on the decisions affecting the country as this balance shifts. Since the previous court had a conservative majority,

republicans are reluctant to surrender their authority. (Let’s not kid ourselves, democrats would be too).

Republicans object to a nomination made by a democratic president because the Supreme Court has the right to decide the constitutionality of a law with the power of judicial review. Scalia was well-known for his conservative views; He was nominated by Ronald Reagan for goodness sake!

However, Scalia also firmly believed justices should attempt to find the framer’s original intent when reading the Constitution. With Justice Scalia’s own principle, one can determine what Justice Scalia would do in this situation.

Article II, Section 2 of the Constitution states, “[The president] shall nominate, and by and with the advice and consent of the Senate shall appoint… judges of the Supreme Court.”

This passage plainly states the current president should nominate Supreme Court justices and not wait for the next elected president.

If the Senate GOP truly wishes to honor Scalia’s legacy, they should interpret this passage as the founders intended and confirm the president’s nomination regardless of their political ideology.

There is a long road ahead in finding a replacement for Justice Scalia

BY ERIK NEWLAND

Early on, most of what we heard about this case came from Apple, in their open letter to their customers and their latest stockholder meeting. They argue that the FBI is demanding they make a new iOS with a backdoor that could be used to get into any iPhone.

The arguments on both sides have merit—a “skeleton key” would be hard to keep out of the wrong hands—but the FBI’s actual order seems more lenient than Apple says.

The FBI’s order filed in district court would allow Apple to help the FBI get data “using an alternate technological means other than that recommended by the government” if they can accomplish the goal of getting the FBI through the password protection.

Still, the FBI is asking for an operating system that they can use to rapidly try passwords without locking it up, and it might not be possible to make one that only works on this specific iPhone.

From the perspective of recent, Apple has a good chance of winning.

Last year, the Obama administration pursued legislation that would require cell phone companies to basically hold a copy of a backdoor key to their encryption for this kind of purpose. However, in an October cabinet meeting, they announced they wouldn’t try to create laws yet.

Lastly, Apple may have a point with its slippery slope argument. Lately, the Manhattan District Attorney Cyrus R.Vance Jr. announced that his city has 175 iPhones it would want unlocked should the FBI win the current case.

LI NDY W I RTH

Apple’s fight with the FBI’s request to get them past the encryption on the San Bernardino shooter’s phone could be turning in their favor.

In another Feb. 29 decision that strengthened Apple’s position in the San Bernardino case, a federal judge in a New York case said the FBI could not use the All-Writs Act to unlock an iPhone.

The FBI’s order claims this is a special case, but law enforcement needing access to phones has happened before and will happen again.

When Apple and the FBI Intersect What is happening with the San Bernardino case?

12 // MAR 21–APR 3

THE WAKE // FEATURE

N E W B I E S

O N

C A M P U S

Transfer student needs finally recognized, addressed

BY LIANNA MATT

WAKEMAG.ORG // 13

THE WAKE // FEATURE

Like most students living in the residence halls, Alex Holecek was told to keep her door open to make friends. It wasn’t the September after welcome week, though; it was the spring of 2014, and she had just transferred in as a sophomore from Rochester Community and Technical College. With the door to her room in Centennial Hall propped open, she felt like a goldfish. But one of her new neighbors came by for a visit and a casual hello. But then came the question: “What was wrong with your old school?” For Holecek and other transfers who are trying to find their place at the University of Minnesota, those words seem to mean something else:“Why are you here?”

Holecek came to the University in fall 2014, the same semester that the University’s transfer initiatives started to gain momentum. Yet a pervading thought remained—transfers did not need as much academic or cultural support because they had already gone to college somewhere else. However, it soon dawned on faculty that the transfer population, which makes up 30 percent of the undergraduate student body, is not as happy at the University as non-transfers.

“Half are very aware they’re transfer students. The other half that transferred think, ‘Big deal, I don’t need this particular community to be there for me.’”

Neither the students nor the faculty are satisfied with that realization.

Everything for transfer students is on an accelerated timeline.

Most of them don’t want to spend a whole four years at the University, nor should they. Factors like new academics and a new environment can make transfers feel behind their peers, according to stakeholder interviews conducted by the University.

P H OTOGRAP H Y BY Z ACH BI ELI NS KI

Sarah Ihrig, the transfer student coordinator at the University, likened this tendency to Abraham Maslow’s psychological theory, the “hierarchy of needs.” At the bottom of the pyramid are the basics: How do we get textbooks? How do we register for classes? How are we going to pay?

Finances and academics are the top two worries for transfer students.

Accordingly, transfers have better habits concerning class attendance, participation, and reading completion.

They’re more likely to look for opportunities that line up directly with career advancement as opposed to becoming parts of student groups or exploring options like study abroad.

Trying to be social and fitting into already-formed relationships isn’t easy, especially when bigger worries overshadow the “fun” side of college.

14 // MAR 21–APR 3

Student Transfer Board (UTSB) as a general member and, more importantly in the short term, she signed up as a mentee for the inaugural semester of the Transfer Student Network (TSN).

TSN pairs first-semester transfer students with mentors— former transfer students.The two meet on a monthly basis. For Holecek, joining TSN was the “single best thing” she had done for herself. She and her mentor didn’t become best friends, but the relationship helped Holecek meet other people, go to more events, and have someone to talk to.

This year, OFYP altered the program so that every transfer student is automatically paired with a mentor, so if students missed signing up or decided not to participate but later change their minds, they wouldn’t have to worry.

Renee Crumee, a 2013 fall transfer and fall 2015 TSN mentor, said that not all of the mentees she had took advantage of the one-on-one meetings. However, she continuously sent monthly emails filled with reflections on her transfer experience (pictures with Gandalf included) and University “street smarts.”

Crumee, like all of the other mentors, wanted her transfers to know she was there if they needed her.

TSN used to be under the umbrella of the University Transfer Student Board (UTSB), as was Tau Sigma, the co-ed honors transfer fraternity. Holecek has been a part of all three groups and now, as a senior, is the UTSB vice president.

The Office of First Year Programs At UTSB’s biweekly advocacy committee meeting (scheduled in (OFYP) works hard to improve the afternoon to be more accessible for commuter students), transfer welcome days each year to Holecek took minutes. Jared Bruggeman, the committee chair, help transfer students start making checked in with the five-person group working on projects like connections. For fall 2015, they added a Yelp-style housing resource, workshops, and more. local food sponsorships, a DJ, bouncy houses, and more to the tailgate, one “If they want to do leadership roles, we have leadership roles,” of the activities over the four-day Bruggeman said. “If they want to do community-based things, event. Because of the tight schedule we have law, communication, advocacy.” over winter break and the smaller amount of spring transfer students Obviously, though, not all transfer students become as involved (approximately 900 compared to fall’s with the transfer community as Holecek and Bruggeman.

2000), spring’s welcome is a one-day event.

“I think the transfer population is very dynamic,” Holecek said.

The spring welcome is after the first “Half are very aware they’re transfer students—‘What do I do? week of the semester, and by that point, Where do I find stuff?’—so they’re really easy to get involved in Holecek was in hyper drive. “I basically stuff.The other half that transferred think, ‘Big deal, I don’t need went to every table asking, ‘What are this particular community to be there for me.’” you doing?’” She wanted to belong, an affirmation of her validity at the University. One type isn’t better or worse than the other, Holecek said, but the struggle for UTSB is how to serve the community Among the myriad of emails she they have while trying to reach out to those who might find subscribed to, she joined the University themselves wanting UTSB in the future.

THE WAKE // FEATURE

“However, it soon dawned on faculty that the transfer population, which makes up 30 percent of the undergraduate student body, is not as happy at the University as non-transfers.”

“It’s hard to maintain students,” Bruggeman said, “which I think can actually be a good thing.” He said he loves when students make UTSB their own, but he doesn’t mind that sometimes the board is just “a stepping stone.” He and Holecek realize that because a transfer’s time at the University is only about two years, the board’s sustainability and momentum become more difficult. It’s a fact they can’t change, but they don’t mind as long as they can keep helping transfers feel like they belong.

“School, education, get a degree, find your passion, get a job,” Bruggeman said. “Community is the first part of that.”

experience my first year, I just never felt a part of all of the St. Thomas campus,” she said. “When people ask me where I’ve gone to school, I don’t even mention it.”

Annie Lux, a 2014 sophomore transfer from St. Thomas, only went to the transfer orientation, where she said,“Everyone was so friendly and welcoming.” Then, she found her community in other places. “I think for me, because I had a uniquely terrible

UTSB is working on making housing easier along with a multitude of other things, but Holecek wants it to narrow its focus in the future. “How do we utilize these people we do have to get stuff done, to do it all the way, not just half way?” she said.

While Lux cited a smaller major, friendly classmates, and social classes like choir as reasons for her smooth transition, she still faced a problem shared by almost all transfer students who want to live near campus: housing. Her off-campus experience was less than ideal, living with people she didn’t know previously didn’t work out.

Holecek will be graduating from the University this May and, inevitably, will leave behind the program she’s invested so much into. Looking back, she has realized that transferring, and the messy transition that accompanied it, became a large part of her identity.

“In high school, I wasn’t super involved,” she said. “But when I came here, I had to be because I wouldn’t have anything. I have found an identity in my school now.”

WAKEMAG.ORG // 15

P H OTO S B Y C O L I N MI L L E R

THE WAKE // Q & A

Q&A: Eric Fox The Rockstar of Recording Gear

BY COLIN MILLER

Eric Fox has owned and operated Foxtone Music since he started the company from scratch in 2005, but his love for music and audio recording equipment was sparked long before. Located in a basement on North 3rd Street, mere minutes from the Warehouse District light rail stop, Foxtone is the place where many of Minneapolis’ great artists, both established and aspiring, shop for the tools of their trade. Fox’s list of clients boasts P.O.S and the University of Minnesota, but even more impressive is his knowledge and passion when it comes to the gear itself and the recording process on the whole.

16 // MAR 21–APR 3

The Wake: Tell us about your introduction to the world of recording music.

Eric Fox: I was always the kid in high school who owned all the gear in the band. The drum set, the bass guitar, the amps, the PA, you know. I started out playing drums when I was in fifth grade, and then in eighth grade, I got an amp and a guitar for my birthday. Then, of course, I wanted to play in a band. None of my friends had gear or anything, though, so I just recruited them and kind of taught them how to play.

So you were a little like the Phil Spector of your junior high?

Fox: [Laughs].Yeah, kind of. Minus the shooting incident.

What was your first band called?

Fox: Downplay. I think I was fifteen at the time. We went into a recording studio that we could just barely afford and recorded like ten songs for $300. I just really loved what I was seeing [at the studio] so much that I

was the guy who stuck in the control room the whole time, staring at what he was doing. After that, I decided to invest in a used multi-track recorder, which in 1994, to give you some context, was $600, so you see how expensive and limited the field was to break into then.

For anyone just starting out recording themselves, what are the most crucial components of the home studio setup?

Fox: You need to ask yourself how many instruments or devices you’re going to be recording at one time.

Let’s say you just have a vocalist—a rapper or something like that—then you can get away with using just one input at a time. In that case, all you need is one quality microphone, a stand, a pop filter, and whatever software you want to use. Even GarageBand is quite powerful compared to what we used to have as the standard.

You also need an interface, basically an expanded sound card, to convert your audio signals from analog to digital and vice versa. For a full band, depending on the number of instruments, you’re looking at possibly 12-15 [microphones].

THE WAKE // Q & A

// If you walk away with one thing in mind, it should be that the gear is the least important part of the chain. Great music starts with great

//

songwriting and great performance.

What are some of the go-to pieces in your studio?

Fox: I do a lot of full-band stuff, so you really can’t go wrong with SM57s [microphones] from Shure. Those are workhorses.

You can just put them on anything. I tend to get into higherend preamps. I’m kind of a Neve guy—that’s a name you’ll hear tossed around quite a bit. They put transformers in their preamps. I also use a lot of Vintech, which is a company that makes some vintage Neve clones. As for software, I like Pro Tools, but Logic and all the others are certainly just as good.

I know Foxtone sells some vintage synthesizers and things like that. Is there anything particularly rare or noteworthy in stock now?

Fox: We have a lot of good stuff come through the shop. Right now I can’t think of anything specific off the top of my head with one exception. Here in the studio I’ve got my one-inch 8-track tape machine. I like to use that sometimes if it’s a good fit with the artist. Otherwise, we’ve got a lot of new, boutique-y, esoteric stuff like the Vintech and things like the Distressor from Esoteric Labs, which is a relatively famous compressor. I also have a high-end tube [microphone] called the Blue Bottle, which is like five or six grand. It’s kind of silly that I have it.

You told me once that you started Foxtone so you “wouldn’t have to get a real job.” What’s the difference between what you do and a “real job”?

Fox: Well the truth is I’ve never worked so hard in my life as when I went into business for myself as an entrepreneur.

It would have been easier for me to get a desk job and not have to worry about my company or my customers when I go home for the day. But when you really love what you do like I do, it doesn’t feel like work. My wife works at a Fortune 500 company but I just don’t think I could sit still like that all day.

[Laughs].

Last question: You’re behind the boards at your dream studio session… Who’s playing?

Fox: I think recording the Beatles would have been so amazing. What they recorded on, by today’s standards, would be considered junk, but they were so talented and wrote such good songs that it didn’t matter. If you walk away with one thing in mind, it should be that the gear is the least important part of the chain. Great music starts with great songwriting and great

Are there any local companies doing cool things in audio gear?

Fox: In the synthesizer world, there are some local guys and gals who create circuit-bent pieces and things that go “beepbop-boop.” For example, a company called GetLoFi, who also is big into selling kits and DIY gadgets, makes a bunch of little noisemakers that we sell here. There’s also Great River in South St. Paul; they also do Neve clones. Really great guys.

Who are some of your biggest-name clientele?

Fox: Doomtree for one. A lot of the Rhymesayers guys— they’re into electronic music quite a bit. I deal with Gary Morris sometimes, the singer and founder of The Jayhawks, an Americana kind of band. I’ve dealt with Dan Wilson, the front man from Semisonic and just a great songwriter and producer.

I think he recently won a Grammy for some work he did for— who’s that girl—Taylor Swift.

WAKEMAG.ORG // 17

THE WAKE // SOUND & VISION

Are Music Videos Dead?

Two pop-stars suggest the end is not near

BY JENNA WALTERS Beyoncé is also known for mixing up the music scene with her lyrics of empowerment and pride, and her new video for “Formation” is the ultimate example. Beyoncé owns her cultural identity in the “Formation” video, and despite the many costume and scene changes, her messages about police brutality and Hurricane Katrina are clear. The music video for “Formation” shows just how impactful music videos still are to the public.

The music video for Lady Gaga’s most recent song, “Til It Happens To You,” presents a raw and emotional portrayal of four young women being sexually assaulted. The video was a strong way to stand against sexual violence and raise awareness on how to stop sexual violence on college campuses.

The “Formation” music video was not the end of Beyoncé’s political message, though. Her performance of “Formation” at the 2016 Super Bowl addressed the Black Lives Matter Movement, Malcolm X, and the Black Panther Party. She used a national platform to address issues that are socially and culturally relevant. It was a brave and peaceful way to express her opinions to millions.

Gaga took nondescript lyrics, which can be applied to all kinds of situations, and associated them with a major issue prevailing today—campus sexual assault. She took a stand and gave light to an important issue with a graphic music video.

Many artists are shaking off the stereotype that music videos are solely lighthearted or for show. Lady Gaga and Beyoncé prove that controversial issues can still be discussed within the music industry, and music videos are the forefront to that discussion.

P H OTOS COU RTE SY OF TB S . C O M

BY COLIN MILLER

Sting Like a Bee

“Full Frontal” does late night right

// The show fills its time slot with jokes spliced with condensed rants about important issues like black advocacy and women’s health, and celebrity fluff never substitutes for substance.

18 // MAR 21–APR 3

//

The realm of late-night comedy is a bit like a fetid swamp—a putrefying remnant of what once was fresh and vibrant. The homogeneity that characterizes the genre and its major players stems from hegemonic patriarchal traditions combined with pandering to an audience with less interest in innovation. For ages, snarky white men, usually flanked by an often hefty sidekick or bandleader of color, have sat behind desks, delivered monologues, and asked viewers if they’ve heard about things they’ve certainly heard about. The formula is tried-and-true: celebrity guest emerges, takes part in goofy, humanizing bit, and promotes new album/show/movie, musical guest sings a song, roll credits. Maybe at some point an old person reads pop music lyrics to mildly comedic effect. With rare exceptions, it is rote, formulaic, and stale.

Cut to February 2016. In the midst of the clown car of characters that is the current presidential campaign, one show has made its debut on TBS that offers a welcome breath of fresh air in a largely monotonous field. Samantha Bee, the longest-serving “Daily Show” correspondent in the Stewart era, is the executive producer and star of “Full Frontal,” a sharp, uncompromising weekly half-hour program with a penchant for social responsibility. Boasting a diverse writing staff, reportedly 50 percent female and 30 percent non white, to which other shows (literally) pale in comparison, “Full Frontal” trims the fat content-wise.The show fills its time slot with jokes spliced with condensed rants about important issues like black advocacy and women’s health, and celebrity fluff never substitutes for substance I spoke with Madelyn Miller, an intern on “Full Frontal,” about what drew her to work on the show. She said she particularly admired Samantha Bee as a female icon and industry force, citing how she maintained her job on “The Daily Show” through three pregnancies and now strives for diversity on her own program. Miller’s favorite segment so far on “Full Frontal” involves Bee talking to Syrian refugees in order to debunk xenophobic propaganda. On the whole, the prevailing mantra of “Full Frontal With Samantha Bee” seems to be “people are people,” and Miller believes the show will diminish archaic notions that women are a special interest group in television.

Long live queen Bee.

H E LE N T E AU GE

MTV, the television channel that originally became popular by playing new music videos in the 1980s, has nearly stopped showing music videos altogether. The evolution of “music television” has resulted in a takeover of reality TV shows and the elimination of music related programming. But MTV’s lack of videos has not decreased their cultural value. Music videos allow artists to connect with their fans and share their opinions on current social issues.

THE WAKE // SOUND & VISION

The Controversial Top of the Music Game How the worst musicians and people become the most popular

BY CARSON KASKEL In today’s music world, many of the most popular musicians are surrounded by clouds of controversy. More times than often, when a popular musician commits a crime, they get away with it and continue making boatloads of money. We hear more controversy coming from Justin Bieber and Iggy Azalea than we do music, but often times, even when they get into legal trouble, their celebrity status (and money) will save them. We forget and move on.

AA RON MUS I CK ANT

But I start to question the fame of these artists when there is so much other beautiful music being created that most people will never hear. Hard working musicians who love what they do, are moral, passionate, have actual talent, and don’t live for the money and glamour.

Many ultra-popular musicians have shown they aren’t the best people either. Because they have such dedicated fans, some are able to get away with outrageous crimes without people knowing or caring much. Exhibit A is R. Kelly. Kelly was loved by fans, affectionately known as the “King of R&B.” He is one of the best selling artists of all time, selling over 40 million albums. In addition, Kelly attempted to marry a 15-year-old R&B songstress, Aaliyah, was arrested numerous times with child pornography, and was in an alleged sex tape with an underage girl in which he urinated on the victim. Kelly was acquitted of all charges, leading some to believe that his fame and wealth saved him from the criminal justice system.

Another controversial figure in the music industry is Chris Brown. In 2009, it was reported that he assaulted Rihanna.

Justin Bieber has also seen his name cleared multiple times, including allegedly assaulting his limo driver.

How is it that we continue to glamorize these figures who have committed such wrongs in the world? No matter how popular someone is, we must realize that they are also human and are subject to the same sanctions as any other ordinary person. In fact, they should be held even more responsible as they hold a higher and more influential position in society.

Even the most popular musicians don’t deserve a free pass. Unfortunately, it doesn’t work that way. These people have the money to fight the law, and often times they’ll persevere. That’s the reality. Fame is privilege, not only economically but also socially. And loyal fans will give their idols the benefit of the doubt, even if what the person did is morally wrong.

When these musicians do get into legal trouble, the combination of wealth, along with a devoted fan base keeps their popularity intact.

Can art be separated from the artist? To an extent. It’s dependent on the listener and their values. Album covers don’t say outright that this artist is a registered sex offender. Neither do they say this artist has killed someone.

Often times, a person has to dig to find this information, whether it be reading Wikipedia or the news. If a listener has an emotional attachment to a certain song, album, or artist, it makes sense that they could give the artist the benefit of the doubt because the music makes them feel a certain way. But if you suddenly realize that your favorite musician has done something bad, is that enough reason to stop listening to them completely?

// Even the most popular musicians don’t deserve a free pass.//

WAKEMAG.ORG // 19

THE WAKE // SOUND & VISION

Boisterous Business

Brave New Workshop’s feature show satirizes the workplace

BY LAURA BEIER Our sides ached with violent laughter and with grins cracked across our faces. My cohort and I giggled uncontrollably along with the entire audience as we watched six company members of the Brave New Workshop rap, sing, and satirize about the common workplace. Earlier that night as we strolled in from the cold and hectic Hennepin Avenue, we were offered drinks and smiles and ushered into the theater exhibiting their feature show, “The Working Dead.” In addition to delightful comedy year round, the nation’s oldest comedy and improv theater also offers classes and corporate outreach.

L AU R A B E I E R

As we settle into the intimate theater setting, pop hits blast from the speakers and the atmosphere buzzed with a mix of couples out for date night, families from out of town, and lively groups of ladies enjoying an evening out. After the opening satirical chorus about the painful boredom that is an office job, the show progressed and laughter increased.

The show contained a comical office romance, an extremely tiny office, a zombie apocalypse via the flu, and a “West Side Story” spin on marketing vs. sales quarrels. Intermission is the one time the laughter ceases, but only marginally. The audience recounts all their favorite jokes and continues to giggle about the gregarious spirit of every actor.

Following an hour and a half of roaring laughter came the improv set. A group of extremely witty and talented actors take the audience prompt, “deep veined thrombosis,” and somehow turn it into an amusing montage. Skits about erotic painting and Xerox machines are composed on the spot and each hilarious remark leads to another.

After the show, smiling audience members file out, their conversations still heavy with laughter. As we left, we had the amazing opportunity to talk to two actors from the show, Lauren Anderson and Nissa Nordland, about their favorite parts of working at the Brave New Workshop.

Nordland, an actor at Brave New World, said that she “loves watching her creations go from concept to stage, through collaboration.” Anderson, another actor at Brave New World said she “loves performing self-written pieces, as it feels like she’s expressing her ideas directly to a large audience.” You can tell from the vibrant and joyous show that they love working for such an eclectic establishment.

“The Working Dead” continues Thursdays-Saturdays through June 18.

Celebrities Who Need to Host SNL

BY CLAIRE BECKER

Kanye West Yeezy may not seem like the number one pick to host “SNL,” the most prolific of late night comedy shows, but I firmly believe that his monstrous ego alone would make for a good deal of quality humor. I mean, the man has stated without a hint of sarcasm that his greatest pain in life is that he will never see himself perform live.Tell me you wouldn’t love to see him do some standup.

Kim Kardashian Kim Kardashian may seem shallow and materialistic on the surface, but when you look deeper I think you’ll find that Kim Kardashian is shallow and materialistic. Think about how funny a standup routine where she only talks about designer socks or granite toilets would be. She would be hilariously knowledgeable about designer socks. Also, I want to know what Kim Kardashian thinks is funny. Like, what is her sense of humor like? Does she like puns? Is she into surrealistic dark humor? Edgy Internet memes? These are all questions I want answered.

Any Kardashian, really The Kardashian host doesn’t even necessarily have to be Kim. I think Kris may be equally funny, if not funnier. Kris Jenner might have some killer mom jokes up her sleeve.

20 // MAR 21–APR 3

Pope Francis The Pope just seems like a fun dude to me. I mean, first of all, his name rhymes with dope. Second, he has that super cool hat. Plus he’s got that whole anti-materialism vibe that all the teens are into these days. I think he’d be a real hit.

Jerry from “Tom & Jerry” Okay, so he can’t talk, but hear me out…

Alec Baldwin I can’t believe in all these years Alec Baldwin has not hosted a single episode of “SNL.” Not one.

I mean come on would they just give him a chance already?

M ADI SON DIG I OVANN I

In light of the recent hype surrounding the possibility of Ryan Reynolds hosting “Saturday Night Live” in character as the sardonic Marvel Comics hero Deadpool, The Wake thought we ought to compile a list of our dream SNL hosts, fictional or otherwise. It follows, in no particular order:

THE WAKE // SOUND & VISION

Minneapolis Welcomes

Dark Matter

H E L E N T E AU GE

couple of years ago we’re like, “What, really?” We’ve also had a lot more practice than when we first started so technically we’re probably getting better, too.

Many of your narratives critique mainstream liberals (i.e.

NPR enthusiasts, white yogis, pink-washing in general). Have you received backlash from this community, and if so, how do you usually respond?

The Wake: For those new to your medium/subject matter, could you give us a quick rundown of what Dark Matter is and what you do?

A talk with the trans South Asian performance art duo

BY BELLA DALLY-STEELE Dark Matter poetry is not your typical performance duo.

Alok Vaid-Menon and Janani Balasubramanian deliver a broad range of insights with each performance, often with a crippling hilarity underneath. Through their blistering portrayals of everyday trans-misogyny, racism, and homophobia, the pair captures audiences around the globe, enticing watchers to alternatively laugh and cry. Their goal? To revolutionize the LGBT rights movement.

Today, the movement is suffering from deeply problematic undercurrents. Media representation of the community is glaringly white, while the movement itself has become dangerously commercialized and cisnormative. Within the community, racism and trans-misogyny still run rampant, posing a threat to non-cis members of color, estranging and endangering the very people to whom the LGBT movement claims to provide solace. Through their performance art and strong internet presence, Dark Matter confront these issues head on, highlighting the discrimination prevalent in cultures and in the LGBT community itself. We spoke to the duo about their intentions as a group and what irks them about liberals in 2016.

Dark Matter: We run around the world crying on stages about our moms and the status of the world while wearing ridiculously fun outfits, and some people call it poetry.

DM: Yes of course. The thing about liberalism is that it likes to pretend that it has everything figured out. Even though it pretends that it’s open to everything and embracing, when you dare point out its contradictions people are up in arms.

The response has to be tailored to each episode—whether it comes online or at a show. But we’re pretty good at shutting it down and reminding people what’s really important.

How do you use your different formats (poetry, nursery rhymes, photography) to convey your messages?

How do you think your life would have been changed had there been a group like Dark Matter while you were growing up?

DM: Every message can be communicated in a million different ways. We are constantly searching for different templates to express ourselves. One of the neat things about being an artist is that you have permission to experiment.

DM: Well we probably would have resented how everyone told us that we look just like Dark Matter, [because] everyone thinks all Indians look the same, right? But more seriously, life would have been a little bit easier, that’s for sure.

What inspired you to use performance art, specifically poetry, to address these issues? What have you found are the pros (and cons) of this medium?

Give us a quick recap of what is problematic in the current LGBT rights movement.

DM: It’s not so much that we chose to be performance artists, it’s just that we started to do this thing and people called it “art.” Neither of us feels particularly wedded to any particular method or format or structure, we’re always open to adapting to how we feel. We want our shows to be organic, to be reflections of where we’re at in the moment. We’ve been known to just stop saying poetry and start ranting. Sometimes that just feels more important.

DM: Number one: It’s racist. Number two: It’s trans-misogynist.

Number three: It’s more interested in representation than reality. Number four: It mistakes media moments as movements.

Number five: It married capitalism.

Finally, for students just learning about the gender binary, what sources do you suggest they look at to learn more?

DM: “Powerpuff Girls,” “Teletubbies,” “America’s Next Top Model” (boys v. girls, special edition), the Olympics, and the mall.

Looking back, how have your performances and your content changed from your debut?

DM: Our art changes as we change in our lives. Our politics are constantly evolving, the things we care about are constantly changing, so often when we look back at things we wrote a

WAKEMAG.ORG // 21

THE WAKE // SOUND & VISION

Shkreli and “Once Upon a Time in Shaolin” The legend of the most expensive album in the world

BY KARL WITKOWIAK

After months of bidding, the album was eventually sold in November 2015 for two million dollars. So who bought it? Some would guess other rappers who admired the Wu-Tang Clan’s work, like Drake or Kanye West. Instead, the buyer of the album was revealed to be the infamous CEO of Turing Pharmaceutical, Martin Shkreli, who made headlines earlier in 2015 for raising the price of Daraprim, a pill for treatment of the HIV virus, from $13.50 to $750... per pill. Now, this man owns what is now considered the most expensive album in the world.

Shkreli made no secret that he is actually a fan of Wu-Tang, as noted by RZA, who had lunch with Shkreli shortly after the sale of the album. However, Shkreli is also no stranger to elusive music memorabilia. He actually owns Kurt Cobain’s VISA card and often flashes it when making a payment to get a reaction out of people. He seems to be doing something similar with the album, as he is shown to have opened up the album at one point, but stated that he wasn’t going to play the album and, instead, “save it for a rainy day.”

A short time after Shkreli was revealed as the secret buyer of the album, he was arrested on fraud charges, where he was quickly bailed out afterwards. The FBI stated that they did not have a seizure warrant against Shkreli, thus the Wu-Tang album was not recovered.

Plenty of fans were enraged not only at Shkreli for buying the album, but also at the fact that there was only one copy to be sold to a wealthy buyer—an act of exclusivity and power

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above others that the group had once opposed. Wu-Tang member Ghostface Killah also expressed disappointment towards RZA for his careless selling of the exclusive album and went off on Shkreli for not only for buying the album just to keep away from others, but also for raising the price of Daraprim. As such, Shkreli took to Twitter, dissing Ghostface and saying things like how he is mad that “‘Shaolin’ outsold his last five albums.” Shkreli even released a video where he is backed up by three masked goons and stated that he would erase all of the songs off of “Shaolin” if Ghostface speaks out again and expects a written apology.

Ghostface doesn’t play that way, as he released his own video basically lambasting Shkreli for his business practices, smug personality, and even looks. It’s interesting to say the least. Ghostface makes plenty of off-key references towards Shkreli (calling him Peewee Shkreli at one point), and even brings in three older women to lambast Shkreli, mirroring how Shkreli brought in three men for his video.

So is that it? Is the album as good as gone, now that Ghostface ended up insulting Shkreli again? Well, not exactly. Shkreli stated that he “didn’t want to just be the heel of the music world, he wanted to be the world’s heel.” Considering this statement and his previously established admiration of WuTang, Shkreli doesn’t have any will to destroy the album, just to keep it away from others to gain publicity—negative publicity at that. Shkreli likes the attention, even stating he won’t listen to the album unless Taylor Swift wants to come over and listen with him.

As for the status on the album itself? Well, it’s still up in the air. Recently, Shkreli, RZA, producer Cilvaringz, and auction site Paddle8 are now being sued by artist Jason Koza for using his art as the sleeve art for the album without his permission. This one album has been breaking headlines in the music world for months now, and yet, the race to own this album is still on. Hopefully, one day, this album will be out for all to hear.

TAY L OR DA NI E LS

Love them or hate them, you have to admit that the WuTang Clan are masters of theatrics. In March 2014, the New York rap collective announced an exclusive, new album titled “Once Upon A Time in Shaolin.” Even more surprising was the announcement that there was only going to be a single copy to come in a hand-crafted box with a 174-page book about the creation and lyrics of the album in question. WuTang clan member RZA said owning the album was like “someone having the scepter of an Egyptian king.” As such, it was no surprise that the asking price for this album was in the millions.

“Girls” season five premiere

BY GABBY GRANADA Since 2012, Lena Dunham’s show “Girls” has forged an iconic name for itself in television. The unconventional and often poignantly truthful coming-of-age story follows the chaotic lives of a group of 20-something friends navigating life in New York City.

What sets “Girls” apart from the plethora of young adult TV shows is that it doesn’t paint a rosy picture of what it’s like to be stuck in the painstaking limbo between adolescence and adulthood. Instead, “Girls” unapologetically captures the raw and sometimes hard to swallow truth about finding your footing in the world.

After over four years of gracing HBO with its dark, witty humor, the penultimate season of “Girls” picked up right where the scatter-brained women left off: confused and fumbling through early adulthood with what little finesse they collectively possess.

Although season four offered a silver-lining of hope that our favorite misguided group of friends was finally maturing, season five’s premiere disproved any sign that these characters have learned from their (often colossal) mistakes. The 25-minute premiere was an endearing train-wreck from beginning to end.

The episode was jam-packed with unrequited love, reckless relationships, and a wedding of which no one wanted to attended besides the bride, so in short: nothing new for “Girls.”

It’ll be exciting to see what the creatively brilliant and bizarre mind of Lena Dunham has in store for “Girls” this season, and hopefully, for the characters’ sakes, there’s some maturing in the process.

Fred Armisen at the Woman’s Club of Minneapolis

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THE WAKE // SOUND & VISION

Porches’ “Pool”

BY PETER DIAMOND

“Pool,” the latest album from synth-pop auteur Aaron Maine’s project Porches, arrives at a crossroads for the young

BY HANNAH KLOOS Brooklynite. It’s his major label debut on Domino, it’s his first album to be toured without accompanying bassist/girlfriend Fred Armisen is a man of many talents. On Friday, Feb. 26, Greta Kline (aka Fankie Cosmos, who helped collaborate on the comedian performed a rare show at the Woman’s Club several songs off “Pool”), and it’s his first album to feel like a of Minneapolis to a sold-out crowd. Armisen actually started cohesive artistic statement. out his career as a musician, but as a seasoned TV star, he doesn’t do live performances often. However, Armisen made Compared to 2013’s “Slow Dance in the Cosmos,” “Pool” an exception for Minneapolis. The man gushed about his love maintains Maine’s brooding presence whilst trading in his for our city, which he has been visiting since the early ‘90s, folkier inclinations for ‘80s synthesizers. Like the water motif throughout the entire night.

Maine reflects on, his fluid songwriting sounds natural under the new genre tag. And it’s no wonder. Armed with a Yamaha Armisen’s hourlong stint was loosely structured, allowing him DX7 synth during a recent solo outing, Maine’s instrument to do what he does best: improvise. The show was littered is literally a product of the period he evokes (other users of with unique observations about music and human eccentricities, the DX7: Phil Collins, A-Ha, Michael Jackson, Madonna, Janet notably that jazz is created for the sole purpose to make one’s Jackson, and Tears for Fears). mind wander.Armisen even pulled out his guitar to perform some original songs, as well as covers of Prince’s “Raspberry Beret” and Whether he is exploring his introversions on loner anthems The Beatles’ “Blackbird.” He also displayed his knack for accents, “Be Apart” or “Underwater,” “Pool” is a testament to the spanning the entire U.S., including Minneapolis and Duluth. wisdom that comes from independent thinking. “I really want to make it right / for us to belong to the night,” Maine sings on Finally, Armisen conducted a lively question and answer session “Underwater.” “I lit one up and I drove around / just wonderin’ with the crowd. When an audience member asked him to whatchya doin’ now.” perform an improvised song in the style of Saturday Night Live’s musical duo Garth and Kat, who always awkwardly make up their “Pool” projects a dark, moody atmosphere that extends songs on the fly, he invited her up to the stage to sing with him. throughout the album, music for driving alone at night to. Yet In another heartfelt moment, Armisen took the time to call out instead of wallowing in his misery, Maine views it as a source of an audience member who had written him a letter and script power. Soaked in melodrama, Maine’s voice expresses sadness, to compliment his talents. It’s always reassuring to discover that desperation, and longing in isolation. If “Pool” were by anyone else, it would run the danger of becoming gimmicky, white sad-boy pop. your favorite celebrities are decent human beings.

In Maine’s control, the effort is emotionally resonant.

WAKEMAG.ORG // 23

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Thursday April 14th | 8 PM / $5 / 18+ | The Triple Rock Social Club