MINNESOTA WOMEN’S PRESS Music & Movement

Featuring Ka Lia Universe PaviElle French Taylor Seaberg Andrea Swensson

Specialty Guide: Kids

Music & Movement Issue | womenspress.com | May 2020 | Issue 36-5 It takes 10 minutes. Your coffee won’t even get cold.

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Go to tinyurl.com/MWP2020RS storytelling with asubscription. on “find acopy” 651-646-3968. call or Helpfund our find acopy near you,visit womenspress.com and click country.the Is is distributed at free 500locations. To longest continuously published feminist platforms in voice and vision of women since 1985,as one of the The Minnesota Women’s Press sharingbeen hasthe of women shift who narratives to effect change. stronger future built be from will collective energy the We vision: Our are all of parts agreater whole. Our women.everyday stories and actionsteps, leadership the of powerful, mission:Our Amplify and inspire, with personal Advertise: [email protected] Subscribe: [email protected] [email protected] astory: 651-646-3968 Contact Us Kathy Magnuson &Norma Smith Olson (2003-2017) Mollie Hoben &Glenda Martin (1985-2002) Past Publishers: ISSN rights #1085-2603 reserved. All ©2020 by Minnesota Women’s Press LLC PHOTO HELEN TEAGUE/REVILER WOMEN’S PRESS MINNESOTA Minnesota Women’s Press LLC 800 West Broadway, Suite 3A Minneapolis, MN 55411 Stephanie Murck, Page 14-15 Cover Photo:Cover Accounting: Fariba Sanikhatam Operations: Sabel Alexa Greater Outreach: Minnesota Angela McLaughlin Ryan Stevens Advertising Sales: Proofreader: Moon Selena Factchecker: Kelly Editor: Copy Gryting Assistant Lydia Editor: Moran KarenDevelopment Director: Olson Johnson Photography/Design: Sarah Whiting Development:Digital Morrissette Mikki Lydia Moran, Ryan Stevens, Kassidy Tarala Community Engagement: Siena Iwasaki Milbauer, Andrea Swensson,Seaberg, Ka Universe Lia Dance Theatre,Regan, Sheila MarcieRendon, Taylor Harms, Natalie Klemond, Minnesota Lee, Lainey Contributors: DejaJoelle, PaviElle French, Nancy Business Shelle Eddy Strategy Director: Managing Sarah Whiting Editor: MorrissettePublisher/Editor: Mikki MWP team

Ka Universe. Lia Photo by Sarah Whiting Quinn Dreasler Quinn POWERFUL. EVERYDAY. WOMEN. Shelle Eddy, Ashlee Moser,

Edi What’s Classified Ads 29 How Dance Moves Me 22-24 Kids Specialty guides Identity INMUSIC 10-13 Dance Pioneer: Loyce Houlton Remembering 28 Lockdown Music, Rent, Community Care In The News 26 Art-A-Whirl, Subversive Sirens, Dance Classes 25 GoSeeDo to Include History Music WomenRewriting BookShelf 20-21 A Conversation With Annie Humphrey Storytelling 18-19 Indigenous Roots &Roll Rock 16-17 Equity The Punk Scene: NotJustfor Cis Dudes LGBTQ+ 14-15 Storytelling Navigating Industry theMusic ofLiving8-9 Art Body’sDancing My Truths Health &Healing7 ofLifeSong Tapestry 6 SmallBusinesses Support =ChangeAction 5 The ofLife Song • • Ka Lia Universe: Seeking NewHeights LiaUniverse: Seeking Ka Natalie Klemond: Now” “Like Me tor Letter tor “There was acamaraderie,“There andthey were there for themusic, too.” inside?

— Cyn Collins 4

The Song of Life by Mikki Morrissette and Lydia Moran

ne of the things I find most heartening during the COVID-19 crisis has been the livestream performances of musicians. Friends have posted on social media their recordings from home as part of a Livestream Cover Challenge.O “One World: Together at Home,” curated by Lady Gaga on a Global Citizen platform, drew an audience of nearly 21 million. The April event was designed to support healthcare workers and the World Health Organization, and raised more than $100 million to support front-line workers in the coronavirus pandemic. I enjoyed seeing bandmates perform from individual homes, spliced together musically on split screens to create harmony nonetheless. Curated by assistant editor Lydia Moran, we celebrate that collaborative spirit in this issue of the Minnesota Women’s Press.

Music Carries Normally in May we celebrate Sitting at my desk as I worked on this issue, I would sometimes the Reader’s Recommend hear the rumble of a subwoofer waft through the crack under winners (formerly known my windowsill as a car inched up the empty street. Or, on the as What Women Want), chosen by readers as favorite back porch, melodies emanating from my neighbor’s apartment businesses and service mixed with evening breezes. providers. As we wait for Perhaps it is a cliché, but music really is the great connector. more of our 500 distribution Hearing it trickle in from the outside world assures me that sites to open, we created this people are savoring this first bit of spring. May issue as our first digital- I have always been jealous of musicians. As someone who only edition. In a later print works with written words, there is something about being at a magazine we will announce live concert, experiencing art with its creators. the 2020 honorees you chose. For this issue, I wanted to highlight storytellers who have made community in music and dance. We feature We postponed the launch of stories about women who find solidarity while navigating a our “35 Years of Minnesota sexist industry, bandmates combating impostor syndrome, Women’s Press” book. Find a sneak peek. musicians who work to shift DIY punk culture, and a dancer who is developing trauma-informed movement for healing. Have you seen our three- In these stories, community is as much about seeing oneself represented as it is part Quaranzine series? finding a connection with others. Without community and representation, in the Stories include a look at music world and elsewhere, it is difficult to feel validated — and feeling validated is gender violence, grieving a crucial part of pursuing your passions. the separation from ailing I encourage you to take this digital issue outside with you as you read on the loved ones, and three porch, stoop, roof, or wherever you can catch a bit of breeze. Spend time listening lessons from Rachel Carson’s to your surroundings. Sound carries even while there is space between us. “Silent Spring.”

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4 | Minnesota Women’s Press | womenspress.com | May 2020 action = change

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Minnesota Women’s Press | womenspress.com | May 2020 | 5 tapestry Song of Life commentary about the inspiration of music and movement PHOTO PHILIPP DETLEFSEN PHILIPP PHOTO

Nancy Harms: “To Zion” “To Zion.” Tears streamed down my face. Sonically, the song I started the surprising journey that has been my life under is filled with things I love: aching, soulful guitar; the groove; the endless prairie sky of Clara City, a Minnesota town of a backup gospel choir; and Lauryn’s powerful, sacred voice. 1,000 people. I spent a lot of time lip-syncing to Janet Jackson But what reached into such a deep place is the message of the with a hairbrush “microphone” in my mom’s beauty shop song — embrace a greater calling, no matter the norm around mirror. I fantasized about singing professionally, but my you. It planted the seed for me to honor the divine part of self dreams were capped by fear. that asks me to stretch out into the epic unknown. My first blow came when I applied for a choral music Details: RisingShiningSHE.com scholarship at the college I wanted to attend. I was not even granted an audition. Singing was what I had been known for What was your pivotal experience with music or in my hometown. Not even an audition? It was an early lesson movement? Click here to share your memories in the in rejection. comments field. After completing my degree in music education, I taught music in a small town. I started experiencing debilitating panic attacks. With the help of incredible friends, I moved to Minneapolis and started claiming things I loved, including June Topic: Breaking the Binary singing at coffeeshops. I got my first club gig as a jazz singer. After my first performance, the tightness around my heart Describe a time when you began to started to release. I realized life is not about being trapped in recognize something as part of a spectrum, fear. Now I live in New York City and travel worldwide as a not a “this or that.” Or share what binary jazz singer. My latest album “SHE” is focused on the power of division you wish to see erased. women’s stories. Send up to 300 words by May 10 My pivotal moment with music came when I was sitting to [email protected] alone at my college dorm room desk and heard Lauryn Hill’s

6 | Minnesota Women’s Press | womenspress.com | May 2020 Health & Healing Dancing My Body’s Truths PHOTO MAYA CLARK / CULTURE PIECE MAGAZINE PIECE CULTURE CLARK / MAYA PHOTO

submitted by DejaJoelle

y dance journey began at the age of four. My dance company, BLAQ, was formed in 2016 with I started in a community drill team called six members. We thrive on the practice of doing what our “African Perfection.” I grew up in the Rondo bodies and spirits need in order to be our best selves. Community,M where dance wasn’t a specialty but a way Currently, I am developing a dance technique and of life and communication. It was not until I attended a aesthetic that evokes healing in the body and self- performing arts high school that I realized I was able to love. This technique centers Black women who have create dance that can change and inspire people. I wanted experienced sex trafficking and exploitation. It is based to paint the world how I thought it should be. in traditional West African dance, and my own body’s During my high school years, I was a victim of sexual discoveries of grief and joy. I prioritize working with local exploitation. I was asking myself, “How can my body have sound engineers and projectionists to make this work this gift of dance, but be used and harmed in such a way?” accessible for people who are deaf and hard of hearing. I began to create work that centered social justice and I am still the process of discovering what love looks like liberation for Black communities worldwide. I focused for me. As a woman, I was told what love was supposed on the experience of the artist in the work, as opposed to look and feel like, without any input from my own to those watching. I decided not to perform truths, spirit and body. I am practicing self-love and “Movement but to dance them and gift people the opportunity to Prayers” daily to unveil my body’s truths. observe. Although I did not realize it then, dance was literally healing me and allowing me to have a better DejaJoelle (does not use pronouns) is the founder and artistic understanding of my body. director of BLAQ. In response to COVID-19, DejaJoelle is offering I began to discover new parts of myself — a new love free virtual self-love sessions via ZOOM. Visit dejajoelle.com for myself.

Minnesota Women’s Press | womenspress.com | May 2020 | 7 Art of living

Navigating the Music Industry submitted by PaviElle French

n March 2020, I moderated a Women in Music panel at the Minnesota History Center as part of the “First Avenue: Stories of Minnesota’s Mainroom” exhibit. I Ibrought together three women whom I look up to in the local music scene: Kathleen Johnson, vocalist with Best Kept Secret and Musicians4Musicians; Desdamona, hip hop and spoken word artist, teacher, and B-Girl Be co-founder; and Andrea Swensson [See related story on page 20], author, radio host, and music journalist. These women have great talent, integrity, and staying power. They are all heavy hitters in the local scene and PHOTO SHAROLYN B. HAGEN PHOTOGRAPHY HAGEN B. SHAROLYN PHOTO beyond, and manage their own careers as entrepreneurs. I wanted to have a poignant conversation about what we do for a living and posed two back-to-back questions to the panelists: • What are some of the pros and cons that you currently face or have faced in the past regarding navigating the music industry? • As a woman, what are the major factors that inform, hinder, or assist your approach to the way you navigate the industry?

All four of us immediately began talking about the roadblocks that we face as women in a male-dominated industry. We spoke about how sexism and racism can lead to a lack of respect and professionalism. We all agreed that we have to collectively push back in situations when we are being mistreated while booking events, in rehearsal, or when interviewing musicians. When I was younger, I was sometimes taken advantage of by “producers” who tried to exploit my talent for personal gain or who used studio time as a way to hit on me. I worked Click here for audio and video hard, but was not paid what I am worth, as much as my male peers, or at all. I have learned many lessons throughout my career. As a Black enhancements for this story woman, it is important for me to run the business aspect of my art so that my at womenspress.com dignity is maintained. I control my own destiny. I am fortunate that my band respects that I handle the business, and that they direct inquiries to me. Often, however, people will still approach the men in my band about business or scheduling, ignoring my presence as a leader. I have had to check folks about how they speak with me, especially when I am asking for what I need. I have heard men refer to me as difficult — a diva — because I advocate for myself. This is not an “it is what it is” situation. I know I have power as an artist and as a human being. If a venue does not treat me with respect, I can choose to play elsewhere. I am resourceful, ambitious, and unafraid.

8 | Minnesota Women’s Press | womenspress.com | May 2020 In order to change the narrative, we need to continue • It is extremely important to call to demand respect from the industry and the people who out bias if you witness it, especially dominate it. We need more pay for gigs, to check misogyny, working in the club scene. I have and call out uncomfortable situations with club owners, seen awesome club owners step artists, other musicians, and bookers. We need to decide up and rectify biased situations. whether to play venues that do not treat all artists well. • There are women-led open mics, We linked our conversation about bias to achieving a work radio shows, podcasts, and curated spaces all and life balance. Women carry a lot of responsibilities, such over the Twin Cities. Support us by sharing as working a day job, parenting, and tending to the health our music with others. Buy merchandise. issues of others. It can be overwhelming at times, so my last question to the panel was: “What are your needs navigating this industry?” Women-Curated Music Events The consensus was that there is strength • Tish Jones of TruArtSpeaks hosts and curates the #ReverbOpenMic on Thursdays at theMLK Center in St. in numbers. We need more women working Paul. Desdamona is also a host of this event. together to make this a better situation, • Holly Hansen hosts TEE - Tuesday Early Evening (an especially within our Twin Cities scene. evening of music and conversation) at the 331 Club. We found commonality in our experiences, and were able • Kathleen Johnson hosts the Greats Gone 2 Soon series to speak to hurdles that are hard to articulate. It is a breath of at the Dakota. fresh air to know that there are other powerful women like • Mary Lucia (along with David Campbell) hosts Rock me who are still having to break glass ceilings. For Pussy/David Bowie tribute at First Ave annually. We closed our conversation by discussing what a • Molly Maher hosts and curates the Como Lakeside collaboration between women artists, writers, musicians, Pavilion Music Shows. bookers, agents, and managers could look like in the future. • Ellen Stanley hosts a KFAI show dedicated to women in Supportive collaboration could be anything from coalitions music called “WOMENFOLK” on Tuesday evenings. to festivals, where the central focus is on women artists coming together to celebrate our work. I have worked with many all-women artistic groups. These experiences have been some of the greatest shows I have ever participated in. It is amazing to be in-process with women who do what you do, empathize with your experiences, and have the common goal of working towards change. I am honored to have shared that History Center stage with those brilliant women. It gave me renewed ambition, and a greater sense of pride, to be a woman in music.

PaviElle French (she/her) is a composer, vocalist, and interdisciplinary artist born and raised in the Rondo Neighborhood of St. Paul. She has performed locally, nationally, and internationally, and won an Emmy Award and a Sage Cowles Award for Dance and Choreography.

Minnesota Women’s Press | womenspress.com | May 2020 | 9 identity in music

athy, Nadirah, and I all grew up wanting to write and perform our own music, and Kwe assumed being in a band was part of that natural progression. We came

PHOTO EMMA WONDRA EMMA PHOTO together out of necessity when the “Like Me Now” timing was right. Through roommates and friends submitted by Natalie Klemond from school, we were introduced to the Minneapolis do-it-yourself (DIY) music scene. I saw a local all-women band, Tony Peachka, play at the DIY venue Licorice Beach. It struck me then: “Okay, time to do this.” Kathy and I were roommates. She met Nadirah while they were working at Ragstock. Since Nadirah was learning to play the drums, and I had received a bass guitar at Christmas, we had the basic elements. With no knowledge of what we were doing, or what we were in for, we set to work. In retrospect, we had no idea how serendipitous our meeting was. Personally, I don’t know that I could have done this with anyone else. We bonded over the lack of representation in the music scene. Especially when we started playing live, we were the only non-men on the bill at most shows. Nadirah was, and often still is, the only person of color on stage, and sometimes at the entire gig. We recognized that this lack of genuine diversity was something we grew up with. Most of my childhood idols were male musicians. This was not an accident. I attribute it to my own deep-seated internalized misogyny. Dismantling these ideas has been a lot more work than simply subscribing to a belief in girl power. (l to r): Nadirah McGill, Natalie Klemond, Kathy Callahan

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10 | Minnesota Women’s Press | womenspress.com | May 2020 Reckoning with our identities plays a big role in our music. While sometimes that results in high-energy power anthems, it also means a common theme of our work is our struggle with authenticity. We often feel uncertain of our worth as musicians and the validity of the worth bestowed on us by our community. The biggest change I see as we have progressed is that the insecurity has us looking more inward instead of out. We are mostly past the stage-fright — Nadi and Kathy rarely throw up before shows anymore, which used to happen every time. We have gotten enough good feedback over the past two years to believe that our audiences do not see us as completely clueless. We now believe that others believe in us. Believing in ourselves is another story. Our first album, “Not So Brave,” was loud and raucous, with surging tempos. It was our attempt to prove to the world that we could be bigger than we actually felt on stage. On our latest release, “Phony,” we are still trying to prove our abilities, but this time to ourselves. If we strip back the yelling and the noise, when we shoot for nuance, would we still be proud of ourselves? The lyrics to these songs cut a little deeper for us. The song “Like Me Now” is my favorite example of this. “Like me now? Just think if I really got me…” None of us feel fully formed. Maybe that is why the impostor syndrome feels so hard to overcome. It still feels like we have a long way to go. For “Phony,” it was the first time I figured out how to channel something I was going through into my songwriting process. I was successful not because the songs are catchy, but because they make me feel something big when I sing them.

Minneapolis needs more diversity in our local music scene, and so does the rest of the world. To the women, BIPOC, and queer folks who have interest in starting a band, please do. Find a couple of like-minded people to work with to help it feel less daunting.

We had no idea four years ago that we would still be working this much, and playing the type of gigs we play now. Our journey has shown us that the key to success is not technical talent — it is passion and dedication. A sense of camaraderie with your bandmates helps, too.

Natalie Klemond (she/her) lives and works in Minneapolis. She is a bassist, songwriter, and visual artist.

Minnesota Women’s Press | womenspress.com | May 2020 | 11 Identity in music PHOTO SARAH WHITING SARAH PHOTO Seeking New Heights

submitted by Ka Lia Universe

efore I realized I wanted to be a singer, I wanted to I realized that magical things happen when I allow myself to become an astronaut. When I was younger, I went be vulnerable. When I look back now, I see how important it stargazing a lot. I would spend the night on my cousin’s was to be honest with myself at that time, because it shaped trampolineB staring up at the sky. I knew that one day I wanted me into the artist I am today. to be where the stars were. My music started out with a keyboard and guitar, writing Committing to Music songs about things a 14-year-old knows — love and hate I have always been an entrepreneur, but it took awhile for relationships with family, silly boys, friendships I couldn’t me to find my calling. I tried working in real estate, trading keep up with, childhood trauma, and my self-image. stocks, sales, and more. I could never put my heart into it. In 2003, I fell in love with pop and R&B music, listening to When I finally realized that music was what I truly wanted hits like Britney Spears’ “Oops! … I Did It Again” and Alicia to do, I dropped everything, including my full-time job, to Keys’ “If I Ain’t Got You” on my CD player. Their personas pursue it fully. and confidence excited me. Seeing how they were able to Eventually, I started booking shows, creating and selling showcase their talents and touch millions of lives inspired me. merchandise, and making videos for extra income. I knew I started my own YouTube channel in 2010 after posting a that if I focused, music could be a full-time career for me. cover of Taylor Swift’s “White Horse” on Facebook. I played Being a Hmong American female artist, I knew that it songs that I wrote on my brother’s piano and used my laptop would be harder, take longer, and require ten times the effort webcam to record. and confidence. In high school, I became depressed about things in my My writing process varies depending on my mood and personal life. I skipped school so often that I missed an entire resources. When I was in my teen years, I would write month. I began carrying a journal to write my thoughts down. down lyrics and record the melodies that were in my head

12 | Minnesota Women’s Press | womenspress.com | May 2020 Being a Hmong-American female artist, I knew that it would be harder, take much longer, and require ten times the effort and confidence to pursue music. on whatever was available. I relied on my guitar, ukulele, Hmonglish or piano. Most of the time they were basic chords because In 2019, I decided to change my sound and make the music I am a self-taught musician. Nowadays, I find beats through that I really wanted to make — a decision that resulted in independent producers or online platforms. After I have my first Hmonglish album, “So Good.” “Hmonglish” means found one I vibe with, I record the vocals from home and mix combining the Hmong and English languages. I believe music and master the track myself. should not be restricted to one language or sound. To me, Hmonglish is part of a revolution that keeps music evolving. My Hmong Identity Our community only has a certain amount of artists, and Growing up, I was rebellious. My parents told me that I growing up there was not a Hmong musician that I looked needed to do things the Hmong way. I understand that our up to. That is why I decided to be that person for others. Most Hmong people have been through hell in the past, and I get Hmong people appreciate my art, but there are some who where my parents are coming from. However, we are not in think I sound too commercialized, “tuned,” or Americanized. the past anymore. Breaking into the mainstream is important to me. Hmongs There is a phrase a lot of Hmong people say, “Hmong don’t need to be heard, just like everyone else. Anyone can be love Hmong and that is why Hmong people do not have their famous for a few days, but to inspire people’s lives with your own country.” I hate that phrase. To me, it is naive. We cannot passion is another level. blame our own people. We were part of China until we were In the future, I see myself collaborating with artists I enjoy forced into the mountains of Southeast Asia. And even though listening to. I see myself talking about my journey on talk we do not have our own country, who can claim the earth? shows and winning Grammys with my family by my side. Our population is growing, yet some people think our I see myself writing music for other artists, having my own community is too small to be anything more than what it record label and clothing line, and buying my mom her dream is. I believe otherwise. I believe that Hmong people are as house. I want to build a foundation to help families in need. important as other cultures and ethnicities. It is not a bad thing to always want more. As long as you are Hmong music in the early 2000s was up-to-date. grateful and looking outside the box. Nowadays, I feel like our people are stuck in that time because of how we were Click here for audio and Ka Lia Universe (she/her) is a recording artist in St. Paul. You can find her debut album, “So Good,” raised. It is like we are scared to step up video enhancements for this and be inspiring. My hope is that my at kaliauniverse.bigcartel.com, iTunes, or on streaming services. music changes negative perspectives. story at womenspress.com

Minnesota Women’s Press | womenspress.com | May 2020 | 13 LGBTQ+ Storytelling The Punk Scene: No Longer Just for Cis Dudes

reported by Sheila Regan

From left to right: Nicole Rode (photo Studio McClutch), Sass (photo Kaytee Callahan), and Xochi de la Luna (photo Dena Denny)

t is before the shutdown and at 10pm, Dusty’s Bar in and open.” Northeast Minneapolis is packed. Stephanie Jo Murck, “Punk can be many things,” says musician, producer, of the band Sass, is at the microphone, wearing a cow- and curator Xochi de la Luna. “It can be a noise rock scene, Ipatterned dress, light green eyeshadow, and white tennis it can be metal, or it can be experimental stuff. Punk is just shoes. “Thanks for coming early,” she says with a deadpan. ingrained in DIY culture.” Murck, a skilled guitar player and singer-songwriter, is According to de la Luna, the scene has undergone a lot of part of a thriving punk and do-it-yourself (DIY) scene in change, even in the last year. “There are a lot of gatekeepers the Twin Cities, increasingly a place where women and that no longer have as much influence. The younger folk, folks of marginalized genders can hold space. they are way more open minded,” says de la Luna, who Murck started performing around 2015. “My first band self-identifies as an Agender (without gender) trans was all-female,” she says. “We were tokenized on bills.” Salvadoran immigrant. “A lot of people in the booking She wanted to be seen as a musician, not qualified as a landscape are now nonbinary, Black, Brown, or queer. It “female” musician. makes it feel way more inviting.” Things are changing, but Murck still sees problems with Taylor Seaberg, of Seaberg and the Black Velvet Punks the ways that women and trans folks are promoted. “When [See related story on page 16], has seen that new openness people are grouping nonbinary musicians and women in even as they float between hip hop and punk realms. “I have the same category, or using the phrase women-identifying this weird genre fluidness,” they say. for trans women, I know it is part of people trying to be Seaberg sees plenty of toxic masculinity in communities inclusive, but I think it is a lot of posturing,” she says, they are a part of, but thinks it is starting to change. “I have “instead of listening to people and trying to be genuine been playing guitar for 10 or 11 years,” they say. “When

14 | Minnesota Women’s Press | womenspress.com | May 2020 people see that I can play, it erases a bit of the [social] stigma. I can actually play — it doesn’t matter if I’m a queer, non-cis person.” It comes down to surrounding yourself with the right people, Seaberg says. “I’m really intentional about who I choose to collaborate with.” The nature of the punk and DIY aesthetic, which pivots away from consumerism and mass produced media, lends itself to creating safe spaces for women and other marginalized groups, according to Braden Fischer, a musician who was a part of a DIY punk house in Midway St. Paul. “The DIY ethos is based around community,” Fischer says. “I have seen the community come together in cool ways about acknowledging unsafe people and requiring them to account for their actions.” Nicole Rode has seen that as well. Her band, which now goes by The Stonedest, originally was called Rapedoor. Rode grew up in Circle Pines, where she lived until she was 30. She realized she needed a change. “I went out and bought a drum set,” she says. “I don’t know where [the desire] came from or why.” Rode eventually made her way to Minneapolis and was in a two-piece band called River Bottom Sucker Fish. With encouragement from a friend, she approached Ron Q. Rudlong, who booked at Big V’s. “I went down there and walked in. Ron says I scared the crap out of him,” Rode remembers. “Then he said, do you want to play drums with me tonight? There’s an empty space.” The two jammed well together, and soon they had a band. Rode is drummer for the group and sings (or screams), usually dressed in elaborate costumes and makeup she assembles the day of the show. Rapedoor grew in popularity, but especially after the #metoo movement, Rode began to get heavy criticism for the band name. The band made a switch. “It has been a learning process,” she says. “You can figure out how to better represent your art and make a public apology, strive to be a better person.” Through everything, Rode says, “Music makes me feel normal. I have always been a weird person, and my brain is funky. Finding music really made me feel part of the world.”

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Minnesota Women’s Press | womenspress.com | May 2020 | 15 Equity

Rock & Roll Roots submitted by Taylor Seaberg

n South Minneapolis in 1987, my mother hid Dead open and the crowd furrowed into a massive mosh pit. Kennedys punk rock vinyl in the sleeves of Chic’s 1978 That was the first time I saw my mom elbow someone in the record, “Le Freak/Savoir Faire,” away from her religious face. It was all deliciously punk, and I loved it. Iparents. In her room, beyond their range of hearing, she offered up guttural screams Roots about the teenage angst that Rock music was a form riddles many adolescent of revolution started by the bodies and minds. marginalized and oppressed, If you were raised in the yet it is often white-washed church, and especially if by the industry and popular you were Black and raised culture. For instance, while in the church, you were OLSON HILLARY PHOTO Sister Rosetta Tharpe was often told not to engage the original godmother of with rock music. It was “the rock ‘n roll in the 1930s devil’s music.” and 1940s, she was not My mom’s taste in punk recognized with induction rock, along with her old into the Rock & Roll Hall school soul records, would of Fame until 2018. Elvis influence the music that I Presley is hailed the “King of began to make four years ago. Rock & Roll,” even though I got into rock at an early much of his work was age, although as a Black appropriated from Black teenage kid listening to rock musicians. “Hound Dog,” music was not considered for example, was originally “cool.” When I was about ten recorded by Willie Mae “Big years old, the bands heavy Mama” Thornton. in my rotation were System Throughout history, of a Down, Red Hot Chili Black musicians were Peppers, Radiohead, The barred from performing in Offspring, and Incubus. many venues. When Black At the age of 11, I started musicians did perform, listening to a Ukrainian- it was often in segregated American band that concert halls. Police preached revolution with and promoters racially fast-paced and jittered violin segregated audiences. solos, reggae/ska basslines, The implication of these and brightly attired dancers. dividing lines: white Years later, my mom and I musicians and audiences were free to engage, and Black saw Gogol Bordello perform at The Cabooze where the lead musicians and audiences were made aware of their imposed singer poured an entire bottle of red wine into the first row of inferior status, with threat of violence. the audience. As soon as the music started, the ground split By the 1970s, there was a clear lane the music industry was

16 | Minnesota Women’s Press | womenspress.com | May 2020 The Black Rock Coalition includes deM atlaS, Seaberg & The Black Velvet Punks, Blvck Madonna, and Hard Looks. The Coalition is currently scheduled to play at the Cedar Cultural Center on August 8.

pushing Black artists into during the funk and soul era. Detroit Afropunk refers to Black participation in punk and proto-punk rock group Death formed before the iconic punk alternative subcultures. Afropunk festivals are havens for band The Ramones. They started off as an exclusively funk Black minds and Black identity. In many ways, it is like a trio, but after listening to The Who and Alice Cooper became utopic coven, where Black existence is prioritized and allowed more inspired by the pounding, driving styles of rock. Death to flourish; a place where people are constantly fighting paved the way for punk, yet the band took a backseat in normative values, even within the Black community. For history until they resurfaced with the 2012 documentary, “A example, when you see a tall Black man, with a beard spotted Band Called Death.” with daisies, wearing a flowing violet skirt, embracing his femininity at a concert, that’s Afropunk. Building Community Rapper deM atlaS is one of the first people I met in In high school I started bonding with other Black kids who Minnesota who had a Nirvana-esque punk grunge influence were bullied and called ‘white-washed’ or an ‘Oreo’ (Black on in his hip hop. We noticed similarities in the way we crossed the outside, white on the inside) for the music they listened to. genres. It made sense to support one another, rather than fight After I moved to Minnesota in 2011 for college, I learned for limited resources. One day, Brian from Blvck Madonna, quickly that there is a very tight-knit bassist Roderick Glasper, deM atlaS, and I got together and said, “Why music community here. I started Click here for audio and video playing in a band called People Will hasn’t a Black rock coalition been a Dance. We practiced under a shaky enhancements for this story thing yet?” chandelier hanging in the living room at womenspress.com Creating a Black rock coalition of my older brother’s house. is not a new idea, but it is needed in I began performing because I was the Midwest, where venue spaces are broke and wanted to do something that kept my head and predominantly white. In Minnesota, heart afloat until I got my life together. Other musicians we have music festivals like Soundset and the Minnesota encouraged me to take it more seriously. Things slowly State Fair’s scattered showcases, but we don’t have anything evolved. I realized that performing music is the most cathartic that celebrates genre fusion ensembles. We have hopes that experience I have ever had. the coalition could one day turn into its own festival featuring I started meeting others who were interested in the kind a rotation of unconventional Black players. of music I wanted to pursue. We showed up for one another, It is comforting to look on stage and see people who look attending each other’s shows, advocating for each other, and like you playing music that has been deemed unconventional providing referrals for gigs. I persuaded Brian Herron Jr., the for Black artists to play. It feels like a reclamation and homage front person of the all-Black hip hop and punk rock group to Little Richard and Chuck Berry. We have more agency to Blvck Madonna, to give me some of his band hoodies, which perform than our ancestors did, and we can carry on that legacy. I wore at my own shows. Y’all ever heard of the Black head nod? The non-verbal gesture you give that affirms when you notice another Black person in Towards a Black Rock Coalition the room from across a 20-foot radius of white suburbia. You do a coinciding head nod, an unspoken validation, as if to say, Until the rise of social media, I had no idea that listening “We see you, we got you, we gon be alright.” to rock music as a young Black kid was not a freakish thing We want to generate that feeling with a collaborative to do. I first learned about Afropunk in 2012, when one of music curation. my friends was a photojournalist who left for the semester to take a kaleidoscope of pictures featuring the vast spectrum of Taylor Seaberg (they/them) is a queer, third generation Kenyan- Black beauty in Brooklyn, New York. American multi-instrumentalist and producer who believes music is meant to be weird and defy boundaries of convention.

Minnesota Women’s Press | womenspress.com | May 2020 | 17 INDIGENOUS storytelling COURTESY PHOTO COURTESY

18 | Minnesota Women’s Press | womenspress.com | May 2020 A Conversation With Annie Humphrey as told to Marcie Rendon

nnie Humphrey (Ojibwe) is a grandmother, mother, singer, songwriter, and visual artist who was born and raised on the Leech Lake Reservation in Northern Minnesota. She has been recording work for three decades and was named Artist of the Year at Athe 2018 Native American Music Awards. Her latest album, “Eat What You Kill,” was released in 2019. It is a meditation on accountability and gratitude.

Q: What are you currently working on? toddler. I was interested in welfare reform My family and I are getting ready for sugar because I had a hard time getting daycare. bush right now. Music is a small part of my Regarding my work today, I have more life compared to the rest of the work I do with songs I will finish. I don’t have a plan in the my family year-round. I am live streaming music field. I’ve never marketed aggressively. some music. I recently finished a new record. I just plan to keep writing and playing. I did some life shifting in 2018. I was in a car accident and broke my left wrist. At the Q: What do you see for Native women, time, I was doing activism work opposing for women, and for the future in the Line 3 pipeline. I was organizing here at general? Leech Lake. Looking back, this work took My mother and father taught me to be me out of balance. As my good friend John strong. My father was very knowledgeable Trudell said, “When one lives in a society about ricing, sugar bush, netting. That is where people can no longer rely on the where my passion for environment and social institutions to tell them the truth, the truth justice came from, my parents. must come from culture and art.” For the women in my family, my daughters After the accident, I stepped back and know how to be self-sufficient. They know how went back to songwriting. “Eat What You to run a chainsaw. They know how to work. Kill” is the title of my record that came out The European concept of being a woman is in November 2019. I want this record to be a not ours. Physically, the women in my family direction for my children and grandchildren. know they can do all kinds of things. I sing, “show your babies all I know, live by One of my songs, “Now She Dances,” is the stories my mother told.” I am passing about sexual assault. The song is also about down stories and a way of life. One of my climate change. I think the way women are songs, “Heart Beyond Song,” is about being treated, and the way the earth is treated, are accountable for the things we say and don’t the same. say. It is about how we should do more apologizing and be more accountable. Resources Right now, I am feeling a need to be more in a survival mode, to help my family, with • facebook.com/anniehumphreymusic knowledge passed down. • anniehumphreymusic.com Q: What do you see for yourself in the future? My first big contract [came when] I was Click here for audio and video working on a compilation and someone sent enhancements for this story it to a record label. I started playing in coffee shops for two hours at a time, for tips, in Grand at womenspress.com Forks. I was a college student, with a baby and

Minnesota Women’s Press | womenspress.com | May 2020 | 19 BookShelf Rewriting Music History to Include Women written by Andrea Swensson

hen I started working on my first book, “Got to Be Something Here: The Rise of the Minneapolis Sound,” I spent countless hours PHOTO LESLIE PLESSER LESLIE PHOTO Wwandering the music section of the library, searching for clues, a little inspiration, and a quiet distraction from my impending deadlines. To my delight, there seemed to be titles related to even the most obscure subjects, from biographies of jazz and blues musicians to collections of critical essays, historical album charts, and memoirs. To my frustration, these shelves seemed to be filled almost exclusively with books written by male authors, most of them white. I will be honest. I faced some wicked impostor syndrome when I tried to put pen to paper for the first time. I opened a new document on my computer and labeled it THE ACTUAL BOOK.doc. It would be the place where I would put the good writing, the actual writing — my book-level stuff, which would be 10 times more excellent than anything I had ever written before. I didn’t add anything to it for four months. Part of the problem, in hindsight, was that running my hands across all those spines in the library stacks was not helping to convince me that my work belonged on those shelves. To combat that, I checked out every title I could find by the women historians, journalists, and critics who have written brilliantly about music over the past several decades. I thumbed through them every time I lost my way. I started with a public radio legend: the longtime host The best questions are often the of NPR’s Fresh Air, Terry Gross, who published in 2004 a collection of her favorite interviews in a book called “All simplest, and the result of close I Did Was Ask.” Studying transcripts of her interviews reminded me that the best questions are often the simplest, listening rather than wordy, and the result of close listening rather than wordy, over- explained questions. A well-timed “How come?” or “Why over-explained questions. A not?” can loosen up even the most media-trained celebrity. Another essential collection was “Rock She Wrote: well-timed “How come?” or “Why Women Write About Rock, Pop, and Rap,” which rounds up not?” can loosen up even the pieces from more than 60 women. One of the editors of that collection, Ann Powers, has been something of a guiding most media-trained celebrity. light for me throughout my career. Her latest book, “Good Booty: Love and Sex, Black and White, Body and Soul in American Music,” reiterated what I heard her say once at a

20 | Minnesota Women’s Press | womenspress.com | May 2020 Book Notes Thanks to an affiliate partnership with Magers & Quinn booksellers, Minnesota Women’s Press readers who want to dive deeper into our monthly themes are able to place online orders that contribute a percentage of sales to our Storytelling Fund. Visit womenspress.com for articles that display the Magers & Quinn link. journalism conference — the job of a critic isn’t to say whether songs are good or bad, but to place what we are hearing in context. The Twin Cities-born, Chicago-based critic “Got to Be Something Here: The Rise of the Jessica Hopper has also been another major Minneapolis Sound” influence. Her 2015 book, “The First Collection by Andrea Swensson of Criticism By a Living Female Rock Critic,” was like a gauntlet being thrown down. “This book is dedicated to those that came before, those that should [have] been first, and all the “All I Did Was Ask” by Terry Gross ones that will come after.” I carried that dedication with me like I was on assignment. “Rock She Wrote: Women Write About Rock, Then there are the women who are writing Pop, and Rap” compilation by multiple about music here in Minnesota. Although authors only a small number have published books so far, the work has been remarkable. Memoirs by Michelle Leon and Laurie Lindeen “Good Booty: Love and Sex, Black and White, illuminate the necessary and untold stories of Body and Soul in American Music” the all-women bands (in their cases, Babes in by Ann Powers Toyland and Zuzu’s Petals) who had as much of a role in building our rock scene as the oft- celebrated men. “The First Collection of Criticism By a Living The tireless historian and KFAI DJ Cyn Female Rock Critic” Collins, author of “West Bank Boogie” and by Jessica Hopper “Complicated Fun,” has been an inspiration to me, reminding me that I am not alone in my endeavors. I wrote my first book as a way to elevate “West Bank Boogie” by Cyn Collins the voices that have not been historically included in canonization of music. “Got to Be Something Here” primarily focuses on the African American community members who “Complicated Fun” by Cyn Collins helped lay the groundwork for Prince, and who persevered through discrimination and racism to build a scene. By the end of that research and writing process, it was evident that my purpose as an “I Live Inside: Memoirs of Babes in Toyland” by author is to seek out the important figures who Michelle Leon are not included in other texts, and to amplify their stories. It is an honor to join in the work of all those who came before me — and all the ones who will come after. “Petal Pusher: A Rock and Roll Cinderella Story” by Laurie Lindeen Andrea Swensson (she/her) is an author, music journalist, and DJ at 89.3 The Current, where she hosts “The Local Show” on Sundays, at 6-8pm.

Minnesota Women’s Press | womenspress.com | May 2020 | 21 KIDS GUIDE

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22 | Minnesota Women’s Press | womenspress.com | May 2020 Kids Guide

took my first dance class when I was five years old. I was born with a rare form of dwarfism, and I have a vent to help me breathe. I often Iuse a wheelchair because I cannot walk very well without assistance and I have equipment with me How Dance that I can’t carry. I was in that first class for only half a year because I had a hard time keeping up. The next year, my dad met someone who was Moves Me starting an All Abilities dance class for kids with and without disabilities. At first I was scared to join, because it meant trying something new. I was afraid of finding out that I couldn’t do it. I finally decided to join when I was 10. Now I dance in three Young Dance Company classes: All Abilities, Choreography, and Modern Dance. When I arrive at dance, I am cold and stiff because I do not get a lot of exercise other than dance. We usually start class in a circle and talk about the plan for the day or how we are feeling. We do warm-ups or stretching and learn practice dances. I am happy during class because I love to dance and be with my friends. As I move, I get hot and my muscles get tired. By the end of class, I am sweaty and just want to sit. Some of my favorite dances include Ananya and the Boxing Dance, because they are fun and challenging. Ananya Dance Theatre creates contemporary Indian dance, which includes lots of named hand movements. A guest artist taught us boxing moves and we made a dance out of it. I like performing to show people the work I have been doing. I like making our own dances, which involves planning the moves, costumes, music, and lighting. I choreographed a drag dance — based on American ragtime jazz — with a puppet. I sometimes surprise myself when I am able to do a dance move I did not think I would be able to do. Other times, I have to adapt a move in order to be able to do it. For example, a dance may have a move that involves leaping while moving an arm, or walking while using both arms. I need submitted by Lainey Lee at least one arm on my walker to move, so I adapt by not raising an arm or not moving. I work really hard because I have to keep up, made a dance with a guest artist about water quality, with learn the dance, and change the dance so it works for my body. moves that look like water. In addition to boxing and Ananya, we have had artists Art becomes my dance. teach us how to create dances to live music, or to illustrate Lainey Lee (she/her) is in 7th grade. She enjoys dancing, vacationing issues in the world, like gun violence and women’s rights. We with her family, and watching animals.

Click here for audio and video enhancements for this story at womenspress.com Minnesota Women’s Press | womenspress.com | May 2020 | 23 KIDS GUIDE

24 | Minnesota Women’s Press | womenspress.com | May 2020 GoSeeDo

Ongoing — MN Art Mart s we enter the second month of social distancing, many arts organizations are keeping audiences engaged with virtual activities and resources for Astaying healthy and connected amidst the crisis. From all- ages synchronized swimming to online artist studio visits, find a few options here to stay active, informed, and inspired.

5/15-17 — Art-A-Whirl (online) The beloved open studio experience organized by Northeast Minneapolis Arts Association Anima Harper, Reflections Eternal, 2020, 24x36”, acrylic on wood (NEMAA) will continue online this year. NEMAA will provide Support visual artists who rely on income from contract resources and training for artists labor, traveling gigs, and sales of work and discover your new developing their online presence to favorite by visiting Soo Visual Art Center’s art hub. All sales connect with the public virtually. go directly to artists. Artists can request to be featured by A list of resources for artists and emailing here. Free. Find the Art Mart here. freelancers navigating COVID-19 is available here. Free. Find Art-A-Whirl updates here. Ongoing — Pillsbury House + Theatre Resident Artists Join Pillsbury House + Theatre’s teaching artists on 5/16 — Subversive Sirens Virtual Splash YouTube for a range of arts-integrated activities designed to spark creativity and build confidence in children, as well as picture books read aloud. Free. Find videos here.

Ongoing — Virtual Dance Parties PHOTO MIKE LEVAD MIKE PHOTO

Kairos Alive “Daily Swings”

This Minnesota-based synchronized swimming team is Kairos Alive instructors facilitate virtual 10 minute- long committed to Black liberation, equity, radical body acceptance “Daily Swings” with an emphasis on intergenerational in athleticism, and queer visibility. While absent from a pool, connection. Free. 3pm, Monday-Friday. Find more details here. their ‘virtual splash’ will feature breathing, stretching, and a Collide Theatrical Dance Company teaching artists choreographed dance inspired by synchronized swimming perform style-specific instruction. Free. Find videos here. that everyone can learn and perform together. Free, donation Zenon Dance Company and School offer classes via Zoom accepted. 3-4pm. Register here. Find more information about in styles that range from Afro-Modern to Tap to Youth Ballet. Subversive Sirens here. Costs vary. Find details and registration instructions here.

Minnesota Women’s Press | womenspress.com | May 2020 | 25

In the News

Music During Lockdown Quarantining as a Single Parent From Spain to China, Italy, and even in Minnesota, music Leslie Jamison writes in a New York Review of Books making is connecting neighbors in lockdown. Turning to song essay about becoming symptomatic and quarantining as in times of uncertainty is nothing new; music has provided a a single mother with her two-year-old daughter. Jamison sense of belonging since early human evolution. details spending her days sweating through sheets in between “The ability of music to increase social cohesion and direct cleaning and feeding her daughter. Quarantine is a teacher, human attention was probably a key reason for its development,” she writes, of “what I’ve already been taught, but I’ll never writes Michelle Langley and Leah Coutts in an article published learn — that there are so many other ways to be lonely besides by The Conversation. Making music can help us feel in control, the particular way I am lonely.” they write, and is a source of collective identity, which can be an antidote to feelings of alienation during social distancing. Community Care On the Rise Musicians also are turning to online platforms such as YES! Magazine published a list of ways global communities Patreon, Facebook Live, Instagram, and more to play or share are taking care of each other amidst the pandemic. Stories unreleased tracks with paying fans. “It is a whole new level of include the social media campaign, which encourages those interacting with your audience,” indie musician Haley Bonar with stable incomes to pass on their stimulus checks to those told the Star Tribune. in need. The New York Times has compiled a list of worthy The Current’s Morning Show host Jill Riley is checking in nonprofits. with musicians around the world to discuss what their lives Hand in Hand, a national network of domestic are like in the time of social distancing. Some are recording employers, is encouraging those who hire new music. Others are hustling to earn an income and nannies, house cleaners, and home attendants organize live streams. “I'm doing okay. I'm holding out,” says to pledge their commitment to pay those singer and activist Mavis Staples. “It's pretty dreary, but the employees. The Human Rights Campaign has sun is shining today. That makes it better." compiled a resource guide for members of the LGBTQ+ community who are feeling vulnerable at this time. Discrimination Helpline Launched Helping Musicians and Artists in Need • Springboard Center for the Arts • Twin Cities Music Community Trust • MN Artist Relief Shop • COVID-19 Income Relief • Billboard State-by-State Resource Guide for Musicians • Find a mutual aid hub in your area • National Alliance for Mental Illness COVID-19 Resource and Information Guide

Minnesota has launched a helpline amid rising reports of Stimulus Check Donation Options discrimination toward the Asian Pacific Islander community • Planned Parenthood and will enable Minnesotans who experience or witness • Violence Free Minnesota discrimination to report incidents directly to the Minnesota Department of Human Rights (8am-4:30pm). An online • Women for Political Change option is available. Translation services are available. • Break the Silence • Family Tree Clinic Minnesota Activists Push for Cancelled Rent • Hmong Women Achieving Together Due to the health and financial crisis sparked by COVID-19, • Tubman social services many are unable to pay rent. Inquilinxs Unidxs Por Justicia and African Career, Education and Resource, Inc. are calling • Wayside Recovery Center on Minnesota lawmakers to cancel rent and mortgages for all. Click links for direct access to detailed information CancelRentMN.com

26 | Minnesota Women’s Press | womenspress.com | May 2020 Now is the time to reserve space in the 2020 Women’s Directory

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5/21 7/21 Descriptive listings only deadline deadline MINNESOTA 100-word listing $314 $349 1/2 pg WOMEN’S PRESS 50-word listing $273 $303 25-word listing $201 $226 651-646-3968 • [email protected] Remembering Dance Pioneer: Loyce Houlton

t has been 25 years since the passing of Loyce Houlton, who struck by how Houlton was merging ballet and modern made a significant contribution to the cultural landscape dance, inspired by both Graham and George Balanchine. of Minnesota and the world of dance. Minnesota Dance While Graham emphasized articulation of the torso and ITheatre (MDT) talked with dancer, choreographer, and dance upper body to reveal emotion, Balanchine was known for a historian Judith Brin Ingber, who was friends with Houlton. more angular approach, often in the context of plotless ballets This is adapted from a story that appeared on theMDT website. with streamlined unitards and tights. In Houlton’s production of “Rite of Spring” the women In the early 1960s, Loyce dance en pointe and draw was teaching dance at the from traditional ballet in University of Minnesota and the legs and feet, while had recently opened her own employing Graham’s school in Dinkytown. As Brin approach with deep spirals Ingber observed, “Loyce was and contractions. transforming an extremely In 1961, Houlton beautiful old building that launched what would included a large studio and a eventually be known as balcony overlooking the dance Minnesota Dance Theatre. floor. She was imbuing young Within ten years she had people with excitement.” refurbished what is now The The local dance landscape Cedar Cultural Center near in the 1960s included the University of Minnesota Gertrude Lippincott, who West Bank campus. Brin was the first to have a Ingber recalled, “Loyce’s modern dance company Minnesota Dance Theatre founder Loyce Houlton teaching in Spoleto, rehearsals and classes were in Minneapolis. Lippincott Italy (photo courtesy of Minnesota Dance Theatre) unforgettable.” championed the modern Houlton brought notable traditions of Martha Graham and Doris Humphrey. Lorand teachers to work with students, including several from the Andahazy and Anna Adrianova spearheaded the Russian Graham company. “Loyce was very ‘of the moment,’” Brin ballet tradition in Minnesota. Nancy Ingber says. “She went to New York McKnight Hauser introduced often and brought that New York European expressionist modern dance Click here for audio and video sensibility to what she was showing at her studios. enhancements for this story and creating, taking influences that Brin Ingber was familiar with the at womenspress.com were au courant and doing them in Minnesota dance landscape, and was her own way.”

28 | Minnesota Women’s Press | womenspress.com | May 2020 Classified Ads

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