March Madness: Here’s the bracket for the women’s NCAA Tournament

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Women’s basketball has not slowed down at all this season as March Madness arrives.

A year ago, the women’s NCAA championship game drew a bigger television audience than the men’s title game for the first time, with an average of 18.9 million viewers watching undefeated South Carolina beat Iowa and superstar Caitlin Clark. The question was whether some fans would step away as Clark, Angel Reese, Kamilla Cardoso and other standouts headed to the WNBA.

Instead, the women’s game has featured a compelling bunch of stars all over again, from Paige Bueckers at UConn to JuJu Watkins at USC, Hannah Hidalgo of Notre Dame and Madison Booker of Texas.

The season has been must-watch viewing for another reason, too: Parity. So far, four teams have held the No. 1 spot in the AP Top 25, tying the mark for the most ever. That makes the tournament winner anyone’s guess after some terrific league title games shoved some teams onto the bubble.

Here’s the bracket for the women’s NCAA tournament:

How can I watch the tournament?

Every game of the women’s tournament will be aired — here is a schedule that will be updated with matchups — on ESPN’s networks and streaming services with select games on ABC.

Who are the favorites?

The top four betting favorites as the tournament approaches are (in order): defending champion South Carolina, UConn and crosstown rivals USC and UCLA, according to BetMGM Sportsbook.

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Who is playing?

There are 31 automatic bids that go to conference champions and they are combined with 37 at-large picks by the NCAA selection committee. Bracket matchups are unveiled on Selection Sunday, March 16

When are the games?

The First Four matchups (March 19-20) and first- and second-round games (March 21-24) are on campus, with sites announced March 16.

Sweet 16 weekend (March 28-31) will see games in two sites once again: Birmingham, Alabama, and Spokane, Washington.

The Final Four is in Tampa, Florida, on Friday, April 4, with the championship game on Sunday, April 6.

Contributing: Associated Press

Literary calendar for week of March 16

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READINGS BY WRITERS: Hosts novelists Glenn R. Miller, Sally Franson, Julie Schumacher and Charles Baxter. 7:30 p.m. Tuesday, University Club, 420 Summit Ave., St. Paul.

 

Ethan Rutherford (Courtesy of the author)

ETHAN RUTHERFORD: Introduces his debut novel, “North Sun: Or, The Voyage of the Whaleship Esther,” in conversation with Matt Burgess. Rutherford, who holds a master’s in creative writing from the University of Minnesota, has published two story collections. He teaches at Trinity College in Connecticut. 6 p.m. Wednesday, Moon Palace Books, 3032 Minnehaha Ave., Mpls.

THREE POETS: Launch reading for Donna Isaac’s “In the Tilling” and Stanley Kusonoki’s “Social Studies,” with Janna Kittel (“Real Work”).  1 p.m. March 23, SubText Books, 6 W. Fifth St., St. Paul.

NIALL WILLIAMS: Discusses “Time of the Child: A Novel,” in conversation with former Star Tribune books editor Laurie Hertzel. 7 p.m. Monday, Magers & Quinn, 3038 Hennepin Ave. S., Mpls.

What else is going on

Rain Taxi Review of Books announces a new date and venue for the journal’s free Twin Cities Book Festival. The 25th anniversary of the state’s oldest and largest book-focused gathering will be Nov. 8 at the Union Depot in St. Paul instead of the previous venue at the Minnesota State Fairgrounds. Rain Taxi editor and festival director Eric Lorberer assures fans that changes will not affect core features: a book fair with publishers, literary organizations, magazines, writing programs, literacy advocates and antiquarian booksellers as well as multiple stages with author readings, talks and activities for all ages. Stay tuned for more news to come.

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Rolling with the seasons, ‘North of Highway 2’ YouTube channel is a way of life for Warroad outdoors enthusiast

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Lake of the Woods has a well-deserved reputation for producing big pike through the ice as winter gives way to spring, but after nearly three hours of tip-up fishing without a flag, Alan Peterson could have been excused for wondering if this was going to be one of those days.

Instead, he drilled more holes in 5 to 10 feet of water, hoping the small moves eventually would put the bait in front of a fish and serve up the opportunity to yell “Flag!” — the tell-tale cry that a toothy critter had found the bait to its liking.

That, in a nutshell, is the essence of late-winter tip-up fishing, which is as much a social occasion as an exercise in trying to catch a fish. And on this perfect Sunday morning that teased of approaching spring — complete with the first swan sighting of the season — catching a pike or two would be a bonus.

There’d be time for coffee, venison sticks and conversation as we waited.

“I would consider good tip-up fishing to be 15 legitimate flags,” said Peterson, of Warroad. “I commit to five hours, so if I go for five hours and I get between 12 and 15 flags, I consider that to be pretty good.

“If you get more than that, it’s a treat. And if you get a 40-inch pike, that’s what you came out for.”

About the tip-up

Alan Peterson of Warroad, Minn., unwinds a hand-tied northern pike rig Sunday, March 9, 2025, while setting up for a few hours of tip-up fishing on Lake of the Woods. (Brad Dokken / Grand Forks Herald)

tip-up, for the uninitiated, is a fishing device with a flag that “tips up” to signal a strike. Old-school tip-ups usually consist of a submerged spool that attaches to a frame that is set over the hole in the ice, with a flag that clips on the spool to keep the bait at a set depth.

When a fish hits and pulls on the line, the spool turns and triggers the flag to “tip up,” signaling a strike; the angler then fights the fish using a hand-over-hand technique. Newer tip-ups integrate rods and reels into the design, allowing anglers more flexibility in playing the fish.

Peterson uses some of each tip-up style. Either way, every time a flag flies, the fish at the end of the line could be something special.

No wonder, then, that Peterson is on Lake of the Woods chasing pike at every opportunity once March rolls around.

“That’s one of the beautiful things about tip-up fishing,” he said. “You can go five hours (without a flag), and then your last hour, it can be so good. You can have 10 flags, and all of a sudden it’s like, ‘we can’t leave right now.’ ”

Home to the outdoors

A 2013 graduate of Warroad High School, Peterson, 30, has an office job at Marvin, the window and door manufacturer in Warroad. After spending five years working at the Marvin facility in Fargo and attending Minnesota State University Moorhead, he had an opportunity to come home about a year and a half ago.

Peterson, his girlfriend Mandy, and their black Lab Gracie, have a house on 15 acres just a hop and a skip from Lake of the Woods. Before living in Fargo, he spent four years at the University of Minnesota Duluth. The original plan was to become a chiropractor, Peterson says, but it didn’t work out “so I gave it up for an opportunity in Alaska.”

He worked as a fishing guide in southeast Alaska for the 2018 guide season.

The opportunity to move home to Warroad wasn’t something he expected, Peterson says, but living back in northern Minnesota has been a perfect fit with his outdoors lifestyle.

“I’m spoiled,” he said. “I’m spoiled living up here. If I want to go catch walleyes after work, I just throw my kicker boat in and I go.”

Peterson didn’t do much ice fishing for walleyes and saugers growing up, but he caught the pike fishing bug at an early age.

“I love pike fishing,” he said. “I would just look forward to spring so I could tip-up fish late in the year, and then when the water would open, I’d fish pike right in front of the Warroad River for three weeks.

“I’ve always been bit by pike fishing; it’s one of my favorite things to do.”

New YouTube channel

Earlier this year, Peterson launched a YouTube channel he dubbed “North of Highway 2,” in which he shares stories and snapshots of life in northern Minnesota. Fishing content factors into the mix, of course, but the channel also includes thrift store trips, cooking, skiing and other outdoor recreation and three- to four-minute “Walk and Talk Wednesday” segments, in which Peterson and his black Lab, Gracie, stroll down the driveway while he talks about various aspects of northern life.

Gardening will be among the video segments on tap for this summer, Peterson says. To date, the channel has about 170 subscribers, and clips have drawn anywhere from about 100 views to more than 9,000 views for a video in which Peterson documents whiteout conditions on Lake of the Woods.

The whole point of the channel, Peterson says, was to spend less time consuming content and more time getting out there to create content. Despite being a relative YouTube newcomer, Peterson’s videos are entertaining, well-produced and informative. He definitely knows his way around his camera and editing software.

“My whole point in making the channel wasn’t to get a bunch of followers and views,” he said. “I’ve always wanted an excuse to buy a GoPro, so I bought a GoPro and just started doing it.”

Creating videos also is “pretty time intensive,” Peterson says.

“One video a week is a big ask, but it’s fun,” he said. “It’s a way to disconnect from work, too, and I enjoy it. My dog likes it, too, because I’m outside more.”

Going forward, Peterson says he plans to scale back his “Walk and Talk Wednesday” segments to every other week.

“One thing I told myself when I started this was I was not going to burn myself out,” he said. “I’m doing this just because I want to have fun, and I want to make videos and document (life in northern Minnesota). If it starts to be like a job and it’s consuming all my time, I’m going to tone it back a little bit.”

On the ice

Typically, Peterson says, tip-up fishing gets better as temperatures rise and days grow longer, triggering the instinct for pike to stage near the mouths of streams and shallow bays to spawn.

So far, he says, the best pike fishing has been in the morning, but that wasn’t the case on this day. It was high noon when the first flag popped, “which completely contradicts my theory,” Peterson said.

The fish that tripped the first flag appeared to be a decent pike, but it spit the bait before Peterson could get it to the hole.

“Hopefully, that’s a good sign,” he said. “We’ve stuck it out all morning. I think we’re due for a few more flags.”

He was right; the next flag popped half an hour later. Peterson picked up the rod, set the hook and the battle was on.

“It’s big,” Peterson said as the rod bent toward the hole. “All I know is it’s big.”

Then it appeared at the top of the hole, a huge toothy head followed some 3 feet of feisty flopping northern pike.

It was easily his biggest of the winter so far, he said. Big pike have a completely different look than smaller members of the species, and this fish was strikingly beautiful.

“This is a huge pike,” Peterson said, admiring the fish. “Oh, my gosh.”

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He’d left his tape measure at home, but there was enough pike extending beyond his 34½-inch ice fishing rod to safely say the fish was at least 40 inches long. A few quick photos, and Peterson released the pike to hopefully make someone else’s day.

The temperature had risen past 40 degrees when we decided to reel up the lines a short time later and call it a few hours well-spent. By nature’s calendar, the best pike fishing of the season was yet to come, providing the ice holds up; pike season is continuous on Lake of the Woods.

After that, it will be time for spring sturgeon fishing on the Rainy River, open-water pike fishing, the Minnesota walleye opener, lake trout fishing in Ontario, spring hunts for morel mushrooms and a garden to plant.

So much to do and — for Peterson — so close by.

“I love the variety,” he said. “New activities just happen all the time.”

That’s life “North of Highway 2.”

Made in St. Paul: Ice skating as storytelling and Black cultural expression, by figure skater Deneane Richburg’s organization Brownbody

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The way ice skating instruction at Aldrich Arena in Maplewood was supposed to work in the mid-1980s was that kids would take a group lesson based on their skill level and then, built into the class length, they’d have a half hour or so for independent practice on the ice.

Four-year-old Deneane Richburg didn’t quite grasp the “half hour or so” part.

“It felt so much fun to just ride the wave of momentum,” she said. “My mom had a hard time getting me off the ice.”

Later, when she began participating in figure skating competitions, elementary school-aged Richburg didn’t quite grasp the “competition” part. If she scored near the bottom, she didn’t mind.

“I just liked throwing my body in the air,” she said, laughing. “The idea of placing was at the back of my mind. I was just like, ‘Ooh, I get to go out there and perform and put on makeup — and try my own choreography,’ which I’m sure my coach was thrilled about.”

But eventually, as Richburg got older and her skills became more advanced, she’d nail her routines and still regularly score last or second-to-last. As a child, she said, she didn’t quite catch the signs — “I just wanted to skate,” she said; “I didn’t necessarily intend to be like, ‘I am this Black child!’” — but the pattern soon became clear.

“Racism, I hate to say it,” Richburg said. “After they started to see I wasn’t going anywhere — I kept competing and continued to progress — it got to a point where it became obvious that I would score really low and have done all the things nicely. So, begrudgingly. Eventually I started to place and score in a way that was commensurate with how I performed, but it took a while.”

But what would it look like for the ice — both a literally and figuratively white space — to uplift Black performers and identities?

That question is at the core of Brownbody, a St. Paul-based skating artistry organization Richburg founded in 2007.

Richburg initially founded Brownbody in the model of a dance company, with a network of performers and its own repertory, mostly works choreographed by Richburg that blend Black history and cultural thought. In recent years, the organization has been most active through its Learn to Skate program, which offers free or low-cost skating lessons predominantly in St. Paul.

The next Learn to Skate session begins in the fall, and Brownbody is holding a community skate party at 11:30 a.m. March 22 at the Charles M. Schultz-Highland Arena (800 S. Snelling Ave.). Participation — and skate and helmet rental — is free. More info is at brownbody.org/learn-to-skate/.

Brownbody also partners with community organizations to bring Learn to Skate lessons to ice rinks around the metro. During the Winter Carnival, the organization hosts skating classes at Springboard for the Arts in Frogtown, and they’ve previously held community lessons and performances in Hopkins and Brooklyn Park.

“We really focus on creating an environment that makes skating safe and fun for (Black) communities, because it’s not a sport that always has been,” said Karyn Wilson, Brownbody’s Learn to Skate director and also the organization’s administration and operations coordinator. “And for that reason, a lot of people miss out on learning how to do it.”

Skating instructor Karyn Wilson, in background, monitors a student during a lesson on Dec. 18, 2021, at the TRIA Rink in downtown St. Paul. Wilson, the administration and operations coordinator for skating arts nonprofit Brownbody and a former competitive synchronized figure skater, runs the organization’s Learn to Skate program. (Alice Gebura / Brownbody)

Creating a community-focused environment that welcomes skaters of all ability levels, rather than just catering to children in the competitive figure skating pipeline, reflects Wilson’s own background in skating, too: She grew up in Washington, D.C., and briefly took skating lessons as a child but didn’t connect with it until returning to the sport as a high schooler.

And rather than entering the competition circuit, as Richburg had, Wilson joined synchronized skating teams, including at the University of Wisconsin–Madison. After college, Wilson returned home to D.C., but moved to St. Paul in 2021 specifically to work with Richburg at Brownbody.

“I don’t expect that all my students are going to want to become competitive figure skaters, but now they know it’s an option if they want to do it,” Wilson said. “So just being able to open up the skating world to people in that way — if you don’t know how to skate, none of those options would be available to you.”

‘Reclaiming the ice’

In the early 2000s, about two decades into Richburg’s competitive skating career, she injured her right knee and could no longer land complex jumps.

So while studying contemporary African-American literature at Carleton College and later in a master’s program at the University of Wisconsin–Madison, she adapted her ice skills to dance theater, and trained with local arts leaders including Toni Pierce-Sands at TU Dance, Lou Bellamy at Penumbra and Dipankar Mukherjee at Pangea World Theater. Later, as an MFA student in dance and choreography at Temple University in Philadelphia, she studied techniques created by Kariamu Welsh, a renowned scholar and practitioner of African and African-diaspora dance.

Richburg’s work with Brownbody brings all these influences together.

Rohene Ward, Chrissy Lipscomb, Devinai Hobbs, Simeon Hanks and Deneane Richburg in a 2015 performance of “Quiet As It’s Kept.” (Jon Dahlin/Brownbody)

One piece, “Living Past (Re)Memory,” is based on the novel “Beloved,” by Toni Morrison. Another, 2017’s “Quiet As It’s Kept,” aims to draw parallels between post-Civil War Reconstruction era and modern racial justice efforts, with music co-created and performed by local singer Thomasina Petrus. One of Brownbody’s earliest productions, which Richburg initially choreographed and performed as her master’s thesis at Temple University, focused on Saartjie Baartman, a southern African woman who, in the early 1800s, was exhibited in England and France as a hypersexualized “freak show”-style attraction and whose story, in recent decades, has become important to contemporary Black feminist scholarship.

“To be able to bring her story onto the ice was really important, because I felt that I was reclaiming the ice as a place for really nuanced and honest discussion and affirmation of Blackness, which it had not been and, still, for the most part, is not,” Richburg said.

Thinking of Blackness not just as a racial identity but also as an embodied practice is central to Richburg and Wilson’s vision for skating education, both said. Following a dance style called Umfundalai, developed by Welsh, the Learn to Skate curriculum incorporates African and African-diasporic movement techniques. And in Brownbody’s apprentice program — which consists of skilled skaters, instructors and older students who have advanced out of the Learn to Skate curriculum — Richburg is focusing on West African dance styles like Manjani and Lamban.

The Black skating community in the U.S. is already somewhat small, Richburg said, and the skaters who are trained in the specific style of dance performance Brownbody’s work calls for are scattered around the country. Bringing them together to stage a full company show is quite expensive and requires more than a year of planning and rehearsal residencies, Richburg said. She is currently planning to stage the company’s next major show during the 2026–2027 season.

An eventual goal of hers, through the Learn to Skate and apprenticeship programs, would be to build up the community of local Black skaters who have the skills to perform Brownbody’s repertory. But for any style of skating, achieving a high level of proficiency requires dedicated, usually one-on-one coaching on up to a daily basis, which Richburg said Brownbody does not currently have the resources to provide.

What Brownbody can accomplish now, though, is to create opportunities for self-expression on the ice. Richburg said she frequently thinks back to a post-class survey comment from a parent who said her young daughter doesn’t conceive of skating as a predominantly white sport because she was introduced to it by Brownbody. Rather than seeing herself first as a Black girl in a white world, Richburg said, she can get to know herself as a full human being.

“For that to be her first point of contact, where blackness is normalized and is the standard, is going to shift her perception of herself as not being an anomaly, not being a counter-discourse, but being centered,” Richburg said. “And what that does to a person’s self-esteem, one’s concept of oneself, is huge.”

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