Sara Bertuldo (See Through Dresses) on racism and exploitation in art; Thick Paint, Anna McClellan tonight…

by Tim McMahan,

In my November column in The Reader, I wrote an essay titled “With the Best of Intentions: Yellow face, the N-word and a divided music community.” The column discussed accusations of racism made toward members of the Omaha music community. If you haven’t already, read the column now to understand the context of the rest of this post.

As an addendum at, I also posted a Q&A with Simon Joyner about the controversy, which you can read here.

After I posted links to both the column and the Q&A in Facebook, a number of people reacted, saying I didn’t capture both sides of the issue. Someone suggested I ask See Through Dresses front woman Sara Bertuldo for her thoughts on the matter, and Bertuldo indicated she’d be willing to do an interview or answer questions.

See Through Dresses was on tour at the time, so I suggested we do it via email (as I’d done with Joyner’s Q&A), and sent Sara the following questions to be published with her responses as a post in Lazy-i.

My questions:

— What was your reaction to: Joyner’s song, Noah Sterba’s song, Harouki Zombi?

— Do you think the artists in question have done anything wrong or were trying to intentionally hurt anyone through their actions?

— Is it OK for artists and musicians to broach these sorts of topics in their work? Why or why not?

— Were you satisfied with the apologies or explanations offered by these artists about their choices?

Sara sent her responses late last week in the form of the following essay:

The first reaction is anger.

Imagine someone says something bad about you. What you did. What you said. Or maybe what you wore. How would you feel? I’d feel pretty angry. Is it really bad? Was it something to feel ashamed about? Did you make a mistake? Can you apologize for it? Should you?

Now imagine someone says something else bad about you. Only this time it’s something undeniably true, like something about your identity. Or the color of your skin or shape of your eyes. Something you can literally do nothing to change. How does it feel? I know I was angry. 

When you react with anger, people say things like “don’t take it the wrong way” or “it’s a joke” to minimize it. What it feels like when that happens is that they minimize me and my experience.


It’s a scary word to a lot of people.

My experience with racism is like a book I carry with me. That book is a heavy weight that sits on my chest. And every time I experience something like this, that book opens. It is filled with my memories of prejudice. Memories of being asked if I was Chinese or Japanese in elementary school, being told I “act white,” being fetishized, and learning my mother withheld our language from me to make me more American. She did this to help me fit in. She was treated poorly because of her accent when she immigrated to the U.S. in the 1970s. When she had children she promised herself that wouldn’t happen to them.


Racism is a normal word to me.

I believe it is embedded in all of us and the only way we can fix it is by educating ourselves.

I’m really tired of absorbing everything and keeping silent. It makes me feel sick.

There was a time that I let things slide. I kept quiet because I wanted to preserve some sort of peace. Talking about it was way too real. And people say things that make you question how you feel. To make you quiet. But all these little things that have been said just add up. Every single thing I hear or read, it just eats at me.


I had written something before detailing my experience post-Harouki Zombi stuff. I personally left out names. I didn’t want people to feel attacked. I did not want them to feel the way I felt. I was so angry when this all started, but I tried to let go of that for a moment and write my story. I felt by offering a personal account on what it feels like to be a person of color I could help them see how upset I was. I thought my way for me to change someone’s views was through compassion and not anger.

But months later, it keeps coming up so here we are again.

So to Orenda, Noah, and Simon:

With all due respect, yes, you are all artists. And you are all white. You benefit from things I do not. You absolutely have the freedom to do whatever you wish in your art. But if you are so progressive minded, if you are as compassionate as your friends say you are, please treat our culture and words with reverence. Keep making art, but please do not exploit us. I don’t believe there was intent to cause harm. But the fact of the matter is, you did. I believe it’s more meaningful to take a step back and listen now. Listen to us.

I resent this whole ordeal. I am upset it’s taken so much time from me. I spent so much time thinking about it, crying about it. I’ve cancelled band practice over it, been depressed about it at work, and now I’m out on tour writing about it when I should be enjoying where I am.

And to the people that were so outwardly angry about it, I sympathize with that anger. I really do. People called them bored, childish, social just warriors… You know why marginalized people react that way sometimes? It’s because people don’t listen to us. And it happens again and again.

Here is one marginalized person’s opinion. Because we coexist in this community, I thought you should hear it. You can take it or leave it.

I find solace in my friends and family that support me. I can only work on the people I care about or people that want to be better and if you don’t want to learn from this, that is totally fine.

I’m sorry if that sounds angry, but if anger is all you see then you’re missing the point.
— Sara Bertuldo

Thanks, Sara, for the thoughtful comments on a very difficult subject.

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Tonight at Brothers Lounge it’s the return of Thick Paint. The band has been on the road for awhile and swings back into Omaha with Anna McClellan, who just leaked the first single, “Heart of Hearts,” from her forthcoming album Yes and No, due in February on Father/Daughter. Dilute also is on tonight’s bill. $5, 9 p.m.

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Read Tim McMahan’s blog daily at — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2017 Tim McMahan. All rights reserved.


Live Review: See Through Dresses; new Kasher Love Drunk; later this week…

Category: Blog,Reviews — Tags: , , , — @ 1:46 pm December 2, 2013
See Through Dresses at The Waiting Room, Nov. 30, 2013.

See Through Dresses at The Waiting Room, Nov. 30, 2013.

by Tim McMahan,

I guess I should have bought a copy of See Through Dresses’ debut album at last Saturday night’s CD release show because I can’t find it online anywhere. Their Bandcamp page doesn’t offer downloads or even album streaming (except for two songs). And they don’t have a “proper website” (fewer and fewer bands do these days). Savvy marketing? Maybe (though I’m probably just missing the link).

Without a copy of the record to relive the memory of Saturday night’s show at The Waiting Room, I’ll just have to listen to Dinosaur Jr. and the most recent Thurston Moore solo album. Or maybe pull out dusty records by The Church or Dream Academy — all bands that STD’s sound resembles.

The band isn’t exactly bashful about their influences. Co-frontperson Sara Bertuldo introduced one song by saying (and I’m paraphrasing here), “Here’s one that will remind you of the mid-2000s,” and two more by saying “These ones sound like the ’80s, a time when I just barely existed and Nate didn’t exist at all.” Or something like that.

No doubt rock music by its very nature constantly eats itself. For about a year every new local band sounded like the second coming of The Cure or Pavement. Recently Sonic Youth has (again) become a favorite for emulation. The difference is that STD doesn’t sound like any one band, but rather like a band influenced by an era, which makes their music both unique and familiar. Their heroes are easy to spot, though See Through Dresses’ sound is purely their own.

And it rocks. Most of the vocals are handled by Matt Carroll, who has a soothing croon that lies somewhere between Thurston and J. Mascis. It’s countered by Bertuldo’s twee, childlike voice that’s straight out of K Records territory. It’s easy to bury Sara in the mix, but the sound Saturday night was pristine enough so that the (estimated) crowd of around 120 could catch every note. Nate Van Fleet’s throaty drumming was another highlight, as was Robert Little’s bass work (a little bird tells me Little is leaving the band).

Now if I could only get a copy of their CD…

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Speaking of Bertuldo, that’s her on bass in this just-released Love Drunk video for Tim Kasher song “A Raincloud Is a Raincloud,” shot (ironically?) at Countryside Community Church.

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The early head’s up for this week’s shows:

John Klemmensen and friends Wednesday at The Waiting Room.

Cursive Thursday at The Waiting Room.

OEAA Showcase Friday in Benson.

So-So Sailors and Brad Hoshaw Friday at O’Leaver’s.

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Read Tim McMahan’s blog daily at — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2013 Tim McMahan. All rights reserved.