Clarinet to Couture: How local drag queen Tajma Stetson dazzles in both worlds

This is an article I wrote for The Pitch, Kansas City’s renowned alternative publication. You can read the full article here.

Tajma Stetson slipped on her sickening sequin gown, fixed her crown and then slowly slid onto the seat of the grand piano in her living room. As she removed her clarinet from its case, she told me “Hey, by the way, my clarinet’s name is André. He’s my main man.” She then hoisted her instrument over her shoulder, and flashed me a brilliant smile as the shutter on my camera started clicking. Stetson was clearly no stranger to being in the spotlight, in and out of drag.

Stetson is one of the local dazzling queens of Nightingales at Nighthawk—coined as “Kansas City’s Downtown Drag Affair.” In a sea of queens, you’ll be able to spot her fiery red hair, sickening mug, and voluptuous curves from a mile away. Alongside her weekly jaunt around the speakeasy, she is an active contestant in drag pageantry and holds the titles of Miss Gay Missouri America 2022 and Miss Gay United States 2019. Yes, Kansas City just so happens to be home to one of the most decorated drag queens in the Midwest.

After a long performance, Stetson gets to come home, pour herself a glass of bubbly, and relax in her living room that features a grand piano, Keith Herring prints, and a multitude of plants. Next to the grand piano sits a sheet music stand, which designates a space where she gets to practice her classical music favorites when she’s out of drag.

When the wig and mug comes off, Stetson transforms into someone equally as fabulous. As a clarinetist for the Kansas City Civic Orchestra and the principal clarinetist for the Kinnor Philharmonic, Michael Tolbert dominates the Kansas City performing arts scene in more ways than one.

Tolbert moved to Kansas City to pursue his Doctorate of Musical Arts at the University of Missouri-Kansas City. Tolbert, already having his masters, decided to not finish his studies at UMKC and dive headfirst into his pursuit of performance arts instead after finding himself in a whirlwind of inspiration drawn from the city’s art scene. 

“I moved to Kansas City in hopes of landing in an orchestra. I got an invitation to be a part of Kinnor Philharmonic which is the Kansas City Jewish Orchestra conducted by Dr Chris Kelts. They were looking for a clarinetist, and I didn’t even have to audition,” Tolbert says. “I mean, I think my first rehearsals and performance were my audition, and so the rest is history. I’ve been sitting with them for 12 seasons now. And every time a concert rolls around, I try to rise to the occasion, remembering I didn’t have to audition, so I better be good.” 

After landing his spot in Kinnor Philharmonic, he got the opportunity to compete for a seat in the Kansas City Civic Orchestra, which regularly performs pieces at the Kauffman Center for the Performing Arts. These seats are extremely limited, as musicians from all over the metro spend years perfecting their craft to even get a glimpse into life as a professional musician.

“​​Eventually one of the seats came up and I got the seat because I was one of their reliable subs… It’s truly by the gifts of the universe that I got those seats, because they’re a lot of really terrific, dazzling clarinet players all over Kansas City, both professional and amateur,” Tolbert says.

Her workspace shows the dedication that goes into the performance art of drag. // Photo by Sophia Lail

As he grew into his professional career, drag became a passionate hobby of his. The move from a small town in Michigan to up-and-coming metropolitan proved to be monumental, as he suddenly found himself in a city with sickening drag queens that were already dominating the industry. As he immersed himself in Kansas City queer culture, the representation gave him the inspiration that solidified the idea that his work in drag could make the transition from hobby to serious career move. 

 “I saw queens doing fashion shows, girls that traveled… They were the star entertainers of nightclubs, they were singing cabarets, they had a full catalog, they had a full wardrobe. They all had big time drag members that they were doing here,” Tolbert says. “And I was able to have a glimpse of that. And I went, ‘Oh my God!’” 

Inspired by the seemingly glamorous lives of Kansas City drag queens, Tajma Stetson was born. She was given her start at Sidekicks Saloon—an iconic local spot for “cowboy-loving-cowboys.” Her name was bestowed upon her by Shania Stetson—a renowned Kansas City drag queen turned current Chicago entertainer. 

“I was already going to be a Stetson, because I’m from the House of Stetson. So here I am thinking I was going to be like Sarah or Stephanie or something, and when they said Tajma, I was over the moon. It took me one breath to accept that as a way of life,” Tolbert says.

Stetson spent months perfecting her fiery red hair and luxe persona, not wanting to take the pure drama of her name for granted. By 2009, Miss Tajma Stetson was already a decorated drag queen. Since her debut, she has claimed over a dozen titles through the pageantry circuit. 

National drag pageantry has existed since Miss Gay America debuted in 1972, and has left its mark in modern pop culture since Rupaul’s Drag Race first aired in 2009. Early pageants, before the modern glitz and glam, were held in bars and discotheques post Stonewall.

“It was a protest that we’re starting pageants to not only find the best queen that we know in these parameters of these categories, but to say, ‘Hey, we’re going in every city, in every town, in every state, to say we’re here, we’re queer, we’re fabulous, we’re putting on a show, and we’re going to find the queens; We’re going to find Miss Gay America,’” Tolbert says. 

Tajma Stetson has acquired a crown collection to envy in her years doing pageantry. // Photo by Sophia Lail

His love of all things classical music helped him find the foundation for his persona as Tajma. Wielding his clarinet, he intermingled his love of classical music and drag through the talent portions of his performances, which helped him go above and beyond in pageantry. 

For much of his life, he was a clarinetist first and drag queen second. Like many of us who found solace in musical arts programs, he spent much of his adolescence hunched over sheet music and working to find ways to stand out amongst his peers.  

“I played recitals, played in orchestras; I knew what I was doing. It’s not like I was an amateur drag queen and an amateur clarinetist. I was a pro clarinetist; One of them had to come up, and it was my drag,” he says.

Yet, he really put in the work. After getting serious about drag, he decided to dedicate some space to creating gag-worthy looks for performances that no one else could replicate. Feathers and sequins strewn about, his home workspace is a mix of glamour, passion, and pure chaos. Dresses from years past hang off the side of storage racks that are filled with work-in-progress accessories, archived statement pieces, and hand-sewn garments. 

The intersection of both of these creative pursuits creates a certain harmony that many of us could take notes on. Drag has created an outlet for Tolbert to be offbeat; a display of creative freedom that he might not get in orchestra, whereas his classical training in clarinet brings dimension to his drag and opens doors for him in the world of drag pageantry.

These two seemingly opposite creative outlets make the perfect recipe for an outstanding drag queen. Orchestra and drag cannot exist separately within the world of Tajma Stetson, and thank god for that. She said it best, “Beyonce could not exist without Beethoven.”

Tolbert’s performance schedule as Tajma Stetson for Nightingales at Nighthawk can be found on their Instagram, and his performances for Kinnor Philharmonic and the Kansas City Civic Orchestra can be found on their websites.

Beco Gallery revived as The Waiting Room in reimagined West Bottoms space

This is an article I wrote for The Pitch, Kansas City’s renowned alternative publication. You can read the full article here.

Local artists banding together to continue the legacy of a beloved art gallery? It sounds like a subplot in a YA novel, but after Beco Gallery was forced to close the doors to its gallery in 2022, members of the local art community worked together to evolve Beco Gallery into its new identity and continue its legacy. 

On Feb. 21, The Waiting Room, located in the West Bottoms’s Holsum Warehouse building, opened its doors to the public with a small gallery and work-in-progress studio space.  

The space is the continuation of Beco Gallery, founded in 1999 by Rebecca Ederer and Collette Keenan as part of their business Beco Flowers. However, when Beco Flowers lost its location in the Crossroads Arts District in Kansas City due to doubling rent prices, the flower shop relocated and parted with its gallery.

SK Reed, The Waiting Room co-founder, decided to continue Beco Gallery’s work by curating 10 off-site exhibitions, before partnering with co-founder David Lieffring and co-curator Lily Erb to work to curate a new, permanent gallery and art space. 

After climbing down the stairs to the basement of the industrial era building, you enter the seemingly haunted basement turned collective. Lieffring and Reed have spent the past couple of months transforming the space into Kansas City’s newest artist-run gallery. 

“Beco had this amazing legacy of supporting local, emerging and underrepresented artists, and it felt like a real staple in the community,” Reed says. “I feel like in Kansas City there’s this big kind of DIY energy, because we don’t have as many resources as larger cities. So a lot of artists are kind of like chipping in to try and give each other opportunities, especially for those that don’t have that career set up yet.”

When Beco closed its doors, it still had a year of exhibitions planned with a multitude of artists, and Reed was determined to make sure these artists still had the opportunity for their art to be shown. “It’s really important when you get a show. So it was pretty cool that all these other spaces across the Kansas City Art scene chipped in and hosted our shows,” Reed says. 

As you traverse the space, you’re met with doors leading into work-in-progress studios to house artists, alongside the gallery space that hosts the current exhibition. Titled “Beco-se Of You,” it is a selected 25 works of art from 25 artists who have engaged with Beco Gallery in the past as exhibiting artists, former curators, or community members. 

“i captured you in a bottle and forgot to let you out (the rose of memphis)” by Jackob Graves was on display at The Waiting Rooms first exhibition titled “Beco-se of You.”

As somebody who minored in visual arts in college, I take a gallery very seriously. This exhibition definitely earned its place in being one of my recent favorites. My favorite piece, by Jackob Graves, was a heart sculpture made of a concoction of lace, wire, newspaper, a broken brooch, rhinestones, false eyelashes, confetti, wax, paraffin, and… a vanity mirror stand? 

Despite being made of things I could find in my bathroom trash can, I contemplated taking this $670 sculpture home with me. This was a theme in the gallery, as every piece was so captivating that I could feel my wallet start to shiver in fear. Metaphorically, of course. 

The space felt representative of the best of what the Kansas City art scene has to offer. Alongside being offered drinks and snacks in the most ‘midwestern niceness’ fashion ever, the gallery was bustling with midwestern artists bleeding with pride of the work being showcased. 

“We’re still trying to hold on and extend the history of Beco Gallery. We’re just trying to change the name so it still feels like the extension of this larger project,” Reed says. “The Waiting Room just feels like an important change.”

The Waiting Room is located in the basement of the old Holsum Warehouse building located at 1106 Santa Fe St. in the West Bottoms district of Kansas City, MO. To learn more about The Waiting Room, future exhibitions, and exhibition dates, you can follow them on Instagram. 

Kansas City Ballet’s Don Quixote blends stagecraft, satire for sophisticated show

This is an article I wrote for The Pitch, Kansas City’s renowned alternative publication. You can read the full article here.

Upon arriving at the Kauffman Center of Performing Arts, I realized that I’ve never been to such a sophisticated affair. Standing amongst local Kansas Citians in their best dress, conversing before entering the Muriel Kauffman Theatre, I didn’t know what to expect from the opening night of a ballet adaptation of the iconic Don Quixote. 

As I was ushered to my seat and the lights dimmed in the packed theater, I felt suddenly transported to the early modern period. I reached into my purse for my glasses, and felt like a Spanish aristocrat wielding her opera glasses. The ballet began, and not to my surprise my expectations were already exceeded. Immensely. 

Kansas City Ballet’s rendition of Don Quixote is captivating, with a stacked cast and elaborate set designs and costuming. Choreographed by Emmy award winner Anna-Marie Holmes, its a modern, fresh take on a classic. 

 It felt more like a celebration of the novel and the telling of a story rather than a strictly technical and methodical ballet performance. At some points, the production made me feel like I was in a theater watching a high budget silent film, as the dancers were often acting alongside dancing. 

As Quixote slips more into his delusions, he finds himself in increasingly strange situations. // Photography by Brett Pruitt & East Market Studios.

Don Quixote follows the story of self-proclaimed knight Don Quixote, who read one too many chivalry romance novels and slips into insanity alongside his appointed squire as they go on adventures and bring his chivalrous fantasies to life. It also follows Basilio, a poor village barber and Kitri, daughter of a local town entrepreneur on their quest for love, as wealthy aristocrat Gamache follows Kitri, hoping to win her over.  

The performance had a hyper-realistic set design, with a moving windmill and a seemingly fully functional town square. Although it was a ballet, ensemble members were placed around each set to bring the story to life, reminiscent of something you’d see on Broadway. As dancers performed pirouettes and Italian fouettes, staged dancers served as onlookers before eventually making their way to center stage. 

Amaya Rodriguez’s performance as Kitri was especially impressive, with the crowd erupting in applause every time she graced the stage. Parrish Maynard’s performance as Quixote had the audience echoing in laughter throughout the duration, but they were equally captivated by his talents as a ballet dancer and actor. 

Among the chatter during intermission, I overheard someone in the audience say “This is probably the best costuming I’ve ever seen in a ballet.” Do I have the ballet expertise to agree with this sentiment? No. However, I don’t need to blindly trust their judgment, as the costuming was one of the first things that caught my attention, and kept it. The stage was bleeding with color and vibrancy—so a tip of the hat to costume director Jennifer Carroll. 

The second part of act two was a captivating change of pace, with moodier costuming and themes. // Photography by Brett Pruitt & East Market Studios.

Don Quixote can be seen at The Kauffman Center for Performing Arts through March 30. Ticketing and more information can be found here.

Midwest makers flash their own couture brilliance at Kansas City Fashion Week

This is an article I wrote for The Pitch, Kansas City’s renowned alternative publication. You can read the full article here.

If you look up Midwest fashion, you don’t get Vogue articles and street style fashion coverage. You get pictures of christian girl autumn-esque, pumpkin spice latte drinking women in skinny jeans, knee high boots, and infinity scarves. Yet, this isn’t specific to just the Midwest, as many other regions of the United States are equally unrepresented. 

When people hear fashion week, it’s likely that Kansas City is not the city they associate the term with. It’s not just us either, as most people associate fashion capital New York City with, well, fashion in general. 

Yet, Kansas City has a lot to offer to the overall fashion industry, and our community has a lot of diversity that people may not be able to get in global fashion hubs. Despite not being the end-all-be-all of fashion, our smaller fashion community feeds directly into these major fashion capitals, and people may be more influenced by Midwestern fashion than they might think. 

Last week, Kansas City Fashion Week hosted its finale at Union Station after four days of shows that showcased the collections of over 35 different designers hailing from all over the region. Twice a year, Kansas City Fashion Week allows for us to show the world “We can do couture too!” And we do it well. 

“When you are getting involved in fashion in the Midwest, like there’s a lot more opportunities for recognition and also just connecting with other people who are just as passionate as you. In cities like New York, I think it can probably be a lot harder to get your name out there because you’re competing with so many other people doing the same thing as you,” says Sarah Skelly, a St. Louis-based fashion designer. “In the Midwest, it feels very supportive, and like other people want to see you grow.”

Sarah Skelly showed her designs at the Wednesday show, a collection of unique fabrics and silhouettes. Her designs seemed like an upscale, couture version of things we see people wear in their day-to-day. A suit, but with bright blue ballooning slacks and a pearl trimmed tie; an evening dress with ruching, pearl details, that reads more Victorian than modern. 

“I think what surprised me most was actually how much my brand has grown already, and also just feeling like the amount of confidence that I’m feeling now,” Skelly says. “I gained a lot of new followers on Instagram, and I would even have people like DMing me saying that they liked my collection. Those are always connections that are valuable in that industry.” 

One of the connections Skelly has made during her time doing fashion shows is Michael Drummond, a St. Louis based designer and Project Runway alum. “He’s really cool. We just had a really good conversation about the Midwest fashion scene and how it is growing,” Skelly says. 

Stxr’s collection was a parade of knitwear and crochet with a dark feminine edge. // Photo by Sophia Lail.

Throughout the week, Kansas City Fashion Week shows lines that are couture and streetwear to even furs and crochet. Stxr by designer Vaeh is a line of completely hand stitched crocheted pieces; different from everything else I saw come down the runway. 

“I was taught when I was small, it kind of died down once I got older. When I picked it back up… it just stuck with me,” Vaeh says. “With sewing, I would learn it, but it wouldn’t attract me enough to want to do it more. Crocheting, I would just do more and want to put that out more. I was just scared to be honest, because I would say, comparing it to sewing a garment and sewing some pieces, I would say is faster than crocheting and knitting pieces, because I’m literally creating the material and the whole panel.” 

As the models came down the runway in her designs, I could picture myself in them. That’s not something I could say when looking at the photos of the latest Miu Miu Fall/Winter 2025 line. The models ranged in sizes, representing a wide variety of different body types, which is something you don’t see a lot in this industry; gives us a pretty cool leg up. 

Kansas City Fashion week isn’t only important for designers trying to make a name for themselves, but for models to get exposure as well. Claire Potts, a Kansas City local, got exposure from modeling for this year’s fashion week. 

“I’m pretty sure 700-plus people apply to be models. It’s a lot of people,” Potts says. “I used to do dance and pageants, which I did when I was younger, and now that I’m an adult working a full-time job, I was like, I really miss having that creative outlet and doing things like that. So I kind of just went on a whim. I kind of just went for it one day after seeing an Instagram post.” 

Claire Potts, among other local models, uses modeling as a creative outlet. // Photo by Kimberly Easter.

Many models in bigger cities are hired through agencies, but the process in Kansas City is a little bit different. “You have to apply on the website to send an application with your information so they can identify you when you do make it to the casting… Then casting day, they have over three days, and you can come any one of the days. You do a walk for them, and then they take your picture, and it’s over in like 10 minutes,” Potts said. 

In a world where being in an agency is one of the only ways to get booked professionally as a model, this helps open up the door to local independent models to gain exposure. According to Potts, her experience modeling in Kansas City has been much more ethical than other fashion weeks she has participated in. 

“I think we’re treated with a lot of respect, and they want us to be comfortable, and that’s a big thing. I’ve walked in another fashion week before, and even that was such a big difference. Kansas City has a lot more organization and consideration for the models. That’s why I keep coming back. It’s like a well oiled machine,” Potts says. 

As Kansas City grows, so do the opportunities for individuals in our local fashion industry. Although we aren’t known as a major fashion capital, maybe we don’t need to be. 

As designers come through Kansas City, we can find confidence in being a city that gives Midwesterners in the industry the confidence, support, and connections they need to succeed. How about that for Midwestern niceness?

Your Pantry Has a Lot to Learn from Your Closet

Click here to be taken to the full blog post.

Over the past few years, I have been obsessed with thrifting; and so has the rest of the world. A fun new way to shop on a budget turned into evenings of researching what I want to bring home with me after my next thrift trip. Ballet flats? Putting it on the list. Vintage biker shorts? So cute for spring. 

The art of thrifting not only taught me to be more sustainable with my purchases, but also taught me to start caring about the quality of the items I bring home. Learning that the quality of a Shein crop-top is much different than a vintage linen blouse completely changed my wardrobe, as well as how I shopped. Going from IKEA furniture to pre-loved oak made a world of difference in terms of longevity. My oak dresser is still standing strong, and it will never go out of style. 

After years of second-hand shopping, I finally convinced myself I mastered the art of sustainability; until I opened my pantry. Despite knowing the difference in breathability between cotton and linen, I couldn’t decipher half of the ingredients in the snacks I consumed daily. High fructose corn syrup? Red 40 dye? All packaged in harmful plastics that ended up directly in the trash after consumption? Yikes. 

I had yet to conquer the art of sustainable eating. So much was going to waste in my household, and the ingredients didn’t match the quality of the item’s I was surrounding myself in. I realized that I forgot to look for sustainability in the most important place: inward. 

So, how do we address that not addressing sustainability in the kitchen is going out of style? We treat a trip to the grocery store like a trip to the thrift. Cauliflower can be great as a side dish, but also as a basis of a meal when turned into cauliflower rice. Potato skins can be cooked into homemade chips without any surprise ingredients. There are even companies taking proactive measures to turn food waste into healthy, guilt free snacks without harmful packaging or additives. 

There is so much that can be upcycled in the kitchen. Treat it like a treasure hunt; that potato isn’t just a potato, it has the potential to be multiple things that will suitably fuel you! Get excited about how sustainability can change your kitchen, like it did mine. 

Keywords: Thrifting; Sustainability; Upcycling; Healthy; Recycle; Second-hand; Pantry; Kitchen

CONCERT REVIEW: Lucy Dacus and Indigo de Souza at Liberty Hall

This is an article I wrote for the University Daily Kansan. The full article can be found here.

On the night of Feb. 19, I found myself looking for Liberty Hall after I had forgotten what block it was on. As soon as I was met with a sea of teenagers wearing Doc Martens and thrifted grandpa sweaters, I knew I had made it to the right place: the Lucy Dacus concert. As the doors to the venue finally opened, wave of excited indie locals entered the venue. 

17-year-old Overland Park native Harper Peck traveled early to catch the show.

“I got here around 5 p.m.,” Peck said. “When we first arrived in line it wasn’t too crowded, but by about 7:30, it was wrapped around the building at the end of the street.” 

The energy grew as people shuffled inside, and the bubbling of excitement began to simmer. Upon entering the venue, people became competitive as they were invested in getting the best spot on the standing-room floor. 

The sold-out show slowly filled with bodies, and the crowd was ready to sway slowly to the music. 

Opener Indigo de Souza and her bandmates soon entered the stage. Her set was authentically indie, and brought me back to the nostalgic days of teenage angst and summer nights.

De Souza’s vocal range was highlighted in each song. From moody lows to powerful highs, her voice kept the audience on their toes. Each song from her set had an ethereal sound with equally powerful instrumentals.

As the lights dimmed and de Souza left the stage, projections of Dacus’ childhood home videos lit up the stage. Chatter from the crowd erupted with a collective admiration at every clip of the young singer. 

Dacus came on stage with power, yielding her guitar and kicking her legs up on the couch where she performed the rest of the show. 

“Hello,” she said. “I’m on a couch.” Dacus has been performing couch-bound as a result of two herniated discs. Despite this physical setback, the couch seemed to excite the crowd even more. 

She performed her set with compelling vocals, holding her guitar with ease as if it were light as a feather. The Virginia native sang songs from her recent album "Home Video", opening with “Triple Dog Dare,” a track that opens with the line, “You’re yawning on your couch.” 

“She sounded incredible, and honestly playing guitar laying down is tricky so it was impressive,” concert-goer Emma Mathieson said.

Dacus exuded an insane amount of energy. Her instrumentalists made up for her inability to move around with the crowd.

Her setlist ranged from slow songs, to upbeat tracks, to a cover of “Home Again” by Carol King. 

Towards the end of the concert, she shouted out Love Garden Sounds, 715 and Wonder Fair, local businesses that she visited while in town. 

The concert concluded with her performing her newest single “Kissing Lessons,”  and the show ended with the fan-favorite "Historian" track, “Night Shift.” 

Dacus is on the last leg of her American tour. Upcoming tour dates and tickets are available on her website. 

CONCERT REVIEW: Courtney Barnett kicks off Here and There festival in Kansas City

This is an article I wrote for the University Daily Kansan. The full article can be found here.

The Arvest Bank Theater at The Midland set the scene for Courtney Barnett’s Here and There festival this past Monday. Barnett’s latest project is a touring festival featuring 24 different artists at 15 different venues. The first leg of the tour began in Kansas City on Aug. 9, where Barnett was accompanied by artists Lucy Dacus and Quinn Christopherson.

“It’s something I’ve been forever daydreaming about, and part of an always evolving project to share spaces and build new platforms for art and artists that I believe in,” Barnett said. “It’s always been important to me to share the stage with people that I admire and artists that inspire me, which is why I’m so excited and grateful to announce this amazing lineup.” 

During the hours before the show, a sea of overalls and thin-line tattoos trickled in, and early bird concert goers anxiously lined up to get merch under the baroque chandeliers that hung over the bustling lobby. I happened to overhear the merch stand worker whispering about how this is the ‘nicest crowd’ he had ever worked with. After scanning the demographic of the line, which consisted of introverted indie millennials and members of Gen Z, I found myself in silent agreement with the merchant. 

The show attracted crowds from out of town. Austin, Texas, locals Michael Breaux and Seth Breaux were amongst the people waiting in line for merchandise.

“I missed Lucy Dacus in Austin, but my sister lives here,” Michael Breaux said. “Two birds with one stone.” 

The crowd even consisted of international travelers. I spotted a gleaming couple who seemed fully immersed in the show and nearly bubbling with excitement. After some conversation, I learned that Gabbi Greco and Julie Vanderlip traveled from Toronto. 

“We came to Kansas City because this is one of the only dates where they’re all playing together,” Vanderlip said. “This doesn’t exist anywhere else, especially in Canada,” Greco added. 

The lights in the theater dimmed, and Quinn Christopherson quickly entered the stage. He instantly moved the crowd with his melancholic dream-like sound. He was accompanied by friend Gracie Gray, a fellow musician with melodious instrumentals. The energy ramped up a few songs in when he performed "2005," a heartfelt song about reminiscing on nostalgia, citing humorous mentions of puka shell necklaces and ugg boots. 

Toward the end of his set he performed "Celine," a heart-warming song about his mother’s love for karaoke. Throughout his set, the chemistry between Christopherson and Gray was phenomenal; they jumped and swirled around on stage together, their passion unmatched. This energy was mirrored by the crowd, as a sea of people were bobbing their heads in unison. He ended his set, and left the crowd with excitement for what is to come. 

When the next act ensued, an on-stage screen lit up with old home videos of a young Lucy Dacus, an homage to her recent album Home Video. She opened with "Triple Dog Dare," a slower song with a heavy presence that masterfully stirred the crowd into excitement. Dacus has mastered the art of the gradual energy shift in her songs, and it was a pleasant recurring theme throughout her set. 

Dacus had an unmatched stage presence and ability to interact with the crowd. Before performing her single "Kissing Lessons," she posed the question, “Who here’s gay?” A sea of hands shot up. “Predictable,” the artist said while stifling a laugh.

Her set was a masterful mix of equally upbeat and slow soulful songs. Toward the end, she surprised the audience with a rendition of "Believe" by Cher. The audience reacted in a way almost reminiscent of worship, throwing their hands up towards Dacus in praise. She ended her set strong with fan favorite "Night Shift" off of her sophomore album "Historian," which pretty much left the audience in tears. 

The night ended with festival headliner Courtney Barnett and her impeccable range of sound. The Australian artist opened with "Rae Street," off her third album "Things Take Time, Take Time." It was hard to look away, as her stage presence encapsulated the audience, me included. She found a way to be insanely visually entertaining while singing, and playing the guitar all at once. At one point she whipped out a cowbell, making her a true triple threat in that moment of time.

Her setlist pulled titles from her sophomore album "Tell Me How You Really Feel," one in particular being "Nameless, Faceless." She was completely eccentric on stage, head-banging while simultaneously shredding her guitar. The crowd was upbeat and lively throughout her whole set. At the end of her performance, she brought back Quinn Christopherson for a duet, ending the inaugural show with a bang. 

Upcoming festival dates for Here and There can be found here.

Data Story: The Success and Failures of Glossier's Marketability

In the age of social media, a brand’s online image may be one of the most important contributors to their success. Glossier has had an insanely successful social media presence since its launch in 2014.

This data story shows what has worked for the brand, what isn't currently working, and how great storytelling can be executed using tools like Excel and Google Sheets. This data biography was made in a data storytelling course.

The origin of the data is Instagram, as the data is an analysis of how successful Glossier's marketability was on the app. Posts, likes, comments, and follower counts were documented over a two-month period between May and July.

Each row in the spreadsheet represents one post over the period of time, whereas the columns represent each variable that differs between posts. There are six columns in the spreadsheet. The first column is for the posts, the second for the date the post was posted, the third is for the likes a post received, the fourth is for the comments under the post, fifth is for the number of followers Glossier had at the time of the post, and the sixth is the public perception of the post.

The spreadsheet has been transformed to make numbers more digestible, and percentages easier to read. There is an exact number of followers the brand had for each post, however, fewer decimal places better represent the fast and steady influx of followers.

The data was designed to answer many questions. What posts were most successful? When they were successful, did the time of month affect the success? Why did more people engage on certain posts than others? What didn't perform well? What steps can the company take for better engagement? All of these are answered in the data story.

The final insights are that:

• The posts that perform the best are the ones in which new products are introduced.

• The brand performed the best in June.

• Glossier didn’t have a single day where they lost followers; they only gained followers within the past two months. 

The data can be viewed here.

City Commission Hearing

This assignment for my Media Writing for Audiences class had the purpose of seeing if students can take a live event, and turn it into a newsworthy story.

This past Tuesday, Nov. 15, the Lawrence City Commission Meeting took place at 5:45pm at Lawrence City Hall. The meeting was held to address the agenda that the committee had put together, and go over potential revisions of said agenda by hearing from the public and members of the committee. 

The commission overheard the proclamation for Small Business Saturday. The executive director of Downtown Lawrence Inc. Sally Zogry attended to receive the proclamation for Small Business Saturday, which is proclaimed to take place on Nov. 26, 2022. Small Business Saturday will serve as a day where the small businesses that encompass downtown Lawrence will be celebrated and appreciated for what they bring to the community. 

Mayor Courtney Shipley addressed agenda item D.8 B, the consent to “consider the Affordable Housing Advisory Board (AHAB) membership and the AHAB bylaws in the appropriate city code and consider making changes or alterations to those documents.” On Oct. 27, the board voted 10-0 to consider the membership of the board. Members of the board continued the conversation about the membership at this meeting. 

During public comment, a Lawrence citizen and the committee had a disagreement regarding the revision of the boards. The citizen, Michael, interrupted commissioner Amber Sellers during the meeting multiple times, resulting in Mayor Courtney Shipley ordering for him to be removed from the meeting. Michael accused the committee of being a “dictatorship” before being removed from the room. 

Lawrence city commissioner Amber Sellers advocated for a more direct onboarding process for future commissioners. A change to the onboarding process would allow new commissioners to understand what authority they have and the confidence to take action. Sellers mentioned that there is already work being put into streamlining this issue, and she took personal responsibility and effort into reviewing the “relationship between the governing body, community… and the different boards.” 

During the public comment, Lawrence resident Chris Flowers advocated for opening up public comment during the election of a mayor and vice mayor in future elections. Lawrence resident Michael addressed certain feelings of inequality he has faced being a business owner in Lawrence. Other residents of Lawrence brought up concerns regarding local businesses, homelessness and concerns regarding the members of the committee. 

The Lawrence City Commission Meeting holds meetings the first, second and third Tuesdays of the month and are held in the City Commission Room, First Floor of City Hall, 6 E. 6th Street. Recordings of the meetings can be accessed here. 

University of Kansas's Late Night Breakfast

This past Sunday, the University of Kansas hosted their annual Late Night Breakfast. The event took place from 8:30p.m. to 10:30p.m. at Mrs. E’s Dining Center, and was advertised as a chance for students to fill up on food for free. Alongside free food, they provided students with the chance to help prepare for finals with the assistance of a diverse range of student organizations at the event. 

Students queued up before the dining hall officially opened, hoping to get in line in time to be one of the first thousand students to make it, as the incentive was only the first thousand get free breakfast. The menu included chicken & waffles, ode to mucci, breakfast burritos, breakfast potatoes, scrambled eggs, cereal, fresh fruit, and more. Student organizations had tables lined up along the north side of the dining hall. 

The organizations who participated in the event were the Center for Orientation & Transition Programs (OTP), Jayhawk Academic Advising (JAA), University Academic Support Centers (UASC), Health Education Resource Office (HERO), Sexual Assault Prevention & Education Center (SAPEC), Watkins Health Services (WHS), Student Union Activities (SUA), and KJHK 90.7 FM. Students were able to win prizes by getting involved in games, get academic support from advisors, and get information on student organizations they were interested in getting involved in. 

Jack Bugee of KJHK 90.7FM was one of the people DJing the event. “The turnout was huge. I remember seeing pictures of the line trailing pretty far outside the building and it definitely showed,” Bugee said. “Our booth was kind of in a weird spot so we didn't get a ton of traffic, but we still had a pretty steady stream of people coming by to grab some stickers and see what was going on.” 

However, some students seemed upset that only a thousand students were offered free food. “We were confused why only the first 1000 students were offered the food for free and why it couldn’t be free for everyone,” student David Tauser said. “The school definitely has enough money to pay for everyone’s food for one night.” Tauser came with three of his friends, one of which had similar opinions on the matter. “Every college student loves a free meal, but they could have not had a limit on the amount of free meals given,” student Yulisa Chihuahua said. “They definitely have enough money to not have to put a limit.”

According to their website, the University of Kansas’s “Donors contributed a record $318.1 million to KU Endowment in support of the University of Kansas and The University of Kansas Health System in fiscal year 2022, which ended June 30.” Tauser and Chihuahua brought up the endowment when expressing their distaste for the limit. “The endowment has like, what, millions of dollars? The profit they make is probably insane, the least they could do for students who pay thousands each year is assure that all students taking finals can have a free meal,” Tauser said. 

Despite the upset some students were feeling regarding the limit of students who were to receive free food, the effort of the staff in working the event didn’t go unnoticed. “I gotta give it up for the staff, they were working their tails off to accommodate that many people,” Bugee said. Students seemed happy to have a chance to blow off some steam before finals, and have something to lighten up the end of the semester. 

Lawrence Farmers' Market FAQ

The purpose of this assignment was to effectively construct an FAQ that will quickly answer commonly asked questions.

Q1: What is the Lawrence Farmers’ Market?

A: The Lawrence Farmers’ Market is a collaborative event for vendors to sell their products to locals. You can buy local organic produce, handmade candles, flower bouquets and even wine! It is a great place to get your weekly shopping needs done all in one spot by supporting small businesses. 

Q2: When was the Farmers’ Market established, and why did it begin?

A: It was established in 1976, and was collaboratively created to serve as a place where residents can have access to local vendors for their shopping needs. Every vendor at the market is located within a 50 mile radius of Lawrence, ensuring that it benefits local small businesses, stimulates the local economy, and gives customers the blessing of knowing exactly where their products come from. 

Q3: How do I become a vendor?

A: First, you must see if you’re eligible to become one. All vendors must sell products that are grown, raised, cooked, crafted, or created by the vendor. Vendors cannot be from pre-existing, non-agricultural, and full-time retail businesses. After checking your eligibility, you are able to start the application process at https://www.lawrencefarmersmarket.org/vendors/become-a-vendor/. 

Q4: How can I get involved without being a vendor?

We have multiple options for those who want to get involved but don’t necessarily have anything to sell! One option is getting involved through a community booth. These booths are set aside for non-profit and for-profit organizations. Another way is through entertainment; performing artists are considered to be significant to the festive atmosphere of the farmers market. Lastly, you can volunteer! We could use hands at our info booth, and assistance with market setup and takedown. 

Q5: Does the farmers’ market accept food stamps?

A: Yes! With every dollar spent using a SNAP (food assistance) card, the Lawrence Farmers’ Market will match your amount for free, allowing you to double up on your fresh fruits and vegetables. To use your SNAP card, visit us at the information booth before shopping. 

Holiday Party Memo

The purpose of this assignment is to be able to professionally write a memo and to be able to decide what information is important.

DATE: July 23, 2022

TO: Jamilla Robinson

FROM: Sophia Lail

SUBJECT: Venue Options for 2022 Holiday Party

Jamilla:

I hope you have had a great weekend so far. The past week, I have been putting much consideration into what venue would best suit our annual holiday party. I am glad to announce that out of our strong contenders, I am confident that I have chosen the best recommendation for our party. Below, I have outlined the details of each potential venue. 

Our first contender is the Ferns & Flowers Banquet Hall. Located in a suburban neighborhood fifteen minutes from the office, it is a great location in terms of accessibility. The food at this venue is served buffet style and hors d’oeuvres, and this includes water, coffee and iced tea. The overall response from reviewers average at ⅗ stars. One review reads, “The space itself is clean, but it definitely is in need of some renovations. The staff, however, is pleasant to deal with and generally helpful. The free parking is a plus.” The overall cost of hosting our event at this venue would cost $10,300 on a weeknight, and hosting on a weekend would cost $12,300. 

Chateau Bleu is our second contender. This venue is located three blocks away from the Country Club Plaza. Although this sounds like a nightmare in terms of parking, a parking garage is attached to the event space. Parking would cost $10 on weeknights and $15 on weekends. The location is stellar, especially when we consider the view of the famous plaza lights, which will undoubtedly set the mood for our event. The food is the same as the prior venue. The venue has dazzling reviews, averaging at 4.5/5 stars. One review reads, “Swanky! I went to a corporate function at Chateau Bleu and it was lovely.” The cost of hosting our event at this venue would be free with full catering and bar service, and the overall cost after full catering and bar service would be $17,300. 

Our final contender is the Classic Ballroom in the downtown Loews Hotel. Located in the hustle and bustle of the KC Power and Light District, this would be a fun, upbeat location. Although, there would be a lack of accessibility for our guests, as parking would cost $20 on weekdays and $25 on weeknights. Food provided is the same as the two previous venues, although it includes an additional dessert bar. The reviews rank a little lower than Chateau Bleu, averaging at ⅘ stars. One review reads “This hotel is your average Midwestern downtown hotel, clean, courteous staff, decent food … nice enough. Parking is a pain and is expensive.” The overall cost to host our event at this venue would be $18,400. 

After taking the time to consider each venue, I am confident that Chateau Bleu would be the best location to host our holiday party. Although it is the second most expensive option, it is an investment into our company by prioritizing the enjoyment of our employees and guests. After the chaos that was the height of the pandemic, I think it will be a great way of showing gratitude to our employees for sticking with the company through such a hard time. The location is unbeatable, and it will be a memorable evening if hosted here. Let me know your thoughts.

Best,

Sophia Lail

Communications and Promotions Department