Print Issue of March 16, 2017 (Volume 46, Number 23)

C H I C A G O ’ S F R E E W E E K LY | K I C K I N G A S S S I N C E 1 9 7 1 | M A R C H 1 6 , 2 0 1 7

Politics Why charter school teachers are unionizing 8

Comedy The cast of The Open Mic share their open-mike horror stories. 22

In street photographer SATOKI NAGATA’s “Lights in Chicago” series, snowy winter weather isn’t annoying—it’s breathtaking. 12

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THIS WEEK

C H I C AG O R E A D E R | M A R C H 1 6 , 2 01 7 | VO LU M E 4 6 , N U M B E R 2 3

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EDITOR JAKE MALOOLEY CREATIVE DIRECTOR PAUL JOHN HIGGINS DEPUTY EDITOR, NEWS ROBIN AMER CULTURE EDITOR TAL ROSENBERG DIRECTOR OF PHOTOGRAPHY DANIELLE A. SCRUGGS FILM EDITOR J.R. JONES MUSIC EDITOR PHILIP MONTORO ASSOCIATE EDITORS KATE SCHMIDT, KEVIN WARWICK, BRIANNA WELLEN SENIOR WRITERS MICHAEL MINER, MIKE SULA SENIOR THEATER CRITIC TONY ADLER STAFF WRITERS MAYA DUKMASOVA, LEOR GALIL, DEANNA ISAACS, BEN JORAVSKY, AIMEE LEVITT, PETER MARGASAK, JULIA THIEL SOCIAL MEDIA EDITOR RYAN SMITH GRAPHIC DESIGNER SUE KWONG MUSIC LISTINGS COORDINATOR LUCA CIMARUSTI EDITORIAL ASSISTANT CASSIDY RYAN CONTRIBUTING WRITERS NOAH BERLATSKY, MATT DE LA PEÑA, ANNE FORD, ISA GIALLORENZO, JOHN GREENFIELD, JUSTIN HAYFORD, JACK HELBIG, DAN JAKES, BILL MEYER, J.R. NELSON, MARISSA OBERLANDER, LEAH PICKETT, DMITRY SAMAROV, DAVID WHITEIS, ALBERT WILLIAMS INTERNS AUSTIN BROWN, ISABEL OCHOA GOLD, RACHEL HINTON, ABBEY SCHUBERT, JIAYUE YU ---------------------------------------------------------------VICE PRESIDENT OF BUSINESS DEVELOPMENT NICKI STANULA VICE PRESIDENT OF NEW MEDIA GUADALUPE CARRANZA SENIOR ACCOUNT MANAGER EVANGELINE MILLER ACCOUNT EXECUTIVES FABIO CAVALIERI, ARIANA DIAZ, BRIDGET KANE MARKETING AND EVENTS MANAGER BRYAN BURDA DIRECTOR OF DIGITAL JOHN DUNLEVY ADVERTISING COORDINATOR HERMINIA BATTAGLIA CLASSIFIEDS REPRESENTATIVE KRIS DODD

FEATURES

IN THIS ISSUE 4 Agenda The Wiz, three new works from Alvin Ailey American Dance Theater, “Imagine a Place to Be Among Friends” at Aspect/Ratio, “Women Behind Bars: An Illicit History of Women and Bartending,” Olivier Assayas’s film Personal Shopper, and more recommended things to do

MUSIC & NIGHTLIFE

CITY LIFE

PHOTO ESSAY

Let it snow

In street photographer Satoki Nagata’s “Lights in Chicago” series, inclement winter weather isn’t an annoyance—it’s breathtaking. 12

ARTS & CULTURE

DISTRIBUTION CONCERNS distributionissues@chicagoreader.com

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ON THE COVER: PHOTO BY SATOKI NAGATA. FOR MORE OF HIS WORK, GO TO SATOKI.COM.

7 Street View “True fashion is the reflection of one’s true self,” and more enlightening style advice 7 Chicagoans How Art Sims became the radio entertainer known as Chat Daddy 8 Joravsky | Politics If charter schools don’t want their teachers to unionize, they’ll have to pay them like they’re in a union.

9 Housing The Bloomingdale Arts Building sheds its altruistic mission.

10 Transportation A Logan Square pedestrian crash shows how difficult it can be to get justice after a driver flees.

21 Theater Inspired by the Edward Snowden leaks, The Source strays too far from its own.

21 Dance In Lil BLK, Nic Kay draws on spoken word, butoh, and kiki functions alike.

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24 Movies Tickling Giants traces the rise and fall of Bassem Youssef, “the Jon Stewart of Egypt.”

FOOD & DRINK

39 Restaurant review: Quiote The multifaceted Logan Square concept from former Salsa Truck owner Dan Salls includes a basement bar with a wealth of mezcal.

CLASSIFIEDS

42 Jobs 42 Apartments & Spaces 43 Marketplace

CULTURE

Wild cards

Thee Almighty & Insane collects the printed relics of Chicago’s predigital gangland. 16

26 In Rotation Current musical obsessions include Oasis, the International Noise Conference, 80s smooth jazz, and more 28 Wellness Punk Talks works to change the conversations around musicians and mental health.

31 Shows of note Dungen, the Orwells, Octo Octa, and more recommendations 34 The Secret History of Chicago Music No less a bluesman than Muddy Waters called Forest City Joe a “great harp player.”

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22 Comedy The cast of the new webseries The Open Mic share their open-mike horror stories.

23 Visual Art Patty Carroll’s “Anonymous Women” spotlights the binds of domesticity.

44 Straight Dope How is the effectiveness of contraception measured?

45 Savage Love What’s with the hijab wearers at the orgy?

46 Early Warnings Paul Simon, Tool, Wild Belle, and other shows in the weeks to come 46 Gossip Wolf The Chili-Synth Cook-Off returns for year seven, and more music news.

MARCH 16, 2017 - CHICAGO READER 3

AGENDA R READER RECOMMENDED

Send your events to agenda@chicagoreader.com

b ALL AGES

F crop up at cast parties a few drinks in. —DAN JAKES Through 5/14: Wed-Fri 7:30 PM, Sat 5 and 8 PM, Sun 2 and 5 PM, Tue 7:30 PM, Royal George Theatre Center, 1641 N. Halsted, 312-988-9000, theroyalgeorgetheatre.com, $59-$99.

gay older brother (played by Alex Garday with enthusiasm matching Rooney’s) to show Isabel life in all its contradictory splendor. But every character is such an on-the-nose grotesque that it’s difficult to take Purity Ball seriously as the sendup of religious intolerance it aspires to be. Director Tiffani Swalley lets Rooney belt out the best numbers, which she does with abandon. —DMITRY SAMAROV Through 4/7: Fri 8 PM, Annoyance Theatre, 851 W. Belmont, 773-697-9693, theannoyance.com, $20, $15 students.

24Words Although the Equal Rights Amendment—referenced by the title of this 90-minute musical revue—began life in 1923, when it was first introduced in Congress, book and lyric writer Charles Kouri charts the struggle for American gender equality going back to 1776, when Abigail Adams tried unsuccessfully to rein in her husband’s period-perfect gynophobia by urging him to “remember the ladies.” The show’s gap-heavy time line alternates between specificity (the 1848 Seneca Falls Convention) and nebulousness (“the 60s”), the episodes staged with abundant conflicting metaphors and ever-shifting rules of engagement, all choreographed to the point of indifference. It’s a well-meaning jumble that rarely finds adequate focus.

Still, composers Gary Bragg and Dean Schlabowske know their way around a pop ballad, and director Margaret Baughman’s young ten-person cast can harmonize with the best of them. —JUSTIN HAYFORD Through 3/21: Tue-Wed 7:30 PM, Stage 773, 1225 W. Belmont, 773-327-5252, stage773.com, $25.

Spamilton Even folks who’d R diagnose themselves with Hamilton exhaustion would do well to

The Van Gogh Cafe Filament R Theatre’s revival of this dinner-theater production finds a perfectly

THEATER

More at chicagoreader.com/ theater Flanagan’s Wake The Improv Institute’s original 1994 production of Jack Bronis’s interactive, mostly improvised Irish wake ran for more than a decade. Now Chicago Theater Works disinters these stereotype-laden, intermittently amusing 90 or so minutes, and even brings back Bronis to direct. The results are decidedly musty (think drunk Irishmen jokes), and the challenging acoustics and overlapping, brogue-heavy dialogue make comprehension a regular chore. But the seven improvisers graciously accommodate some delightfully dopey audience participation, giving the evening a refreshingly communal feel. On the night I attended, they even managed to turn one audience member’s perfectly inept rendition of “Danny Boy” into the show’s emotional highlight. —JUSTIN HAYFORD Through 4/29: Fri 8 PM, Sat 9 PM; also Thu 3/16, 8 PM; Sun 3/26 and 4/23, 7 PM; Wed 3/29, noon; Sun 4/9, 5 PM; Chicago Theater Works, 1113 W. Belmont, chicagotheaterworks.com, $29-$34.

Heartbreak House George Bernard Shaw’s 1919 comedy-drama—written in reaction to the social upheavals of World War I and inspired by a weekend Shaw spent with writer Virginia Woolf and her husband at their country home in 1916—is a portrait of a bohemian English family and the outsiders drawn into their eccentric world. This production by ShawChicago, which specializes in concert readings of Shaw’s works, features an excellent ten-member ensemble delivering their lines from scripts at music stands. This approach allows the audience to savor the wordy play’s elegantly constructed dialogue.

But as the physical action escalates in the final act—with the arrival of unidentified enemy aircraft dropping bombs on the estate—the production runs out of steam, constricted by the limitations of the readers’ theater format. —ALBERT WILLIAMS Through 3/27: Sat-Sun 3 PM, Mon 7 PM, Ruth Page Center for the Arts, 1016 N. Dearborn, 312-337-6543, shawchicago.org, $35, $30 seniors, $20 students.

Hedwig and the Angry Inch There’s something of the period piece about this musical by John Cameron Mitchell and Stephen Trask, presented here in a touring production. Part of that is calculated: German drag queen Hed-

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Spamilton o MICHAEL BROSILOW wig is shaped in all too many ways by growing up fey on the Soviet side of the Berlin Wall. But another part has to do with cultural evolution. Hedwig’s wigs, glitter, and sass just aren’t as transgressive now—not outside North Carolina, anyway—as they probably seemed in 1998, when the earliest version of the show premiered. In 2017 the focus would be better placed on Hedwig’s personal journey through deep trauma to a form of self-acceptance. Trouble is, Michael Mayer’s big lights/loud noise directorial approach kills all chance of intimacy. A chamber version might work better—preferably one featuring Hannah Corneau, who stands out as Hedwig’s doormatty husband, Yitzhak. —TONY ADLER Through 3/19: Wed-Fri 7:30 PM, Sat 2 and 8 PM, Sun 2 and 7:30 PM, Tue 7:30 PM (except 3/19, 2 PM only), Ford Center for the Performing Arts, Oriental Theatre, 24 W. Randolph, 800-775-2000, broadwayinchicago.com, $22-$115.

The Livingroom: Hot Mess I’m doing OK now, the performers insist in this night of solo one-acts from the Livingroom. Otherwise, I wouldn’t be on this stage. I might be dead. I might still be dating a cheater. I might never have crawled out of that box of Thin Mints that was making me fat and slimmed down on a diet of salad and boiled chicken. But let me tell you a bit about the heinousness life threw at me before I could achieve this very precarious happiness. Let me tell you about dating a guy with the same name as my widowed mother’s new boyfriend. Let me explain to you what it’s like to be trapped in the 80s. Let me empty my ex-boyfriend’s actual clothes onto the stage for you to pick through while Beyoncé’s “Sorry” plays. Love me. Validate me. Please.

—MAX MALLER Through 3/26: Sun 7 PM, Stage 773, 1225 W. Belmont, 773-327-5252, stage773.com, $10.

Purity Ball: The Musical High-schooler Isabel (Tabitha Rooney) wants to be a good wife when she grows up, just as her evangelical community has groomed her to be, but sexual urges and longing for the wider world make her break free.

In this musical by Brad Kemp and Molly Miller there’s incest, embezzlement, a lousy first love, and a saintly, adopted,

check out Forbidden Broadway creator Gerard Alessandrini’s off-Broadway cabaret-comedy hit. In it Lin-Manuel Miranda (Yando Lopez)—an indefatigable theater nerd who, in the vernacular of kids these days, is overwhelmingly “extra”—examines the Disney and Jukebox Broadway Industrial Complex and, with the guidance of a Ben Franklin-ized Stephen Sondheim, sets out to create an “all-you-can-eat word buffet” pop culture phenomenon. Part celebration and part roast, the production features a stellar Chicago-sourced cast who belt out show-tune parodies that, alongside expected jokes about the difficulty of getting Hamilton tickets and the cascading density of its plot, throw fiercely witty shade and air the sort of grievances about industry antics that normally

dreamy home in Fannie’s Cafe. Based on Cynthia Rylant’s classic children’s book, Andrew J. Lampl’s play brings to life the magical world of the Van Gogh Cafe in Flowers, Kansas, home of affable owner Marc (Les Rorick) and his precocious ten-year-old daughter, Clara (Aissa Guerra). Over the course of five chapters, each with its own course, the cafe hosts a series of whimsical vignettes featuring everything from a mysterious possum to a lovesick silent film star to a flock of seagulls looking to hitch a ride back to California. With a kid-friendly menu that mixes sweet and savory and its engaging audience participation on a shoestring (animal ears, BandAids, paper snow, etc), it’s an uplifting opportunity to suspend your disbelief.

—MARISSA OBERLANDER Through 3/26:

The Wiz o MICHAEL BROSILOW

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Best bets, recommendations, and notable arts and culture events for the week of March 16

Sat-Sun 5 PM, Fannie’s Cafe, 5040 W. Montrose, 708-320-2294, filamenttheatre. org, $45, $30 students and children.

Hume Chicago “In Taverns,” Reader contributor Dmitry Samarov’s paintings from nights out at Rainbo Club, Skylark, and Bernice’s Tavern. Opening reception Sat 3/18, 6-10 PM. 3/18-4/16. Sat 1-5 PM and by appointment. 3242 W. Armitage, humechicago.org.

The Wiz Like most Broadway R hits, William F. Brown and Charlie Smalls’s 1975 musical version of L. Frank

Baum’s The Wonderful Wizard of Oz was created to fill a huge stage with actors and dancers and lots of dazzling spectacle. (When it played in Chicago it was at the 4,250-seat Arie Crown Theater.)

The beauty of Kokandy Productions’ revival, directed by Lili-Anne Brown and choreographed by Breon Arzell, is that it retains the show’s energy and glory despite being squeezed into a storefront space smaller than many traditional theater lobbies. The secret is casting: Brown packs her ensemble with powerful singers and dancers, all of whom bring the best out of the sometimes dated, corny material. Sydney Charles is especially fine as Dorothy, a role that requires her to play the full range of emotions, from meek and confused to bold and plucky, then end the show with some full-throated gospel. —JACK HELBIG Through 4/16: Thu-Sat 8 PM, Sun 3 PM; also Sat 4/1, 4/8, and 4/15, 3 PM, Theater Wit, 1229 W. Belmont, 773-9758150, kokandyproductions.com, $33-$38.

DANCE

Alvin Ailey The legendary R dance company presents three new works: Deep, r-Evolution, Dream,

and Untitled America, the last a piece choreographed by MacArthur fellow Kyle Abraham that examines the impact of incarceration on black families. 3/223/26: Wed-Fri 7:30 PM, Sat 2 and 8 PM, Sun 3 PM, Auditorium Theatre, 50 E. Congress, 800-982-2787, auditoriumtheatre.org, $33-$115.

Consumed Have you heard that people spend too much time on their phones?

That observation, presented as if for the first time, is made at the top of Sara Maslanka’s Chicago Danztheatre Ensemble production by way of a comedian/ preacher standing atop a milk crate and pointing her finger at individual audience members: “Consumer, consumer, consumer, consumer . . . ” So there’s that.

At the heart of this ten-person, multidisciplinary devised ensemble piece are a number of quirk-embracing, often mesmerizing contemporary dances inspired by a collaborative process. Most of it, though, consists of undergraduate exercises and tropes like build-a-stories, video projections of Bravo reality shows and nature footage, and performers stripping down to their skivvies apropos of nothing. —DAN JAKES Through 3/25: Fri-Sat 8 PM, Ebenezer Lutheran Church, 1650 W. Foster, 773-561-8496, danztheatre.org, $15, $10 students and seniors.

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Scarlet Ballet 5:8 presents a multimedia dance performance based on The Scarlet Letter. Sat 3/17, 7:30 PM, and Sun 3/18, 2 PM, Athenaeum Theatre, 2936 N. Southport, 773-935-

Peanut Gallery “The Kurt Russell Art Show,” a group show featuring work inspired by Kurt Russell plus beer from Solemn Oath and baked goods. Fri 3/17, 6-10 PM. By appointment. 902 N. California, peanutgallerychicago@gmail.com, peanutgallerychicagocom.

Carmen Price, Over Volume, Resolute, 2016, on display as part of “Visible and Permanent” at Carrie Secrist Gallery 6860, ballet58.org, $35, $28 for students and seniors, $15 for children.

COMEDY

Carrie Secrist Gallery “Visible and Permanent,” a group exhibition exploring the varying interpretations of primitive art. 3/17-4/29. Tue-Fri 10:30 AM-6 PM, Sat 11 AM-5 PM. 835 W. Washington, 312491-0917, secristgallery.com.

LIT & LECTURES

Chug It Out: A Drinking Game R Game Show About Drinking Journalism in the Age of Trump Games Comedy group Huggable Riot R IRE Chicago and City Bureau host presents an interactive sketch show all this discussion about journalists’ legal about drinking games. Open run: Mon 9 PM, 1959 Kitchen & Bar, 230 W. North, 312-337-3992, secondcity.com/1959.

Doublespeak of the Devil A R sketch show inspired by hell.

Through 3/16: Thu 8:30 PM, Second City Chicago Judy’s Beat Lounge, 1616 N. Wells, 312-337-3992, $13.

R

The Ghost Planet #7 This iteration of the monthly variety talk show hosted by Frank Okay focuses on death. Guests include Ashley Ray, Dave Gabriel, and Lisa Leszczewicz. Sat 3/18, 11 PM-2 AM, Township, 2200-2202 N. California, 773-384-1865, theghostplanet. org, $10.

rights and how to protect sources in the age of Trump. Guests include Ed Yohnka from the American Civil Liberties Union, Mason Donahue of Lucy Parsons Labs, and activist attorney Dan Massoglia.

Tue 3/21, 6 PM, Univision News Studios, 541 N. Fairbanks, #1100, 312-670-1000, citybureau.org.

David McAninch The author R discuses his book Duck Season: Eating, Drinking, and Other Misadven-

tures in Gascony, France’s Last Best Place, a memoir about the eight months he spent in the rural area of France. Thu 3/16, 7 PM, Book Cellar, 4736 N. Lincoln, 773-293-2665, bookcellarinc.com.

VISUAL ARTS Aspect/Ratio “Imagine a Place to Be Among Friends,” James Murray’s examination of past and present queer spaces and how they’ll shape the future of contemporary sexual politics. Opening reception Fri 3/17, 5-8 PM. 3/17-4/29.

Thu-Sat noon-5 PM or by appointment.

119 N. Peoria, suite 3A, aspectratioprojects.com.

Bridgeport Art Center “Paper Arts,” a group exhibition exploring all the ways in which paper can be used as an artistic medium. Opening reception Fri 3/17, 7-10 PM. 3/17-5/5. By appointment. 1200 W. 35th, 773-247-3000, bridgeportart.com.

Kavi Gupta Gallery “Unreliable Narrator,” local painter Patrick Chamberlain’s first solo exhibition at the gallery. 3/175/13. Tue-Fri 10 AM-6 PM, Sat 11 AM-5 PM. 835 W. Washington, 312-432-0708, kavigupta.com.

Trina Robbins o JESSICA CHRISTIAN

Trina Robbins The underR ground-comic icon discusses women, culture, and comics. Thu 3/16, 6

PM, Jane Addams Hull-House Museum, 800 S. Halsted, 312-413-5353, uic.edu/ jaddams/hull/hull_house.html.

Behind Bars: An Illicit R Women History of Women and Bartend-

For more of the best things to do every day of the week, go to chicagoreader. com/agenda.

ing Jeanette Hurt, author of Drink Like a Woman, discusses the history ry of women in bartending and what a feminist cocktail looks like. The evening ening includes a Q&A and complimentary drinks. Wed 3/22, 7:30 PM, Women & Children First, 5233 N. Clark, 773-769699299, womenandchildrenfirst.com.

MOVIES

More at chicagoreader.com/movies NEW REVIEWS The Country Doctor A graying rural doctor who still makes house calls (François Cluzet of Tell No One) learns that he has cancer and reluctantly agrees to surrender his rounds to another physician while he undergoes chemotherapy; his replacement (Marianne Denicourt) is an attractive middle-aged woman with long experience as a nurse but little regard for her patients as people. Director-cowriter Thomas Lilti, a doctor himself, brings a store of medical wisdom to the drama (“Ninety percent of the diagnosis is provided by the patient,” the ailing doctor tells his replacement, admonishing her to listen instead of talk). But that professional insight was exploited more profitably in his breakthrough feature, the biting Hippocrates: Diary of a French Doctor (2014), than in this sensitive, faintly smarmy romance. Also known as Irreplaceable. In French with subtitles.

—J.R. JONES 99 min. Screens as part of the European Union Film Festival; for a full schedule visit siskelfilmcenter.org. Fri 3/17, 2 PM, and Wed 3/22, 6 PM. Gene Siskel Film Center

7 VENUES • 10 DATES • 25 FILMS

Ethel & Ernest Adapted from a graphic novel by Raymond Briggs, this innocuous but charming UK animation tells the story of the author’s working-class parents from their first meeting in 1928 (when Ethel was a lady’s maid and Ernest a flirtatious milkman) to their deaths in 1971. The artwork is straightforward, the characters archetypal (Ethel is a Tory, Ernest votes for Labour), and their history fondly remembered, as if it’s been polished smooth by years of repetition. At times the movie threatens to melt into a pool of bulldog nostalgia, but it’s rescued by a wealth of authentic social detail, especially as the young couple keep a stiff upper lip during World War II (in the darkest days of the Blitz, they sleep in a bed-size metal cage to shield themselves from falling debris).

Their boy Raymond comes of age in the swinging 60s, takes up art, and marries a woman with schizophrenia, developments that prompt Ethel and Ernest to wonder what it’s all about before they disappear into the past they’ve so lovingly tended. Roger Mainwood directed his own screenplay. —J.R. JONES W

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AGENDA B 94 min. Fri 3/17, 2 PM, and Sat 3/18, 2 PM. Gene Siskel Film Center Frantz The rare case of a R remake that far surpasses the original, this sublime mature

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work by Francois Ozon borrows liberally from Ernst Lubitsch’s Broken Lullaby (1932) but supplants its fevered melodrama with erotically charged mystery. An elderly, provincial German couple (Ernst Stotzner, Marie Gruber), grieving for the son they lost in World War I, have taken in his fiancee (Paula Beer); visiting the son’s grave, the young woman meets a fragile veteran (Pierre Niney) who claims to have known the deceased, and brings him home to the parents, whom he comforts with his reminisces. Budgetary constraints forced Ozon to shoot in black and white, yet the seductive 35-millimeter imagery gains in potency from the brief color sequences used to reconstruct an elusive past. In German and French with subtitles.

—ANDREA GRONVALL PG-13, 113 min. Sun 3/19, 3 PM, and Thu 3/23, 6 PM. Gene Siskel Film Center Godless Set in a remote Bulgarian town, this 2016 debut feature by writer-director Ralitza Petrova follows a morphine-addicted nurse (Irena Ivanova) who steals ID cards from her elderly patients and sells them on the black market. The woman seems stifled—she provides for her unemployed mother but they barely speak, and she and her boyfriend seem to share nothing except their addiction—yet Petrova is less concerned with the reasons for her behavior than with the consequences of her actions. Ivanova is a fine actor, but her character lacks dimension; the nurse’s sordid environment and the abasement she endures to the point of numbness make her feel like a personification of the country’s political corruption and social unrest. In Bulgarian with subtitles. —LEAH PICKETT 99 min.

Sun 3/19, 5:15 PM, and Thu 3/23, 8:15 PM. Gene Siskel Film Center

The Olive Tree As a girl, Alma climbs into a giant olive tree, loved by her grandfather, to protect it from being uprooted from the family farm and sold for a handsome sum; grown to adulthood, this determined young punk (Anna Castillo) sees the grandfather slowly dying and resolves to bring the tree back and revive him. British screenwriter Paul Laverty is best known for his long collaboration with director Ken Loach, and to judge from this Spanish drama, his second script for director Icíar Bollaín, he needs Loach’s steadying social-realist hand as much as Loach needs his sense of fancy.

Bollaín is a strong director, and Castillo gives her plenty of juice as the heroine, who tears around on a motorcycle and won’t take no for an answer, but their best efforts fall

Frantz

victim to Laverty’s moony premise and increasingly contrived plot developments. In Spanish with subtitles. —J.R. JONES 100 min.

Screening as part of the European Union Film Festival; for a full schedule visit siskelfilmcenter.org. Sun 3/19, 5:15 PM, and Mon 3/20, 8 PM. Gene Siskel Film Center Personal Shopper ThematiR cally this is Olivier Assayas’s darkest feature since Boarding

Gate (2007), though it’s much better, owing largely to Kristen Stewart’s mesmeric performance as a young Parisian who works as personal shopper to a jet-set model and, in her spare time, communicates with the dead. Her twin brother, also a spiritual medium, has recently succumbed to a heart condition that she shares, and while he was alive, they agreed that the first to die would try to make contact with the other. Assayas stages numerous scenes in near darkness as the heroine prowls around seeking her late sibling, and an inordinate number of scenes fade to black, suggesting (intentionally or not) the boundaries of consciousness. What gives the story its spooky resonance, however, is a confluence between the unmoored exploration of the protagonist’s spiritualism and the international rootlessness of the model’s world.

In French with subtitles. —J.R. JONES R, 105 min. Landmark’s Century Centre

The Sense of an Ending R Julian Barnes’s engrossing novel about an old, divorced Lon-

doner radically reassessing his past gets a conventional but penetrating treatment from director Ritesh Batra (The Lunchbox) and the perfectly cast Jim Broadbent and Charlotte Rampling. The protagonist (Broadbent), owner of a vintage camera shop, lives in peaceful coexistence with his ex-wife (Harriet Walter) and pregnant lesbian daughter (Michelle Dockery), but then an unexpected bequest from a will forces him to reconsider the suicide of an old college pal four decades earlier and to make contact again with the lover they shared (Rampling). Screenwriter Nick Payne has a hard time objectifying Barnes’s sustained musing over the intricacies of time and memory, but the melodrama alone conveys the writer’s conviction that

even in old age one’s understanding of life can be swept away in an instant. With Emily Mortimer. —J.R. JONES PG-13, 108 min. Century 12 and CineArts 6, Landmark’s Century Centre, River East 21 Uncertain Never was a city more aptly named than Uncertain, Texas— located on Caddo Lake at the Louisiana border, the little community (pop. 94) has been shrinking ever since the aquatic weed salvinia spread across the lake, choking off the fish and wildlife that sustain the economy. For this 2015 documentary, directors Ewan McNicol and Anna Sandilands spent a year and a half trailing three local characters, two of them older men wrestling with violent pasts and the third a hard-drinking young diabetic wondering if he has a future. The most interesting of them by far is Wayne, a middle-aged ex-convict and recovering addict who now channels all his energy into hunting wild boar with a single-shot powder rifle; the filmmakers follow him on numerous midnight expeditions to take down a giant beast called Mister Ed, but the real night terror turns out to be Wayne’s remorse for the crimes he’s committed.

—J.R. JONES 82 min. Facets Cinematheque

SPECIAL EVENTS Chicago Public Chicago Film Archives presents a 16-millimeter program of documentaries from the 1960s and ’70s that “look back to a time when students were thought of as individuals, and offer a glimpse into the Chicago Board of Education at a time when social and political structures, as well as public institutions like CPS, were being called into question.” Rod Nordberg, director of the 18-minute Metro!!!: A School Without Walls (1970), attends the screening. Thu 3/16, 7 PM. C i n e m a B o r e a l i s I, Claude Monet Phil Grabsky and David Bickerstaff directed this documentary about the French painter who helped usher in the age of impressionism. 90 min. Sat 3/18 and Sun 3/19, 11:30 AM. Music Box Rammstein: Paris The German metal band performs at the Paris Bercy in 2012. Jonas Akerlund directed. 98 min. Thu 3/23, 7:30 PM. Music Box v

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CITY LIFE Chicagoans

The radio talk-show host

o ISA GIALLORENZO

Art “Chat Daddy” Sims, 51

Street View

Sikh threads “THE SIKH LOOK,” Amrita Hanjrah says, “goes back to the concept of authentic living. It’s an expression of one’s being.” While most Sikhs wear a dastar (or turban) and keep their hair long, Hanjrah and her husband, Shinda Singh, say their religion isn’t all that strict about appearance: “Strictness is provoked out of fear and control,” Hanjrah says. “What you can and cannot wear is not decided by another but oneself. The key question one must ask themselves is, ‘Is this my authentic self or is it a facade?’” explains Hanjrah, an artist and court liaison. “Who we are inside and out should be connected seamlessly,” says Singh, a musician and health-care consultant. “True fashion is the reflection of one’s true self.

At the end of the day if it doesn’t tell your story, it’s not fashion.” —ISA GIALLORENZO

IT STARTED IN my living room with eight friends one night, relaxing, when I just started questioning people about their love lives. As a gay man, I understood that relationships are relationships, whether it’s male, female, whatever the case may be. People are people, and they all are going to act a certain way.

Then I started doing relationship events at coffeehouses around the city, where people would come and I would throw out various relationship questions to discuss. When they first started, people thought they were Bible discussions—they’d bring their Bibles—and I was like “No, this is where you can come and be who you need to be, say what you need to say.”

This was when the whole P. Diddy stuff was going on, and a friend of mine said, “Man, you should be known as the Chat Daddy.”

Real Talk, Real People With Chat Daddy is a nightly entertainment show on WVON. It’s very much a fulltime job. I start my day off by sitting in front of a computer with an iPad and a phone, and I just watch daytime TV, read newspapers, go online, figure out what the latest trends are, keep up with people on social media. I try to protect my voice as much as possible; I don’t talk that much outside the show unless I have to talk to people on the telephone.

The show was designed to give the audience something to cleanse their palates, something to refresh them. I provide them some entertainment, a way to laugh. I don’t do anything heavy on the show. Last night we had women on giving tips about how to keep your marriage from being sexless. I’ve had famous fashion designers and photographers on; I’ve had Aretha Franklin on.

The show ends at 9 PM. I come home, have a light bite to eat, and then I usually stay up. I have an ad-

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“The show was designed to give the audience something to cleanse their palates, something to refresh them.”

diction for the Jimmys at night—Jimmy Fallon and Jimmy Kimmel. Those are my mentors, my friends, I love ’em both. I watch what they do and then I try to catch late-night news so I can get updated, and then I finally hit the pillow.

I’m very shy. I am. The personal me is so much different than the person that people have come to know.

People who are in front of cameras and behind microphones, these are everyday-life people and they have issues to deal with, but they’ve got to put their best foot forward for the public. Any entertainer knows that.

I never felt that my homosexuality was damned or like God wasn’t approving of me, cause if that’s the case, God could have had many chances of wiping me out.

I always knew I wanted to be a star; I just think no one ever caught on right. For so long, people have ignored my gift or didn’t treat it the way it should have been, and I’m grateful to do what I do every night on the radio, because I feel as if I speak to everyday people in a way that they enjoy it, love it, get it. I believe God ordained me to do this. —AS TOLD TO ANNE FORD

¥ Keep up to date on the go at chicagoreader.com/agenda.

SURE THINGS THURSDAY 16

FRIDAY 17

SATURDAY 18

SUNDAY 19

MONDAY 20

TUESDAY 21

WEDNESDAY 22

Climate Change Conference Panels including “#NoDAPL: Voices of Hope From the Water Protectors” plus a keynote address from Mary Robinson, the United Nations secretary-general’s special envoy on El Niño and climate. 3/163/17, Loyola University Chicago, 1032 W. Sheridan, luc.edu/ sustainability, $30-$80.

M In/Motion The dance film festival includes screenings of shorts and features, master dance classes, live performances, and Q&As with guests such as Bessie Award winner Celia Rowlson-Hall (Ma). 3/17-3/19, various locations, inmotionfestival.com, $10 per screening, $15 weekend pass.

& Good Fo od Festival This year’s fest focusing on healthy and sustainable food features appearances by and workshops with Chicago food industry notables Rick Bayless, Rob Levitt, Paula Haney, and Good Chef of the Year winners Christine Cikowski and Josh Kulp. 10 AM-5 PM, UIC Forum, 725 W. Roosevelt, goodfoodfestivals.com. F

& Th e D ivine Fe minine Dance night Party Noire hosts a celebration of black femmes and the spring equinox with music from DJ Rae Chardonnay. 2-9 PM, the Promontory, 5311 S. Lake Park, thepartynoire.com, $10.

× A Sur vival Guide to the Galaxy Astronomy on Tap Chicago presents a night of beer and science featuring discussions from guest speakers on the life and death of stars, the stability of our solar system, and lithopanspermia, all paired with Half Acre brews. 6 PM, Half Acre Tap Room, 4257 N. Lincoln, astronomyontap.org, $10.

" Pa norama with Rick Kogan and Michael Miles Radio personality and journalist Rick Kogan joins forces with musician Michael Miles to host a show covering history, music, politics, humor, and more. 6:30 PM, Hideout, 1354 W. Wabansia, hideoutchicago.com, $10.

» Ch icago Gives Back: An Inte rs ectional Social Justi ce Benefit Variety show featuring Alicia Swiz, Morimoto, NK Gutierrez, and more benefiting Chicago Women’s Health Center, Howard Brown Health, and After School Matters. 8 PM, Empty Bottle, 1035 N. Western, emptybottle.com, $10 suggested donation.

MARCH 16, 2017 - CHICAGO READER 7

CITY LIFE

Unionized teachers with Aspira rallied outside one of the charter network’s high schools March 9 to try to convince the company to come to terms on a contract. o SCOTT OLSON/GETTY IMAGES

POLITICS

Two-tiered teaching If charter schools don’t want their teachers to unionize, they’ll have to pay them like they’re in a union.

By BEN JORAVSKY

B

ack in 2012, when Chicago Public Schools teachers went on strike, Juan Rangel, the CEO of the UNO Charter School Network, proudly told reporters his schools were open.

And they had plenty of vacancies, so parents pissed off at the striking Chicago Teachers Union should come on down and enroll their kids. A similar note was sounded by other charter operators—and the subtext was hard to miss.

Charter school teachers don’t want a union, wouldn’t join one if they could, and, as one prominent business leader put it, don’t even need one.

“The good teachers know they’ll do fine,” Bruce Rauner said in a speech shortly after the strike. “It’s the weak teachers. It’s the lousy, ineffective, lazy teachers that—unfortunately, there are a number of those— they’re the ones that the union is protecting.”

Man, how things have changed.

Rauner—now our governor—is still singing his same antiunion song. But Rangel’s long gone from UNO, having been ousted after a contracting scandal. And UNO’s teaching force is now unionized.

In fact, teachers at 32 of the city’s 125 charter campuses are unionized. Last week, the teachers at one of these charters,

WOODFORDRESERVE.COM/MEANINGFULMANHATTAN

8 CHICAGO READER - MARCH 16, 2017

Aspira, came close to going on strike before settling for a two-year contract with annual raises of 3 and 3.5 percent.

And now, teachers at Noble schools have announced they’re taking the first steps to forming a union at their 17 Chicago campuses.

There are several reasons why charter school teachers are talking unions—including the uncertainty brought on by Rauner’s withholding state aid to Chicago’s schools, charters included.

But I’d like to focus on one money issue nobody wants to talk about: teacher salaries.

As in how charter school teachers make less than their unionized peers.

Look, I realize it’s unseemly to talk about salaries when it comes to teaching. Teaching’s supposed to be a profession with a higher calling—unlike, say, running a private equity company, like Rauner did, where you’re free to be as greedy as you want.

Certainly, charter school teachers don’t raise this topic when talking about why they’re forming a union. They’ll talk about wanting a greater voice in educational decisions or the need to make school leadership more transparent. But pay? Nope.

They have their reasons. One, they didn’t go into teaching to make a lot of money. And, two, if they raise the topic, they can expect that someone—whether it’s Rauner or Mayor Rahm—will pound them for being greedy.

So let me raise the subject for them: How can you recruit and retain a cadre of the best and brightest teachers if you pay them peanuts?

Let’s brief ly consider the situation at Noble, where teachers are just starting a union drive.

Founded in 1999 by Michael and Tonya Milkie, a couple of former CPS teachers, Noble

began with one branch on the near northwest side. Since then it’s expanded to 17 campuses, having earned a reputation as a high-scoring, well-run operation.

Mayor Rahm has praised Noble. Rauner donated money to it—Noble named one of its branches for him.

But then there’s the issue of salary.

Charter schools are publicly funded but privately run. Their payrolls aren’t listed on the CPS website, like the payrolls for the rest of the schools in CPS are.

Last year Melissa Sanchez, an enterprising sleuth at the Chicago Reporter, secured a copy of Noble’s payroll after filing a Freedom of Information Act request with the school.

Give Noble credit for turning over the payroll and not stonewalling—as Mayor Rahm, CPS, Governor Rauner, and other charter operators have been known to do with FOIA requests.

Sanchez discovered that Noble paid its teachers less than what CPS paid its unionized workforce. “On average, full-time Noble teachers make about $52,000 per year in salaries, $5,500 in performance bonuses and $2,000 in stipends for taking on extra responsibilities,” Sanchez wrote.

That’s about $60,000. In contrast, she found, “at district-run schools, teachers make about $74,000 on average, state data show. Only two teachers at Noble top $74,000 in salary alone.”

Look, I’m not picking on Noble (whose spokesman didn’t respond to a request for comment). But it’s one thing to pay less than the going rate if you’re a ma-and-pa operation with one, maybe two branches. It’s something else if you’re got 17 campuses with more on the way.

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Read Ben Joravsky’s columns throughout the week at chicagoreader.com.

In 2015, when Noble tried to open a north-side branch, the company was met with resistance from neighborhood parents, who were concerned that opening new charter schools would only divert money from existing public ones.

So charter operators—not just Noble— are largely relegated to lower-income black and Hispanic communities. That means we have a two-tier system: higher-paid teachers on the north side and in the magnet schools, and lower-paid teachers in the lower-income minority communities.

And let’s not forget the suburbs and exclusive private schools like Francis Parker, the Latin School, and the University of Chicago Lab Schools—they all pay their teachers more than charters do.

It’s funny: Everyone from Rahm to Rauner says they believe teaching is one of the most important jobs in society, ’cause our children’s futures are at stake.

And nothing is more important than our children.

Well, apparently some children matter more than others—if how much we pay their teachers is any indication.

For what it’s worth, I come from a long line of teachers’ union activists. My mother, a public school teacher for almost 40 years, was a CTU delegate who led her colleagues on many a strike. One of my kids is a union organizer in another state. Hell, I sit on the bargaining team for the Reader’s editorial workers.

Having said that, I think even my free-market friends would agree that teachers should try to get the best deal they can. I realize that younger, idealistic kids just out of college may not think twice about things like salary. But as they grow older and think about things like raising a family, buying a house, taking a vacation, or paying off those college bills—you know, things other professionals do— they’re undoubtedly going to have a different perspective.

So charter school backers—like Governor Rauner and the Walton family of WalMart—have a choice. If they don’t want charter school teachers to join a union, they’d better open their wallets and kick in a little more scratch.

Otherwise, don’t be surprised if it’s solidarity forever, baby. v

ß @joravben

SUPPORT THE MEANINGFUL MANHATTAN PROJECT HOUSING

The Bloomingdale Arts Building sheds its altruistic mission

By DEANNA ISAACS

B

ack in 2001, when Laura Weathered was struggling through construction on the Acme Artists’ Community housing development, there was a lot of talk about protecting artists from the gentrification that dogged them.

The project was driven by a familiar story: rising rents were forcing artists out of neighborhoods they’d turned from dicey to hip.

Acme would give these poor urban nomads the stability that only home ownership could provide. That, and a community of like-minded noble souls determined to keep the project affordable for the artists who’d follow.

In her job as executive director of the Near Northwest Arts Council, Weathered was developing the project, converting a dilapidated onetime metal-stamping factory at 2418 W. Bloomingdale—next to an abandoned railroad track—into 25 units.

As Jeff Huebner reported in a comprehensive piece on artists’ housing for the Reader, an initial plan to make the building a co-op was scrapped in favor of a condominium because that was easier to finance.

The city contributed $200,000 to the $3.2 million rehab project, and buyers were able to get additional subsidies of up to $30,000 (in the form of loans that would be forgiven across a ten-year period) for each unit. Artists with as little as $3,000 for a down payment were able to purchase the condominiums, which were priced from $90,000 to $130,000.

And Weathered assured Huebner that Acme would be a bulwark against gentrification for generations to come. “It’s set up so that units will remain affordable for 99 years,” he reported. A cap on equity had been written into its bylaws: the resale price for any unit would be the original price plus a

limited allowance for improvements and a modest annual increase tied to the consumer price index. The original buyers would pass their good fortune forward to the artists of the future.

But last November, just 13 years after the first residents moved into what is now known as the Bloomingdale Arts Building, that part of the bylaws was dumped. The owners voted to remove restrictions on future sales, allowing them to be priced at whatever a notably hot market will bear for a building advantageously located at an entrance to the 606.

Former board president David Rocco Facchini, who moved to California last August and has rented his Bloomingdale unit, blames the outcome on “Mayor Rahm Emanuel’s recent property tax hike” along with escalating property values around the 606.

Facchini, whose monthly payment roughly doubled, says the jump took him and others by surprise, because they’d been given the impression that the building had some sort of protected status that would shield it from large tax increases. He was disappointed when another owner, Michelle Ebner, searched for documentation on that protection and came up empty-handed.

“We aren’t affordable housing, and there was no deal with the city,” Ebner says. The huge tax increase turned out to be mostly due to some unnamed former drone in the Cook County assessor’s office who, apparently by accident, did the building a considerable favor. Taxes at 2418 W. Bloomingdale had declined appropriately after the 2008 housing bust, but in 2012 they dropped off a cliff.

Weathered says the tax on her unit, for example, which had initially been about $2,300,

The Bloomingdale Arts Building o FREDERICK J. NACHMAN

fell to about $500, and stayed there for three years before shooting up to $3,000 in 2015.

Oddly, “no one complained when they went down,” Weathered notes. And the county can’t do a retroactive correction. It was one more gift from the government.

Ebner says the tax hike has some residents hurting, but the strongest reason for dropping the equity cap is that it didn’t seem to be uniformly enforced. She bought her unit in 2010, and says she later realized she paid too much for it, while a neighbor who subsequently bought a unit half the size of hers paid about the same amount. “We thought the cap was being ignored. It seemed like the best way to deal with it was to get rid of it,” Ebner says.

The market-rate sales will ostensibly still be limited to artists (very loosely defined), though they’ll have to be able to afford it.

And last week a new threat to the building’s identity surfaced: a proposal to sell the entire place to a buyer who’ll convert it to market-rate rentals. The residents behind the proposal say it’ll carry if 75 percent of the owners agree.

Batya Hernandez, who moved into the building in 2003 and whose now-deceased husband, poet David Hernandez, was a vital part of its artistic heft, says she voted against dropping the equity cap.

“I don’t want to be forced from my home,” Hernandez says. “I like living here, even if I have to work two jobs to stay.” v

ß @DeannaIsaacs MARCH 16, 2017 - CHICAGO READER 9

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Never miss a show again.

EARLY WARNINGS Find a concert, buy a ticket, and sign up to get advance notice of Chicago’s essential music shows at chicagoreader.com/early.

10 CHICAGO READER - MARCH 16, 2017

CITY LIFE TRANSPORTATION

Anatomy of a hit-and-run

A Logan Square pedestrian crash shows how difficult it can be to get justice after a driver flees.

By JOHN GREENFIELD

O

n February 10 at around 9 PM, Richard Pallardy was walking home to his apartment near Fullerton and Sacramento from a swim at Logan Square’s Kosciuszko Park. Strolling south on Kimball, the 33-year-old freelance writer began crossing Wrightwood in the crosswalk, with a walk signal. As he did so, a northbound driver made a sudden left turn on Wrightwood and struck him.

“The car crashed into me, sent me flying, and took off,” Pallardy said. The driver fled west on Wrightwood and disappeared into the night.

Pallardy landed on all fours, and hit his face on the ground. He suffered a broken nose and cheekbone, a split lip, a sprained wrist, battered knees, and various cuts and abrasions.

His low-cost health insurance plan requires him to pay about $3,000 toward his hospital bills, he’ll be out roughly another $1,000 for the ambulance ride, and he may eventually need more surgery because he hasn’t fully recovered his sense of smell.

Still, Pallardy was relatively lucky. Unlike many crash victims, he survived. And yet his case is representative of Chicago’s larger hitand-run problem.

As I noted a year ago, when 34-year-old mechanic Christopher Sanchez was killed in Avondale, 40 percent of Chicago pedestrian fatalities between 2005 and 2014 involved drivers who fled, according to Chicago Department of Transportation data. This issue has continued to be a persistent problem since then, and although the driver who hit Sanchez was apprehended, bringing offenders to justice is often an uphill battle.

While there were a few witnesses to Pallardy’s crash, no video has been found yet, and no one seems to have taken down the driver’s license plate number. Bill Lustro, a deliveryman who was driving down Kimball behind the hit-and-run motorist, described the car to police as a dark-colored, perhaps blue or black, two-door coupe, possibly a Nissan, with a small spoiler. Pallardy and

other witnesses say the vehicle may have been silver.

But the Chicago Police Department has yet to identify the driver, and Pallardy says that so far dealing with the police has been frustrating.

Responding officers—who didn’t arrive on the scene until 20 minutes after the crash—told him he would be called the next day, but that didn’t happen. When Pallardy contacted the 14th District police station soon afterward, he says he was told to call CPD’s Major Accidents Investigation Unit. Pallardy says that an officer there initially told him that it was unlikely the unit would receive paperwork from the 14th District in time to access nearby security camera footage before it was erased.

“When I pointed out how problematic that was . . . he reversed course and said it was possible there still might be footage that could be viewed,” Pallardy says.

CPD’s Office of News Affairs says the investigation of Pallardy’s crash is ongoing, but didn’t respond to other questions about the case.

Pallardy also e-mailed his alderman, the 32nd Ward’s Scott Waguespack, 35th Ward alderman Carlos Ramirez-Rosa, and state rep Will Guzzardi, whose districts include the crash site, asking them to contact the police and encourage them to actively investigate his case and add traffic enforcement to the area bounded by Fullerton, Kedzie, Diversey, and Central Park.

“I constantly see people speeding and blowing stop signs at full speed in that area,” he says.

Waguespack and Guzzardi’s offices responded to Pallardy’s e-mails within a day and contacted the police on his behalf, but the 35th Ward was a different story, Pallardy says. After several days of radio silence, on February 18 he tweeted a GIF of an incredulous-looking Prince with the caption “When the #alderman in whose ward your accident occurred can’t be bothered to respond” and tagged Ramirez-Rosa.

That got the alderman’s attention. On February 21 Ramirez-Rosa e-mailed Pallardy

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CITY LIFE

Richard Pallardy at the intersection of Wrightwood and Kimball, where he was struck by a hit-and-run driver last month o JIAYUE YU

to apologize for his staff ’s having missed his previous message and said his office had reached out to the 14th District. He also told Pallardy that his staff had looked up Illinois Department of Transportation crash numbers for Wrightwood and Kimball and found that there were no pedestrian collisions near the intersection between 2009 and 2014, the most recent year for which IDOT data is available.

“We will work with the Chicago Department of Transportation to further investigate this matter and determine the appropriate course of action based on the crash data that will include your hit and run,” he wrote.

Despite the lack of previous pedestrian crashes at Wrightwood/Kimball, there were 1,759 reported crashes—including 81 pedestrian crashes and 74 bike collisions—within the Fullerton/Kedzie/Diversey/Central Park quadrant between 2009 and 2014, according to IDOT data collected via the Chicago Crash Browser website.

When I contacted 35th Ward chief of staff Monica Trevino about efforts to reduce crashes in the ward, she said the alderman has allocated $500,000 for safety infrastructure in recent years. These projects include curb extensions, pedestrian islands, walk signals with countdown timers, and an upcoming traffic-calmed, bike-friendly “neighborhood greenway” on Wellington between Kedzie and Kimball. A 35th Ward staffer also called

the Major Accidents unit on Pallardy’s behalf, Trevino says.

Last week Pallardy retained FK Law, a firm that focuses on bike and pedestrian crashes (and a Streetsblog sponsor) to investigate the case in hopes of identifying the driver and recovering damages. Attorney Jim Freeman told me he’s currently trying to access video from security cameras on buildings near the intersection, although he says the chance of finding video of Pallardy’s crash a month after the fact and then locating the vehicle is “kind of a long shot.” But, he argued, “It’s more than the cops are going to do.”

Whatever Pallardy and his lawyers accomplish, it would be great to see CPD be more aggressive about trying to solve hit-and-run cases. As Pallardy acknowledged, the department currently has its hands full.

“I understand that the CPD has a huge number of crimes to deal with,” he says, “but a felony hit-and-run like the one I experienced should be pretty high on the priority list, and it doesn’t seem to be.”

If you get struck by a driver who flees, you shouldn’t have to retain a lawyer in order to have investigators search for the culprit in earnest. v

John Greenfield edits the transportation news website Streetsblog Chicago. ß @greenfieldjohn

MARCH 16, 2017 - CHICAGO READER 11

Chicago Avenue, 2013

Let it snow In street photographer Satoki Nagata’s “Lights in Chicago” series, inclement winter weather isn’t annoying—it’s breathtaking.

12 CHICAGO READER - MARCH 16, 2017

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Michigan and Chicago Avenues, 2013

Michigan Avenue, 2011

THE POPULAR NARRATIVE of the historically mild winter of 2016-2017 is that Chicagoans have, if youâ&#x20AC;&#x2122;ll excuse the expression, dodged a bullet. Zero measurable snowfall in the months of January and February? Unheard of in 146 years of National Weather Service record keeping. Leaving aside all the disturbing climate-change implications, a handful of 60- and 70-degree days in February are J MARCH 16, 2017 - CHICAGO READER 13

Michigan Avenue, 2013

TK caption o TK CREDIT

Wabash Avenue, 2013

continued from 12

phenomena to which we all can surely grow accustomed.

And yet . . . call me a meteorological masochist, because the season’s relative snowlessness has left me cold in at least one sense: aesthetics.

This week’s long-awaited dusting of several inches was a reminder that winter unaccompanied by the ubiquitous white fluffy stuff simply appears unfurnished—a seemingly interminable stream of frigid days as 14 CHICAGO READER - MARCH 16, 2017

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Michigan Avenue, 2013

bare as all the leafless trees. There’s a reason we’re so enamored of snow globes and white Christmases: if you’re not exhuming your car from it at the ass-crack of dawn, snow can be really pretty.

It’s a sentiment shared by photographer Satoki Nagata, who captured many stunning winter scenes as part of his “Lights in Chicago” series. An off-camera f lash and slow shutter speeds give his singleexposure black-and-white images

a distinctive abstractness, with layers of motion and ambient brilliance that approximate the experience of walking the city at night.

They’re the street photos Vivian Maier might’ve taken were she on acid, or if she’d had better gear.

Shot between 2011 and 2015, all of the photos feature a single subject, typically a pedestrian on a headlong personal excursion through the palpably cold dark. Some are cocooned by falling snow, others

exhale clouds of warm breath or cigarette smoke.

“I feel the images convey the everyday subtle moments of each person’s life,” says Nagata, a Japanese-born former neuroscientist who currently resides in River North. “You can imagine the individual’s life.”

Beyond that, in each and every noirish frame, the ordinary atmospheric circumstance is made ethereal. —JAKE MALOOLEY MARCH 16, 2017 - CHICAGO READER 15

“Top 10 Museum Exhibits of 2016.”

— CHICAGO TRIBUNE

FINAL WEEKS!

Must Close April 2, 2017 Alphawood Gallery 2401 North Halsted Street | Chicago

FREE General Admission

Media Sponsor

David Wojnarowicz. Untitled (Buffalo) (detail), 1988–89. Collection of Michael Sodomick.

#ArtAIDSChi

ArtAIDSAmericaChicago.org Art AIDS America was organized by Tacoma Art Museum in partnership with The Bronx Museum of the Arts.

In Chicago, this exhibition is made possible by the Alphawood Foundation, a Chicago-based, grant-making private foundation working for an equitable, just and humane society.

16 CHICAGO READER - MARCH 16, 2017

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Wild cards

Thee Almighty & Insane collects the printed relics of Chicago’s predigital gangland.

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ong before Chicago gangs took to social media to stoke violent feuds, the street crews of the 1970s and ’80s—from Thee Almighty Gaylords to the Insane Spanish Cobras—gilded their reputations and recruited new members in the customary manner of the professional class: by handing out business cards, known more commonly as “compliment cards,” that displayed cryptic symbols of pride, lists of members’ nicknames, clues about controlled turf, and no shortage of emblems of disrespect to enemies. With Thee Almighty & Insane: Chicago Gang Business Cards From the 1970s &

1980s, Brandon Johnson has assembled more than 60 compliment cards from his personal collection into a 96-page clothbound book, released in December and now in its second printing. Johnson, a 32-year-old native of southwest-suburban Downers Grove and the managing editor of the New York-based contemporary art publication Zingmagazine, spoke about the enigmatic cards as historical artifacts that show Chicago’s street gangs at a period of transition from the hyperlocal neighborhood crews of the 50s and 60s to the wide-reaching organized criminal enterprises of the mid-80s and 90s.

As told to JAKE MALOOLEY

T

he first thing people usually ask is, “ Why would a gang have business cards? If you’re committing crimes, do you really want to identify yourself to the police?” Well, the gang members’ names on the cards are all nicknames, and they were not giving police any information that wasn’t already available on the street. These days gangs often promote themselves on Twitter and Facebook. The gang cards are sort of proto social media. They were one form of communication in addition to the very public form of gang tags.

I first saw a compliment card when I was 12 years old. I was going through some things in the attic of my parents’ house in Downers Grove. The card was in an old cigar box of my dad’s childhood effects. It was a box of curiosities—a copy of Abbie Hoffman’s Steal This Book, some squirrel pelts, weirdly—and I started sifting through it to learn more about what his youth was like. My dad is originally from Bensenville, near O’Hare. When I asked him about the card, which repped the Royal Capris, he wasn’t very forthcoming about its origins. He told me his friend had made it in what he called “graphic arts class.” At that time I accepted his answer and moved on. Years later I was back home from college and my parents told me, “You have to get rid of some of your old stuff that’s up in the attic.” And once again I took a peek through my dad’s things, found the card, and was like, “I’m going to hold on to it this time.” I just thought it was cool. Soon afterward I found some information online about gang compliment cards—one site in particular that’s been around a while is called stonegreasers. com—and realized my dad’s card was part of a much bigger phenomenon.

I went back to my dad and said, “Hey, you never really told me much about this card.”

He said, “Oh, yeah, actually my friend Ricky was in this gang, Royal Capris, and he came to Fenton High School for his senior year.” I think Ricky’s parents were trying to get him out of the city and keep him out of trouble so he could graduate.

I began collecting the cards about five years ago. I saw a few on eBay and bought them—individually at first, then connected with some buyers as I began building up a collection from there. They ranged in price from about $10 per card to $60 or $70, depending on the rarity. I’ve seen them for sale for upwards of $125, $200. One of the J

MARCH 16, 2017 - CHICAGO READER 17

continued from 17 sellers that I bought some of my cards from is a former Gaylord, who was a good resource.

I bought some off a guy who used to be a house DJ in the 80s who’s now a mail carrier.

I don’t know if he just collected the cards from friends or if he himself was in one of the gangs. That’s the thing about this particular collecting hobby—it’s somewhat shadowy and a bit taboo because it involves street gangs, and there’s an element of menace that surrounds the objects. But as historical artifacts, they interest me.

As part of the research behind the project, I read a slew of books about gangs in Chicago in the late 70s and 80s: My Bloody Life: The Making of a Latin King by Reymundo Sanchez, a pen name; Romantic Violence in R World by Mark Watson, about someone in the Simon City Royals; and Lords of Lawndale: My Life in a Chicago White Street Gang by Michael Scott.

From what I understand, the cards were sort of a prestige thing for gangs. They were looking for inspiration at some of the organizations that preceded them, such as social athletic clubs or other membership-oriented organizations, like political organizations, that had membership cards. The gangs picked up on those traditions. Around the same time as the cards and a little before, gangs used to create and wear sweaters in certain colors with patches. Similarly, they thought the cards added prestige to what they were doing. There were some known local, small printers in different neighborhoods who would create the cards, and gang members used them to rep themselves and handed them out for the sake of recruitment. They’d throw a stack on an opposing gang’s corner to show disrespect or even trade them back in the day and collect them as keepsakes.

By looking at the cards as anthropological artifacts, one major dynamic that becomes apparent is the fact that race played a part in the conflicts between gangs. A lot of migration was happening between the 1960s and the ’80s in Chicago. White and Latino gangs on the north side often clashed over changing neighborhoods. Working-class whites were leaving neighborhoods that they had been living in, while some stayed behind. At the same time there were Latinos being pushed out of neighborhoods such as the Near North Side that they traditionally lived in, and they had to find new places to make a life for themselves. So white gangs often perceived themselves as defenders of “their neighborhood” from encroaching outsiders, whereas Latino gangs saw themselves as defending against racism and oppression. Some of the white

18 CHICAGO READER - MARCH 16, 2017

THEE ALMIGHTY & INSANE: CHICAGO GANG BUSINESS CARDS FROM THE 1970S & 1980S

o LEVI MANDEL

By Brandon Johnson (Zingmagazine Books).

Available now at theealmightyandinsane.com, $30.

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Decoding a gang compliment card

“The Simon City Royals are calling out their enemy, the Kilbourn Park Gaylords,” Johnson says.

“Kosciuszko ‘Koz’ Park in Logan Square is where this branch of the Simon City Royals was located.”

“The Royals are also enemies of the Latin Kings, so the crown is upside down.

‘K K’ stands for ‘King killer.’”

“Cyco was a member of the Koz Park branch of the Simon City Royals who was killed by the Gaylords.”

“The Royals’ cross is splitting in half the smaller cross that’s the symbol of the Gaylords. The G and L are upside down as a dis.

“The rabbit with the bent ear was a Simon City Royals symbol. The one on the left is throwing up a middle finger with its right hand, like ‘fuck you,’ and throwing down— disrespecting—the Latin Kings symbol with its left hand.”

“More shit talking. A knock against the Lawndale Altgeld Gaylords—Spy being a member of the Gaylords the Simon City Royals killed.”

“The banner reads SPY ROTS, which is an obvious putdown of a member of the Gaylords killed by the Royals.”

“The cross with the three points at the top is a common Simon City Royals symbol.”

“The upside-down symbol of the rival Insane Deuces gang is a sign of disrespect.”

“The rabbit on the right is throwing up the Simon City Royals’ crossed fingers with its left hand, and it’s throwing down the Gaylord sign, which can be seen as the upside-down L formed with the thumb and forefinger of its right hand.”

“The pitchfork represents the Simon City Royals’ membership in the Folk Nation.”

“The cross with the three points is yet another Simon City Royals symbol, this one in a more simplified form.”

gangs used racist symbology. The Gaylords, for instance, used KKK or white-power symbols. I was a little bit hesitant to put those cards in the book, but I didn’t think it was my role to censor history no matter how fraught.

That said, it wasn’t all divided across racial lines. In 1978, Larry Hoover founded Folk Nation, and the People Nation was founded in opposition to that. Each of these gang coalitions had cross-race alliances between gangs.

At a certain point the gang and its alliances superseded racial affiliation to some extent.

The gangs represented in Thee Almighty & Insane were smaller—neighborhood by neighborhood, but some also had branches in other areas of the city. It wasn’t until the 80s that gangs generally became large business enterprises and grew more concerned with making big profits off the drug market.

These days Chicago gangs are once again more fractured due to the crackdown on gang leadership in the 1990s and the demolition of the city’s public housing projects. In another point of comparison to the 70s and early 80s, today’s splintered gangs seem again to be more about very block-to-block concerns.

Some of the gangs that handed out compliment cards in the 70s and 80s were more like social crews, neighborhood boys who spent a lot of time out in the streets. Back then, there was sometimes a finer line between a club of friends and a gang. In the late 60s and early 70s, the Conservative Vice Lords, which were founded in Chicago, branded themselves as a community uplift organization. The compliment cards speak to the gangs being these social institutions even as they promote gang members’ reputations for violence. The Latin Kings started in Chicago in the 50s as a way to support and defend Latino culture before it evolved into a vast criminal operation.

People can look at the cards today and they seem kind of silly—the nicknames of the gang members and the gang names like the Almighty Gaylords. But the 70s and 80s were extremely violent times in Chicago. When the gangs on these cards rep themselves as “GLK”—Gaylord killers—they’re not kidding.

People died.

One of the other things that’s clear looking at the cards is that beyond promoting their reputations for violence, gangs prized advertising their social elements—how much they party and how good they are with ladies. The Stoned Yarders, for instance, were just a party crew. They weren’t considered a street gang per se. The Party People, on the other hand, originated as a party crew and transitioned into a street gang. So there was definitely a social aspect, because some of the crews had grown out of greaser gangs—a J

MARCH 16, 2017 - CHICAGO READER 19

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continued from 19 group of young friends and their ladies who hang out at, say, a particular burger joint.

One card for the Party People describes the gang as drinkers lovers fighters. They sold the lifestyle as a good time in addition to being violent.

Embedded in the cards is a lot of symbolism. Once you learn the language, it sheds light on how the gangs on the cards interrelate and how they operated. One of the most commonly occurring symbols is the Playboy logo. Obviously Playboy was founded in Chicago, and it seems that gang members saw that symbol as a representation of a certain prestigious, glamorous, or sophisticated lifestyle that has traditionally been associated with Playboy. It eventually became an

accepted symbol of the Almighty Vice Lords Nation. You also commonly see cocktail glasses, dice—the gangs were limited by the stock graphics that the printers offered, even though elements of the cards were hand drawn. They also tried to shout out their enemies and disrespect them as much as possible. Like if a gang puts its rival’s symbol upside down, that means disrespect. A crown symbol upside down is disrespect to the Latin Kings, for example. Most initials that end in the letter K mean “killer”—so “K-K,” for instance, means “King killer.”

After I published the book, I thought that more people who were or are members of any of these gangs would come out of the woodwork and contact me. Late last month I had a booth at the LA Art Book Fair and

had some of the original cards on display. A former member of the Latin Kings stopped by and bought a copy of the book and he saw that one of the cards I have is from the K-Town Latin Kings. He was like, “Whoa, crazy, that’s my old neighborhood!” He connected with this history of what now seems to him a former life.

While I think the compliment cards are very cool objects as printed ephemera, I don’t ever want to divorce them from the on-theground reality that’s behind them. People died and lives were ruined. So while there is this initial, surface-level bizarreness about and attraction to the cards, there’s also a deeper level, a background of violence. It’s interesting how a small piece of paper can carry pretty heavy history. v

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Cody Proctor and Kristina Valada-Viars o ROB ZALAS

THEATER

Welcome to the panopticon

By TONY ADLER

I

n early June 2013, two journalists—columnist Glenn Greenwald and documentary filmmaker Laura Poitras—arrived in Hong Kong to meet with a disgruntled techie named Edward Snowden.

Remember him? A million news cycles ago Snowden became famous for using his top-secret government security clearance to download a cache of documents proving that the National Security Agency surveilled Americans on a vast and indiscriminate scale, dropping into our digital lives to collect as many as three billion pieces of information in a single month. Snowden had come to Hong Kong to prepare for life on the lam, Greenwald and Poitras to get hold of his files. News stories based on the material started appearing just a few days later.

Gabriel McKinley’s The Source is clearly inspired by these events. Or informed by them, anyway. Getting its world premiere now in a Route 66 Theatre production directed by Jason Gerace, the play draws its premise from the Hong Kong parlay—and plenty of details, too, even down to Snowden’s real-life code name, Verax. But then it veers off into what-if territory, positing an alternate set of outcomes so strangely, unproductively at odds with its, um, source that you end

up wondering why McKinley didn’t just go ahead and invent something out of whole cloth instead.

This isn’t fantasy history a la The Man in the High Castle, where we get to speculate on the nature of a nonexistent world, such as the one where the Nazis won World War II. This feels more like a strange type of bait and switch.

McKinley’s Greenwald figure is Vernon, a jumpy, prim 40-year-old newsman immersed in the fine points and paranoia of cyber espionage. His first moves on entering the hotel room he’s taken in an unnamed “foreign” city are to search for bugs (the electronic kind) and pull the heavy curtains closed against the possibility of remote snoops. When his pseudo Poitras, Oona, arrives the following day, he insists on calling her “Mrs. Babbage” per the cloak-and-dagger protocol he’s been given.

Oona turns out to be a 30-year-old free spirit—not merely a foil to Vernon but his polar opposite. Where Vernon’s default outfit is a business suit, she wears desert-war khakis. Where he’s thoroughly digitized, spending his life in a computer-screen glow, she’s philosophically analog, having only just conceded the necessity of a flip phone.

(“I think Steve Jobs is a cultural war criminal,” she tells Vernon, “turned the whole world into drooling zombies.”) Where he’s “as tightly wound as a Swiss watch”—and a health-conscious one, at that—she smokes like a chimney. Among Oona’s first moves as she settles into the room they’ll share for the next week are to reopen the curtains and insist he stop calling her Mrs. Babbage.

The comic potential in this meeting-of-opposites setup should be obvious to anybody who’s seen It Happened One Night. But McKinley and Gerace either haven’t seen that particular movie or don’t care to dally with humor given the more solemn intention they have in mind. What exactly that intention is gets a little muddled. As I’ve mentioned, it definitely doesn’t involve a faithful historical account of what happened when Greenwald and Poitras saw Snowden in Hong Kong. No, McKinley’s big idea seems to reside on an allegorical plane where Oona and Vernon aren’t characters so much as principles, their opposition tending toward archetype rather than romance: head vs. heart, science vs. art, certainty vs. receptivity. That binary sort of thing. Coupled with this dialectic—or, more accurately, competing with it—is an attempted commentary on the evils of the surveillance society. The Source is subtitled Panopticon, referring to the concept, put forward

by English philosopher Jeremy Bentham, of a prison where a single guard can keep order because the prisoners can’t tell when the guard may be spying on them. Welcome, McKinley wants to say, to the panopticon.

It’s possible that McKinley’s script isn’t really as dour as it seems here. Maybe Gerace and his cast of two, Kristina Valada-Viars and Cody Proctor, simply can’t find their way to the comic absurdities proliferating around wild Oona and tight-ass Vernon as they pursue their serious business. But having seen Proctor and Valada-Viars do fine, funny work before, I doubt it. The atmosphere is tense and earnest—and less than coherent— throughout. Unformed as it is, the big idea remains oppressively present. The Source may resonate with It Happened One Night, but the result is all No Exit. v THE SOURCE Through 4/2: Thu-Fri 7:30 PM, Sat 3 and 7:30 PM, Sun 3 PM, Den Theatre, 1329-1333 N. Milwaukee, 773-609-2336, route66theatre.org, $25-$30, students $20.

ß @taadler

DANCE

In Lil BLK Nic Kay is anything but little

THE PERFORMANCE ARTIST Nic Kay recalls a particularly jarring memory from a time spent working retail at a Ralph Lauren in Lower Manhattan. Kay, who’s black and identifies as gender nonconforming, was on a lunch break when it happened. “This random young white woman gave me a bouquet of cotton,” Kay says, even now with disbelief. “It was a really absurd experience.”

Formative stories figure prominently in Lil BLK, Kay’s upcoming solo show about identity, or as Kay describes it, “different times in which I felt rejected by dominant society or in conflict with the dominant narrative, or what it meant to be in a black feminine body.”

Part of the Department of Cultural Affairs and Special Events’ OnEdge experimental performance series, this mostly autobiographical account is never short on variety. Kay draws on multiple genres and styles, among them spoken word, Japanese butoh, and voguing, which Kay first discovered as a young student during an after-school program at the New York-based Hetrick-Martin Institute, a pioneering organization for LGBTQ youth. The institute doubles as a premium locale for a subculture of the contemporary ballroom scene known as kiki functions—raucous, celebratory, gossipy affairs that grew from other LGBTQ-friendly social gatherings.

Kay calls them out as a primary inspiration.

Asked to describe Lil BLK for an audience that isn’t necessarily familiar with things like kiki functions or performance art, Kay pauses. “It’s like a motivational marathon, when the second runner-up doesn’t win the firstplace trophy,” Kay says. “But the fact that that person put themselves out there and tries is affirmation. I feel like that’s what the show is.” —MATT DE LA PEÑA LIL BLK 3/16-

3/18: Thu-Fri 7:30 PM, Sat 2 PM, Hamlin Park Fieldhouse Theater, 3035 N. Hoyne , second floor, 312-742-7785, cityofchicago.org/city/en/ depts/dca/supp_info/onedge8.html. F

MARCH 16, 2017 - CHICAGO READER 21

ARTS & CULTURE The Open Mic stars and creators, Daryl Moon and Kelsie Huff o JOHNNY KNIGHT

COMEDY

Comics share their open-mike horror stories

By BRIANNA WELLEN

T

he first time Kelsie Huff performed stand-up in Chicago, she was greeted by two comics who were drunkenly vomiting outside the venue.

Once inside, things didn’t get much better—another comic she attended the show with went onstage first and stole all of Huff’s jokes. The ordeal was an experience that almost made her quit comedy altogether, but as time passed she came to terms with the fact that everyone starts by working the painful and awkward rooms of open mikes.

The new Chicago-based webseries The Open Mic—created by Huff and fellow standup Daryl Moon—follows the pair as they start their own open-mike night at Gallery Cabaret, the Bucktown bar where all the episodes were filmed, which hosts open mikes five nights a week. The cast is made up of local comics dealing with issues that amateur stand-ups often face, like handling the guy who loves telling rape jokes, sitting through hours of bad jokes at 11 PM on a weeknight just to get three minutes on stage, and recovering from a laughless set.

“We wanted to really focus on failure,” Huff

22 CHICAGO READER - MARCH 16, 2017

says. “You can’t become great if you don’t eat shit. Hopefully this is something that will reach out and be like, ‘Hey, you’re not alone.

We’re all dealing with some crazy shit, we all feel like failures. We’re all in this together.’”

I asked the cast of The Open Mic to share their real-life open-mike stories and their go-to spots in the city for trying out new material.

LEAH ABOAV Go-to open mike: Just Dicking Around at Hydrate I was at an open mike with nothing but straight bros, and they all called me out as the “one women here.” The comic right before me didn’t do a set at all, and instead just hit on me in a very graphic way. The host just said, “Welcome to being the only girl at an open mike!” and laughed. Then, after doing my set and doing well, the host said, “Wow! She was actually pretty funny!” Actually?!

PETER-JOHN BYRNES Go-to open mike: Cole’s One of the few times that someone was given the hook at Cole’s was when a guy in his 50s in

a tracksuit decided to use one of the handles on the back of the onstage piano as a phallic prop, which he slowly stroked while making graphic moaning sounds. Once you’ve seen a guy jerk off a piano, you can never really unsee it.

ELIZABETH GOMEZ Go-to open mike: You Joke Like a Girl at Volumes Cafe The worst, I hate to say, was when I did an [open mike] and made a reference about my body image. I was wearing a black low-cut dress that fit me really well, but this female comic came up to me and said in a snide tone, “Your jokes would be better if you didn’t look the way you do.” It was so painful. At that point, I had been hit on and made fun of by many male counterparts, including a guy who told me that he’s never fucked a MILF (I’m a mom). But having a woman talk to me like that broke my heart.

AJ LUBECKER Go-to open mike: Irish Eyes My first night of open-mike comedy I was 15

years old and my mom drove me an hour and a half to Chicago from the suburbs. It was a Tuesday night, and we went to the Noble Tree Cafe, which has since closed. There were three comics that signed up on the list, including myself. The first open-mike set I did was in front of two comics and my mom.

Horrifying and a success at the same time.

DARYL MOON Go-to open mike: The road When I was still within my first couple years of performing and still living in Des Moines, another open-mike friend of mine and I drove down to a comedy club in Kansas City for their open mike. I called the club that morning and was told we were on the list.

When we showed up, the local “road comic” who emceed told us that we were supposed to also call his phone to get on the list. He sighed and muttered something inaudible, but which clearly contained “fucking open mikers.” He said that since we drove so far, he would get us on the show at the end. The show started and a seemingly never-ending cavalcade of terrible comedians marched through the room. After what seemed to be the greater part of the 20th century, the host thanked the audience and said the show was over. When we ran up to him, he said the show ran late and we got bumped. Now seems like the appropriate time to mention that we had to pay ten dollars each to perform. He told us tough, that’s comedy. That was my last time ever paying to perform comedy.

CODY MELCHER Go-to open mike: The Chaser at ComedySportz When I was starting out, for a while I would purposefully sign up later on lists so I would go at the worst times, like at 1 AM and everyone’s drunk and tired, because I’m a really wordy, history-reference-joke comedian, and I wanted to make it hard for myself. If I could get a laugh then, I could get a laugh in better conditions. Like training with weights on.

ELYSE NYLIN Go-to open mike: The Riff at Gallery Cabaret My worst open-mike horror story is doing an open mike with all straight white men.

My gay-lady comedy didn’t go over very well at all. Crickets. v R THE OPEN MIC New episodes available every Tuesday at theopenmicseries.com.

ß @BriannaWellen

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Patty Carroll, Accessoriesy

VISUAL ART

Housewives ‘Anonymous’

By ABBEY SCHUBERT

G

rowing up in the Chicago suburbs during the 1950s and ’60s, photographer Patty Carroll lived in a homogeneous, harmonious bubble.

By way of cookie-cutter houses, rigid gender norms, and midcentury notions of perfectionism and civility, Carroll came to know the suburbs as “fabricated places of solace,” as she writes in her artist’s statement for “Anonymous Women,” currently on display at Schneider Gallery. The exhibit is the culmination of a photo project that Carroll has

ARTS & CULTURE

been working on since the mid-90s.

“Anonymous Women” distorts photographic portraiture in three distinct variations. In some photos, a woman’s torso is visible, but dishes, plants, or other household accessories hide her face. One series features women completely costumed in drapes and other pieces of home decor; they’re covered from head to toe, but the contours of their body stand out against the background. And in the third setup, the subject and the backdrop are covered by heavy curtains and fabrics—the format creates the impression that the women are built into the backdrops of their living spaces. By disguising the face and body of each woman and essentially deeming her a decorative prop, “Anonymous Women” addresses both female anonymity and many housewives’ obsession with their homes during the 60s.

The exhibit draws on the contrast between women in the private and public spheres.

Carroll describes this split as the “dichotomy of domesticity,” a phrase alluding to the way the home can function as both a relaxing refuge and a restrictive prison for women. “The domestic interior of the home is a place of comfort, but can also be camouflage for individual identity when the idealized decor becomes an obsession, or indication of position or status,” Carroll says via e-mail. By wearing elaborate garments that match their surroundings, the women in the photos achieve the same status as that of their illustrious home decor; at the same time, they lose any sense of personal identity.

For example, in Mixer, the woman in the frame is almost entirely unidentifiable. She’s

concealed by a heap of heavy, patterned drapes—the outlines of her body are barely visible until you notice electric mixers, grasped in each hand. The relationship to domesticity is especially clear in this photo, which reduces the functions of a woman’s hands to those of a kitchen utensil.

However, life in the public sphere can be equally inhibiting. Historically, many women who hoped to find professional success have been forced into anonymity. This pressure has been especially relevant for writers.

For example, all three of the Brontë sisters initially wrote under fake male names: Acton for Anne, Currer for Charlotte, and Ellis for Emily. Mary Ann Evans famously spent her entire career writing under the pseudonym George Eliot, and J.K. Rowling quit writing the Harry Potter series under the name Joanne Rowling after publishers told her that little boys wouldn’t pick up a fantasy book by a woman author.

Fortunately, women today generally have more professional freedom and are less subject to the oppressions of domesticity. But Carroll maintains that the images presented in “Anonymous Women” remain as relevant as ever. “Women’s issues will never go away,” she says. “In fact, the more we work in the public arena, the more home and family become an important part of the dialogue.” v R “ANONYMOUS WOMEN” Through 4/29: Tue-Sat, 11 AM-5 PM, Schneider Gallery, 770 N. LaSalle, 312-988-4033, schneidergallerychicago. com. F

ß @abbeyschubert

7 VENUES • 10 DATES • 25 FILMS

MARCH 16, 2017 - CHICAGO READER 23

ARTS & CULTURE

TICKLING GIANTS ss Directed by Sara Taksler. 111 min. Tue 3/21, 7 PM, Landmark’s Century Centre, 2828 N. Clark, 773-248-7759, landmarktheatres.com/chicago, $15.

MOVIES

Clowntime is over

By J.R. JONES

J Bassem Youssef in Tickling Giants

24 CHICAGO READER - MARCH 16, 2017

on Stewart’s saving grace was always his humility. As the lionized host of the Daily Show, the comedian turned journalist turned media critic never pretended that his work compared with the real contributions of soldiers or civil servants or reporters or activists. When Stewart tried his hand at dramatic filmmaking with Rosewater (2014), he chose as his hero the real-life Canadian journalist Maziar Bahari, whose appearance in a Daily Show segment had come back to haunt him when he was imprisoned in Tehran during the 2009 election protests. Now Sara Taksler, a longtime pro-

ducer for the Daily Show, has directed Tickling Giants, which tells the story of Egyptian comedian Bassem Youssef. A heart surgeon by training, Youssef became a national sensation after the 2011 revolution with a weekly TV show of political satire, but after the 2013 military coup he was driven off the air and out of the country. Like Rosewater, Tickling Giants acknowledges that political satire carries much higher stakes under a repressive regime.

Taksler’s background with the Daily Show gives her a unique perspective on Youssef, one that dictates the documentary’s strengths as well as its weaknesses. She began filming him in June 2012, when Youssef, who had completed his first season on Egyptian TV, appeared on the Daily Show and was allowed to spend a few days observing the operation in New York.

She accompanied Stewart a year later when he traveled to Cairo to appear on Youssef’s hugely popular show Al Bernameg (The Show), and she made visits on her own to track Youssef’s progress as the democratically elected president, Mohamed Morsi, was overthrown by the military and replaced, in a suspiciously lopsided election, by General Abdel Fattah el-Sisi.

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Get showtimes at chicagoreader.com/movies. ssss EXCELLENT

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Taksler understands the importance of satire in a democratic system and the youthful camaraderie that holds together a staff like Youssef’s, but her movie, with a healthy running time of 111 minutes, seldom pushes past the headlines to illuminate Egyptian politics or society.

From the start the two programs were inextricably linked. Youssef had been watching the Daily Show for years on CNN International when, amid the nationwide protests against President Hosni Mubarak, he ventured into Cairo’s Tahrir Square to treat the wounded and realized that what he saw on Egyptian TV bore no resemblance to the reality on the ground.

Six weeks after Mubarak ended his 30-year rule, Youssef and some friends created The B+ Show, a series of satirical YouTube videos that exploded in popularity, attracting five million viewers in three months. That fall Youssef quit medicine and made his TV debut as host of Al Bernameg on the Egyptian channel ONTV; in 2012 the show moved to the Capitol Broadcast Center (CBC), where it drew 30 million viewers a week (The Daily Show With Jon Stewart averaged only two million per night). Youssef enjoyed his greatest popularity poking fun at

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ARTS & CULTURE

WORTHLESS

Morsi and the Muslim Brotherhood. Taking a camera crew out onto the streets of Cairo to interview anti-Morsi protesters, he reports, “In case you were wondering, Kentucky Fried Chicken is closed.”

To judge from the movie, Al Bernameg was a photocopy of the Daily Show: the space-age news desk set, the wacky street interviews, the host riffing on absurd video clips. Youssef even steals Stewart’s old gimmick of switching from camera one to camera two for a confidential discussion. Yet Youssef’s moment in history made him an even greater force than Stewart. One fan calls him “the most popular man in Egypt,” and another argues, “People now understand democracy because of Bassem.” That responsibility weighs more heavily after the coup, as Al Bernameg grows increasingly unpopular with the Sisi regime and its supporters. “It’s like 9/11 every day here,” Youssef tells Taksler, as security men with German shepherds check the studio for explosives. CBC drops the show, refusing to air “material that is distasteful or mocks the feelings of the Egyptian public or people of prominence.” Outside the Cinema Radio the-

ater in downtown Cairo, where the show is staged, protesters accuse Youssef of “insulting the Egyptian people.” Al Bernameg is picked up by the Middle East Broadcasting Center in February 2014, but ongoing public protests and harassment of the staff convince Youssef to pull the plug later that year.

At heart Tickling Giants is a backstage documentary, and Taksler, whose press bio describes her as a 24-7 diehard at the Daily Show, includes plenty of sympathetic material about Youssef’s loyal staff, described by the boss as a motley crew of former attorneys, architects, and students who came to the show with no background in TV. After the election of President Sisi, as the protests mount, staffers are told they can work from home for their own safety; they show up anyway. Yet Tickling Giants has little to tell us about ordinary Egyptians outside this media bubble. There are shots of people gathering in public places to enjoy Al Bernameg, and a few outraged comments from right-wing protesters, but little hard information about the particular gags that ignited the public firestorm, the issues that consumed Egypt as Sisi was consol-

idating power, or whether the demonstrations against Youssef and his show were organic or orchestrated by the government.

Tickling Giants makes you feel lucky to live in a country where TV comedians needn’t fear for their lives, yet there are limits to free expression here too. Mort Sahl was blackballed from network TV in the 60s for talking about the JFK assassination, and the Smothers Brothers lost their CBS variety show because they wouldn’t shut up about the Vietnam war.

Bill Hicks was excised from a broadcast of Late Show With David Letterman in the 90s for ridiculing the pro-life movement, and Bill Maher lost his ABC show Politically Incorrect for intemperate remarks following 9/11. Comedians can be the most professionally vulnerable social critics in the world, because no one is obliged to take them seriously in the first place and no amount of moral righteousness will protect them if the gatekeepers decide they’re no longer funny. As Youssef’s story demonstrates, a joke can be as liberating as a revolution, and every bit as fragile. v

ß @jrjones

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MARCH 16, 2017 - CHICAGO READER 25

MUSIC IN ROTATION

A Reader staffer shares three musical obsessions, then asks someone (who asks someone else) to take a turn.

The cover of Nico Niquo’s Epitaph, on Orange Milk Records

Meat Wave o ANDREW ROBERT MORRISON

DJ Taye appears on the latest Teklife life compilation, On Life. o ANDY J SCOTT

LUCA CIMARUSTI

BEN BAKER BILLINGTON Quicksails, cocurator of the Resonance Series

ANGEL MARCLOID

Oasis, Be Here Now The Britrock superstars’ notoriously drug-fueled and universally panned third record has aged exceptionally well, if you ask me. Toward the beginning of the sessions, according to coproducer Owen Morris, someone in the band ordered an ounce of weed but was instead delivered an ounce of cocaine—which kicked into demented overdrive a creative process rooted in excess and grandeur. Hated by pretty much everyone in 1997, Be Here Now attracted some hilarious reviews—a critic for the Irish Times wrote that it “has all that dreadful braggadocio that is so characteristic of a cocaine user.” But at this point in time, the epic song lengths, over-the-top production, and massive orchestral padding sound like a perfect foundation for the band’s soaring melodies.

Sarah Davachi, Vergers Sarah’s distinctive style combines electronic composition and acoustic instrumentation. After her recent set at the Stony Island Arts Bank, where her longform piece for harmonium and two cellos put the room into a trance, I bought her LP Vergers, where she explores the EMS Synthi 100.

Lots of writing for this instrument is based on quickly changing tapestries of analog sounds, but Sarah dives into minimalism and careful movement. I recommend all her work.

Dan Siegel, On the Edge Vaporwave is a gateway drug for 80s and 90s smooth jazz and new age music, and this 1985 LP by pianist Dan Siegel is one many such albums I love. The wedding of synth and drum machine on “The Last Waltz” expands from a few twinkling stars into a moonlit shoreline so paradisal and crisp that it energizes you. “Two Hearts on Fire” is saccharine and romantic but somehow also dystopian. FFO flying over mountains, Baywatch, 80s cop dramas, synth bass, slap bass, synth slap bass, and WeatherStar 4000. I’ve already sampled, like, half of this album.

Reader music listings coordinator

Never miss a show again.

EARLY WARNINGS chicagoreader.com/early

26 CHICAGO READER - MARCH 16, 2017

Meat Wave, The Incessant You know the story: beloved locals write a third album and go into the studio with legendary engineer Steve Albini to record it. The Incessant is darker, meaner, and moodier than anything Meat Wave have done before. And it’s good— the sound of a band at the top of their game.

The prolificacy of Future Drug-addled emotional Auto-Tune addict Future might be the hottest, trippiest rapper out there right now.

His Free Bricks collaboration with Gucci Mane was the perfect way to close out 2016, and the two full-length records he released in the span of seven days last month were a really monumental way to kick off this year. Rumor has it that a third full-length is about to drop, and it’ll surely be great too. Keep ’em coming.

Teklife, On Life My appreciation for Teklife goes back years, but no matter how many times I hear these artists’ mind-melting percussion, it still turns my brain to goop. They constantly push their work forward within the already experimental footwork medium.

This 23-track compilation, their latest release on Teklife Records, brings together work by veterans RP Boo and Traxman and bonkers tracks by younger producers such as DJ Earl, DJ Paypal, and DJ Taye.

The International Noise Conference The 14th annual International Noise Conference was last month in Miami, and I was invited to play for my second year. The free weeklong event hosted 15-minute sets from hundreds of acts at a beautiful dive called Churchill’s in Little Haiti. Standouts included beautiful movement and audio from North Carolina’s Oceanette, a shred fest by Thurston Moore and his brother Gene, and an amazing show from Chicago’s Forced Into Femininity (Jill Flanagan used the whole venue as her stage and finished atop a double-decker bus in the parking lot).

Fire-Toolz, Rainbow Bridge Recordings

Eric Marienthal, Crossroads This 1990 album was a catalyst in my jazz hunting—it isn’t synth music that sounds like it might’ve been written by a jazz pianist. The megahot all-star lineup includes Terri Lyne Carrington, Vinnie Colaiuta, Chick Corea, Alex Acuna, and John Patitucci. Terri makes me miss drumming more than I have since I saw Ben Baker Billington at Elastic last year. My band teachers always tried to get me to play jazz like this, not Nirvana and Queensrÿche like I wanted.

Nico Niquo, Epitaph Last year I decided to get to know the Orange Milk Records catalog. It’s more than 100 releases deep, and this 2015 album sticks out like a golden sparkling thumb. Epitaph constantly teases the listener with tiny fragments of techno and trap among its perfectly arranged emulations of early new age and digital music. (By the way, Orange Milk just released a Nico Niquo album called In a Silent Way.)

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MARCH 16, 2017 - CHICAGO READER 27

MUSIC MU USIC

PUNK TALKS FUND-RAISER WITH DOWSING, JOIE DE VIVRE, ANNABEL, AND MOTHER EVERGREEN Fri 3/31, 8 PM, Auxiliary Arts Center, 3102 W. Belmont, donations encouraged, 17+

Punk Talks founder Sheridan Allen o NICK KARP

Punk Talks works to change the conversation about musicians and mental health

By SEAN NEUMANN

S

ocial worker Sheridan Allen grew up loving emo and has been going to DIY shows for at least a decade. Among the punk and emo musicians she’s seen, depression has often seemed to come with the territory—she’s long had the impression, from talking to them after shows and listening to their lyrics, that many artists simply accept it as a fact of life.

A 2016 survey by the University of Westminster (published by Help Musicians UK) suggests that musicians may be up to three times as likely to suffer from depression as the general public. And for years Allen has seen the illness exact a price from the scene she loves—both because musicians don’t address their own depression and because their fans mistakenly romanticize the problem.

“It’s not fun and it’s not fruitful. It’s miserable and it turns productive, capable people into shells of who they were,” she says. “It’s very possible to love emo music and be mentally well.”

28 CHICAGO READER - MARCH 16, 2017

These days Allen, who earned a bachelor’s degree in social work in mid-2015, is getting an even more complete look at the daily stressors that weigh on many touring musicians. In January 2015 she founded an organization called Punk Talks (soon to become a nonprofit) so that she could help people in the music industry—especially those who can’t afford care—address their depression and anxiety.

Punk Talks is based in Newport, Kentucky, where Allen is from, but in recent months she’s taken her fledgling organization on the road.

She’s toured with bands such as Connecticutbased Sorority Noise and Nashville’s Free Throw, and at their shows she sets up a table with information on how to seek help for depression and other mental health issues. In a couple weeks, her travels will bring her to Chicago. Punk Talks hosts a fund-raiser on Friday, March 31, at the Auxiliary Arts Center, with sets by four midwestern emo bands: locals Dowsing and Mother Evergreen, Joie de Vivre

from Rockford, and Annabel from Akron, Ohio.

“Touring is a really interesting experience, because you get to interact with so many people every single day,” Allen says. “But it’s extremely isolated. You’re meeting all these new people every night, but you’re also going thousands of miles away from your loved ones and your support network. It’s exhausting.”

Right now, Punk Talks has a simple process.

Musicians seeking mental health services contact the organization, and it determines whether they fit its criteria. The rules aren’t exactly carved in stone—Allen says Punk Talks accepts clients on a case-by-case basis—but in general the person seeking therapy must work full-time in the music industry and be unable to receive mental health assistance through traditional channels. If clients can afford services through their insurance or can seek out local help, Allen helps match them with mental health professionals in their communities. But Punk Talks also has a small roster of volunteer therapists who can work directly with musicians, providing free care to those who don’t have any other options.

Most of Allen’s work so far has been in referrals, because Punk Talks currently has only three therapists—Allen herself, plus one in Chicago and another in Boston. Between them they have three current clients, but Allen says she’s referred hundreds of people in the past two years. If she gets her way, her organization will add three more therapists in 2017.

Musicians connect with Punk Talks’ therapists over the phone for 30- to 45-minute sessions. Scheduling depends on the client’s needs—some call in weekly, while others play it by ear, waiting till they feel like they need a session. Punk Talks has been operating without formal 501(c)(3) nonprofit status while it raises funds, but Allen says she hopes to change that in 2017 as the organization takes on more clients. Punk Talks set up its first information table at a show at 2015’s Bled Fest in Howell, Michigan, and this summer it’s getting a new home—it’s moving to Philadelphia in order to become a presence in a larger local music community.

“Every single musician who has ever picked up a guitar experiences mental health issues, and every human being experiences mental health issues,” Allen says. “Just the same as everybody gets the flu, everybody feels negativity at some point in their lives.”

On tour with Free Throw this February, Allen says she got requests for mental health services every night. She often finds herself giving mini therapy sessions next to her table

at shows, discussing personal issues with fans and musicians alike.

Dowsing front man Erik Czaja, who helped Allen book the Chicago benefit show, has firsthand experience with the strain of road life. “She’s trying to help these people that are on tour for three months, and all you have is each other on tour—but having another outlet is super important,” he says. “It’s a really good tool for people trying to go on tour a lot. It’s nice knowing someone else is out there looking out for you besides your bandmates.”

With Trump in the White House, though, Allen has been having more and more conversations about health care coverage—more specifically, about how people will get by without it. As the new administration continues its efforts to repeal the Affordable Care Act, many musicians are preparing for the possibility that they’ll lose their health insurance, and with it their only access to mental health services. “[The Affordable Care Act] was designed to help people like musicians, who work really, really hard but just don’t make enough money,” Allen says. “[Repealing the ACA] then creates additional stressors for people who are already very stressed because their jobs don’t pay anything and they’re living a grueling lifestyle. They’re already not living healthily, so you add that on top of a total lack of access to health care. It’s a recipe for disaster.”

Czaja says a shortage of money is the biggest problem in most musicians’ lives, and that ACA repeal would add to that pressure. “If you have to pay for your own health insurance, it’s just another cost to go on top of your life,” he says. “It’s like, ‘Do I pay for this or do I go on tour?’ Can you afford to see a therapist if you’re going on tour all the time? Probably not.”

Organizations like Punk Talks shouldn’t have to exist, but our current health care system does so little to provide security at a reasonable cost that all sorts of nonprofits have stepped in to try to patch the holes in the safety net. Allen wants to make sure that no musicians have to go without mental health care, regardless of their financial situations.

And the people who reach out to her every day online and at shows have proved to her how important this work is.

“It reaffirms to me that accessibility to mental health treatment in this particular community is absolutely vital,” Allen says. “It’s a crucial and necessary resource.” v

ß @Neumannthehuman

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Recommended and notable shows, and critics’ insights for the week of March 16

MUSIC

b ALL AGES F

PICK OF THE WEEK

Swedish psych band Dungen soundtrack the 1926 animated film The Adventures of Prince Achmed Clipping o DEMONICA OROZCO

THURSDAY16 John Chantler 8 PM, Experimental Sound Studio, 5925 N. Ravenwood, $10, $8 students and members. b

o FRANK ASCHBERG

DUNGEN

Sun 3/26, 8 PM, Garfield Park Conservatory, 300 N. Central Park, $25. b

BETWEEN THE RELEASE of their 2010 album Skit I Allt and the 2015 gem Allas Sak, excellent Swedish psych band Dungen were enlisted to create an original soundtrack for German director Lotte Reiniger’s 1926 animated feature film The Adventures of Prince Achmed, one of the medium’s earliest examples and widely considered to be its oldest surviving work. Dungen’s music is distinguished in part by the sweet nasal singing of front man Gustav Ejstes, whose indelible melodies weave together the group’s often discursive styles. Guitarist Reine Fiske and drummer Johan Holmegard both play in the great jazz-rock band Svenska Kaputt, and the former also often collaborates with the heavy Norwegian

organ combo Elephant9, so it’s no shock that the music from the instrumental score—released last year as Häxan (Mexican Summer)—registers some serious jazzlike cadences, with dancing flute, spaced-out organ, and effervescent guitar lines rippling over carved-out grooves, though there are a few pieces that veer into familiar hard-rock turf, overblown riffing choogling between airier passages. The group assembled the album with no regard to the film’s sequencing, and further altered it by adding some lovely interstitial snippets, but tonight Dungen will revert to the original version, playing it to accompany a screening of The Adventures of Prince Achmed. —PETER MARGASAK

While in New York in January I caught a performance by Stockholm-based sound artist John Chantler, who hunkered down behind a small table outfitted with two small analog synthesizers and a computer. The set began with pinging electronic sounds that flickered about, then gained in density, volume, and physicality as the minutes passed, eventually transforming from a pleasant ambient splatter of electronic starbursts into a punishing din that toggled between assaultive and enveloping. His recent album Which Way to Leave? (Room40) conveys that same sensation as it moves between tones that needle and throb like live wire and quiet gurgles that seem afraid to be heard. Not long after the record’s release in August, Chantler told Pitchfork’s Marc Masters and Grayson Currin that in light of the recent administration’s clampdowns on refugees and asylum seekers the relevance of his open-question album title had shifted: “The title for me increasingly signals thoughts about the trauma of this specific kind of leaving.” Chantler’s intangible electronic ’scapes—sometimes violent, sometimes serene—reflect the unpredictability that seems to be swallowing the world whole, where nothing is given and truth has become blurred.

His is a pulsating and grueling onslaught that brooks no ambivalence. This is his Chicago debut.

—PETER MARGASAK

Clipping Mother Nature and TALsounds open.

7 PM, Subterranean, 2011 W. North, sold out. b

In the years following their volcanic 2014 Sub Pop debut, CLPPNG, LA group Clipping got swept up in the tidal wave of a massive cultural phenomenon: Hamilton. Between albums Clipping rapper Daveed Diggs landed a gig to play the dual parts of Marquis de Lafayette and Thomas Jefferson for the runaway hit, and by the time he hung up his purple coat last year he’d won a Tony for Best Featured Actor in a Musical. Clipping had already showcased an expert hand at dramatic over- J

MARCH 16, 2017 - CHICAGO READER 31

Orwells

MUSIC

o KELLY D PULEIO

continued from 31

tures before their MC became a pop commodity— because what good is playing vicious, blown-out noise if you can’t go over the top? And none of this is to mention the narrative tension Clipping producers Jonathan Snipes and William Hutson inflicted on their score for Room 237, the 2013 documentary about The Shining conspiracy theories. But on last year’s Splendor & Misery (Sub Pop), Clipping toned down the intensity of their screeching sonic assaults, even allowing room for an effusive vocal harmony built for Broadway (“Long Way Away”). The guys in Clipping know the intensity in noise isn’t purely connected to volume, so the album’s atmosphere and loose sci-fi narrative allow feelings of dread, despair, and even glimmers of euphoria. They also know how to make a furious racket sound glorious, as is the case on “Baby Don’t Sleep” when Diggs burns rubber—rapping with speed and cartoonish flair while feeling out the shape of every letter—atop of what sounds like glass spinning in a blender. —LEOR GALIL

Pascal Niggenkemper 9 PM, Elastic, 3429 W. Diversey, $10 suggested donation. b

In 2015 Franco-German bassist Pascal Niggenkemper dropped a bracing solo album called Look With Thine Ears (Clean Feed), serving up 13 visceral,

32 CHICAGO READER - MARCH 16, 2017

recording in which superb improvisers including pianist Eve Risser and clarinetist Joris Rühl apply drones, long tones, and extended techniques to the leader’s loose compositional structures, generating an experience marked by fascinating colors and textures. He can also play the conventional role of jazz bassist with efficiency and craft—but he’s at his best when he goes deep into sound for its own sake. Niggenkemper will perform solo and then improvise with a diverse Chicago group featuring Josh Berman on cornet, Jason Adasiewicz on vibraphone, and Aaron Zarzutzki on electronics.

—PETER MARGASAK

Orwells Walters open. 7:30 PM, Metro, 3730 N. Clark, sold out. b

aggressively tactile studies of his instrument. With the aid of sharp-edged amplification he revealed a particular genius for sound exploration. Niggenkemper prepared his bass with objects like Styrofoam or sticks, then bombarded it, bowing its strings like he was sawing through them and thwacking them to generate a fiercely snapping twang. Whether you like it or not, the album can’t help but impact the listener—Niggenkemper seems to be wrestling with and taming his double bass, training himself

to apply techniques in a wide variety of contexts.

He’s worked in a number of bands that, more or less, cleave to free-jazz orthodoxy, including Baloni with Joachim Badenhorst and a trio with trumpeter Thomas Heberer that performed in Chicago as part of the Umbrella Music Festival in 2011. Niggenkemper is also involved in a number of larger projects that blur the lines between free improvisation, pure sound, and experimental music: last year’s fantastic Talking Trash (Clean Feed), for example, is a sextet

What’s long made this Elmhurst-bred fivesome so kinetic is that hidden within plain sight of their arena-ready garage-loyal melodies and Mario Cuomo’s cheeky, apathetic sneer is the capability or, well, desire to drunkenly toe the blurry line between proper, showman-focused rock band and degenerate, fuck-shit-up rock band. In short, the Orwells always seem to be considering whether or not to upper-deck the house party’s only working toilet.

Their new Terrible Human Beings (Atlantic) plays to that tendency both in title and song, as tracks like “They Put the Body in the Bayou”—complete J

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AMERICAN GOTHIC PRODUCTIONS

04.01 BACK TO THE GRAVE 04.02 PARTY APPLE PEEL

WHITE SIBERIAN TIGERS / FREQUILIBRIUM / THE METRO PROJECT / WILDE

04.05 CHELSEA GRIN

ICE NINE KILLS / GIDEON / ENTERPRISE EARTH

SILVER WRAPPER PRESENTS

04.08 SPAFFORD 04.14 THE EXPENDABLES

RDGLDGRN / TRIBAL THEORY

04.19 THE OBSESSED

KARMA TO BURN / FATSO JETSON

REACT PRESENTS

04.25 NO CEILINGS FEATURING BOOGIE KAIYDO / KEMBA / MICHAEL CHRISTMAS

04.29 FRANK IERO AND THE PATIENCE DAVE HAUSE AND THE MERMAID

RIOT FEST PRESENTS

05.01 BALANCE AND COMPOSURE FROM INDIAN LAKES / QUEEN OF JEANS

RIOT FEST PRESENTS

05.11 SORORITY NOISE

MAT KEREKES / THE OBSESSIVES

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34 CHICAGO READER - MARCH 16, 2017

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with that sweet undercurrent of shoegaze sustain— and “M.A.D.” are tempered by the band’s undeniable prowess at writing chorus-driven rock singles, while “Black Francis” and “Buddy,” for example, sound more ready to tatter and unravel if just a few extra doses of grunge feedback and snot get slathered on. Two other conditions needed to produce a potent rock ’n’ roll record that Terrible Human Beings abide by: there will be no more than 13 songs adding up to no more than 40 minutes . . . check, and there will be a little extra sleaze mixed in for good measure . . . check (see “Heavy Head”).

—KEVIN WARWICK

FRIDAY17 Ryan Keberle & Catharsis 8:30 PM, Hungry Brain, 2319 W. Belmont, $10.

In the liner notes to his most recent album, Azul Infinito (Greenleaf), trombonist, bandleader, and composer Ryan Keberle tells the unlikely story of how, as a 19-year-old Portland native, he became absorbed in the folk music of South America upon arriving in New York to study at the Manhattan School of Music, when he quickly fell in with a slew of musicians and composers from Argen-

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Ryan Keberle & Catharsis o ROTA GIANFRANCO tina and Colombia. He’s since explored exquisite, unusual harmonies both as a member of the Maria Schneider Orchestra and with his own nimble quartet Catharsis, so his having fallen for Brazilian music comes as no surprise. On the new album he tackles songs by some of his heroes and collaborators, like Sebastian Cruz, Ivan Lins, and Pedro Giraudo, but his other tracks show similar inspirations. Keberle usually shares the front line with trumpeter Mike Rodriguez, and together they create a contrapuntal splendor rich in lowbrass sensuality, while his sharp rhythm section of drummer Eric Doob and bassist Jorge Roeder—a native of Peru—gracefully navigates the same elaborate time signatures he played in folkloric groups during his years in New York. For this album he enlisted Chilean singer Camila Meza to add a layer of breezy lyricism, whether she’s singing words or producing abstract shapes as the front line’s agile third member. For tonight’s performance reedist Scott Robinson subs for Rodriguez. —PETER MARGASAK

Octo Octa Lady Blacktronika and Sold open.

10 PM, Smart Bar, 3730 N. Clark, $20, $12 in advance, $15 before midnight.

Much of the press surrounding Octo Octa has focused on her gender transition, as detailed in an expansive 2016 feature for Resident Advisor. Less noted, however, is the way Maya Bouldry-Morrison’s sound has spread its wings in the three years since her dimly lit minor masterpiece Between Two Selves (100% Silk). That record’s tracks are best identified through their reverb-heavy glaze, snippets of vocal samples, and the mournful undercurrent that slinks below Bouldry-Morrison’s deep house. But on recent singles and on “Move On (Let Go) (De-Stress Mix),” the first available track from her upcoming release on Honey Soundsystem, Where Are We Going?, she’s opened up, embrac-

ing more jacked-up grooves while tempering her moodiness with a sense of genuine wonder—the romanticism of her sound is now laced with hope instead of disappointment. That’s not to say Octo Octa is suddenly “happy”—she’s still got the emotional guardedness (and “chill” ambiguity) of someone just now venturing into the world of optimists.

But for an artist who’s spent much of her musical career and life searching for an identity, a foothold to grasp onto, it’s heartwarming to hear her finally finding one. —AUSTIN BROWN

Tossers Gallows Bound, Avondale Ramblers, and Siderunners open. 9 PM, Metro, 3730 N. Clark, $20, $17 in advance. 18+ You might already know that Chicago’s premier Celtic-punk band the Tossers—our own south-side Pogues kin who predate fellow travelers like the Dropkick Murphys and Flogging Molly by several years—put on a rip-roaring Saint Patty’s Day show every year at Metro, and that they’ve been around nearly a quarter century now, honing their showmanship over countless live gigs. But you might not know that they just dropped Smash the Windows (Victory), their first record since 2013’s The Emerald City and only their fifth studio album overall. It does not disappoint: together its sprawling 17 tracks, including a take on “Danny Boy” and a seven-minute version of “The Foggy Dew,” purport to be an epic about the Irish immigrant experience. Hopped-up crowd-pleasers like “Smash the Windows” and “Drinking All the Day” fit with rough-edged melancholy numbers like “My Love” and the eerie “Resurrection Mary,” which retells the urban legend of the disappearing hitchhiker. The Duggins brothers and their band of subversive traditionalists bring out all the best of the genre—their punk rebellion is inspired by centuries of history, and the wistful sentimentality feels well earned. —MONICA KENDRICK J

MARCH 16, 2017 - CHICAGO READER 35

3855 N. LINCOLN

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MUSIC Erik Friedlander’s Black Phebe o RACHEL STERN

SAT, 3/18 - 6PM - ALL AGES

NO CURRENCY, BOISE NOISE, CORN ON MY DINNER PLATE SAT, 3/18 - 9PM

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FRI, 3/24

continued from 35

SAT, 3/25

Erik Friedlander’s Black Phebe 8:30 PM, Constellation, 3111 N. Western, $10. 18+

KUNG FU - THE FEZ TOUR, SATURDAY18 MAGIC CARPET SAMI GRISAFE, KILLING GODS, CHRIS BUEHRLE, DJ BYOB

please recycle this paper

Chicago forever.

36 CHICAGO READER - MARCH 16, 2017

Erik Friedlander’s vibrant tone, vivid pizzicato, and fluid bowing have made the cellist a first-call accompanist for John Zorn, Dave Douglas, Laurie Anderson, and the Mountain Goats. He’s also sustained a varied solo career for more than 21 years. His 2008 release Broken Arm Trio celebrated the music of Oscar Peterson—one of jazz’s first cellists—while Claws & Wings, with pianist Sylvie Courvoisier and electronic musician Ikue Mori,

contrasted emotional melodies with ephemeral atmospherics to meditate upon loss and healing. Then there’s his marvelous 2007 solo CD Block Ice & Propane, which went rustic to evoke the summers that he spent road-tripping with his father, photographer Lee Friedlander. (Friedlander first assembled Black Phebe, the trio he plays with tonight, for the soundtrack of Nothing on Earth, a 2013 documentary about another photographer, Murray Fredericks.) On last year’s CD Rings (Skipstone), Friedlander uses live looping to thicken his textures and embed subliminal rhythms while Satoshi Takeishi contributes pan-ethnic hand drums and Shoko Nagai delivers lyrical piano themes and sprightly, tango-steeped squeezebox flourishes. It’s some of his most accessible music to date. —BILL MEYER

Take a class and celebrate 60 years of making music!

New adult group classes are now open! Browse our class schedules online at oldtownschool.org

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SUNDAY19

JUST ADDED • ON SALE FRIDAY! 4/29 6/2 6/4

Dungen See Pick of the Week (page 31). 8 PM, Garfield Park Conservatory, 300 N. Central Park, $25. b

7/21

Tarek Abdallah & Adel Shams El-Din 8:30 PM, Maurer Hall, Old Town School of Folk Music, 4544 N. Lincoln. F b Time and global communication are among the elements threatening ancient musical traditions, especially in politically turbulent nations under autocratic rule. American access to these riches is being further imperiled by our current administration, though Egyptians aren’t currently banned from entering the U.S. (yet). Still, the opportunity to encounter the music of oud master and composer Tarek Abdallah is nothing to trifle with. He’s a scholar of traditional Arabic music, and as heard on his 2015 album Wasla (Buda), he’s meticulously written a pair of extended suites in the tradition commonly performed in Egypt during the late 19th century into the first half of the 20th century—during a time of Arabic cultural renaissance called the Nahda era. Adel Shams El-Din, a founding member of the remarkable traditional Syrian group Ensemble Al-Kindi, provides accompaniment on the percussive tambourine called the riq, while the suites feature measured elucidation of thematic material that shifts in key and includes substantial improvisation (known in Arabic music as taqsim). The music on Wasla evokes a disappearing tradition marked by elegance and austerity, qualities in short supply amid the current noise of our everyday existence.

—PETER MARGASAK

Mar 17

Angaleena Presley (of the Pistol Annies) Anais Mitchell / Grant-Lee Phillips Ottmar Liebert & Luna Negra

Haywyre &

The Opiuo Band

Okkervil River

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The Revivalists

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Ausar Bradley Isaiah G, Jayaire Woods, Syd Shaw, and Mother Nature open. 8 PM, Wire, 6815 W. Roosevelt, Berwyn, $14, $8 in advance. 18+

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TUESDAY21 Ausar Bradley started his University of Illinois college career in fall 2014, and he’s devoted his creative energy to rapping for even less time. But on his second mixtape, The 6 Page Letter, he shows the wisdom and humility of someone who’s been at it long enough to know both what it’s like to play a packed house and what it’s like to play only to the other acts on the bill. On “Dirty Laundry,” which places pitter-patter percussion atop a soul sample that sounds like it’s been recorded underwater, Bradley juggles self-deprecation with self-assuredness while seeking out answers for his direction in life: “My hobby should probably be archaeology / Honestly, I just can’t see myself prospering / Off a career I sought out for profiting.” His unassuming personality and expert flow allow him to vacillate between believing in his ambitions and scrutinizing his faults, and he does so with a relatable charm.

Bradley dropped The 6 Page Letter at the very end of 2016 and will finally celebrate its release with tonight’s headlining set. —LEOR GALIL

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Mar 19

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Chuck Prophet / The Bottle Rockets FRIDAY, MARCH 17 8:30PM

Mar 24

Minnesota

Feufollet

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Global Dance Party • In Szold Hall

Ausar Bradley o WILLIAM H. GOFF

SATURDAY, MARCH 18 8PM

Nils økland 8:30 PM, Constellation, 3111 N. Western, $15, $10 in advance. 18+

FRIDAY, MARCH 24 8PM

There are few sounds that hypnotize me more than the Hardanger fiddle, a traditional Norwegian violin fitted with additional strings that run beneath the fret board, generating a dense web of ghostly overtones. In its purest manifestation music for the instrument deploys regional dance rhythms, but those slicing lines are gorgeously clouded by a sympathetic resonance that rings articulated patterns in spooky acoustic shadows. The remarkable Nils Økland has built a career by transplanting the Hardanger into other modes, developing a hybrid informed by moody jazz, contemporary classical, and free improvisation. His early solo records are daring explorations of the instrument’s dazzling sonic possibilities, and over the years he’s been involved with a number of disparate projects to recast the instrument. His wonderfully draggy trio 1982—which includes keyboardist Sigbjørn Apeland and drummer Øyvind Skarbø—has a brand-new album, Chromola (Hubro), that pushes into a spacey and psychedelic realm, while the eponymous 2014 album from Lumen Drones recalls the grinding poetry of the Dirty Three. But it’s Økland’s quintet that covers the widest range, enfolding meditative melodies, delicate harmonies, and affecting rhythms into one brooding whole. As heard on the stunning 2015 album Kjølvatn (ECM), Økland plays a conventional violin and baroque-era viola d’amore in addition to the Hardanger, and his lines are embroidered by the saxophones of killer improviser Rolf-Erik Nystrom (who also works in the bold new-music trio Poing), the lush harmonium drones of Sigbjørn Apeland, the dolorous bass lines of jazz player Mats Eilertsen, and the muted vibraphone and low-end thuds of expert new-music percussionist Håkon Mørch Stene. Økland played Chicago once before as a member of a group led by accordionist Frode Haltli, but this marks his long-overdue debut as a leader. It’s one of a handful of U.S. gigs built around appearances at next weekend’s Big Ears Festival in Knoxville. —PETER MARGASAK v

Big Bad Voodoo Daddy Mason Jennings with his band

Dada Life

The Compound: Evolved

In Szold Hall

Dada Life

The Compound: Evolved

Mar 28

SATURDAY, MARCH 25 7PM

Jodee Lewis / Zach Pietrini In Szold Hall

NIGHT TWO

Mar 26

FRIDAY, MARCH 24 8PM

Jayme Stone's Folklife

NIGHT ONE

Mar 25

Senses Fail

Counterparts, Movements Like Pacific

Mar 30

SATURDAY, MARCH 25 5 & 8PM

FKJ

Cézaire, Dabeull

Lúnasa FRIDAY, MARCH 31 8PM

DakhaBrakha

Mar 31

Bear Grillz

Terravita, P0gman, Wooli

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Shanta Nurullah's Sitarsys Keola Beamer & Jeff Peterson Two Virtuosos of Slack Key Guitar 4/1 & 4/2 Loudon Wainwright III Surviving Twin 4/8 Thomas Mapfumo & The Blacks Unlimited 4/15 Mark Eitzel & Howe Gelb

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MARCH 16, 2017 - CHICAGO READER 37

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QUIOTE | $$ R 2456 N. California 312-878-8571 quiotechicago.com

Quiote’s basement bar is a testament to the diversity of agave spirits.

RESTAURANT REVIEW

o DANIELLE A. SCRUGGS

Quiote’s offbeat Mexican food is the perfect pairing for agave spirits The multifaceted Logan Square concept from former Salsa Truck owner Dan Salls includes a basement bar with a wealth of mezcal.

By MIKE SULA

I

have friends who say they can drink mezcal all night and never get hungover.

Over the last couple months I’ve spent a bit of time testing that theory. Just as there’s something different about the buzz—tranquil, dreamy, and obliging—there’s something different about the morning after.

There’s no question the spirit, distilled from any number of varieties of the agave plant, gives me fitful, restless sleep—but the tradeoff is vivid and absorbing dreams.

That might be one reason for the nascent

northern infatuation with mezcal, a beverage comparable to wine in terms of varietals and terroir. Another reason might be that right now it seems like the magic end-times tonic we all deserve as we passively gawp at the national train wreck before our eyes. Distilled from plants that in some cases take decades to mature, it’s a potentially endangered spirit, removed and consumed far from the place it was made, to give pleasure to gringos with little inkling they might be drinking it out of existence.

Para todo mal, mescal. Para todo bien, también, as it’s said. Or “For everything bad, mezcal. For everything good, the same.”

There are three dedicated mezcalerias in Chicago right now—including Mezcaleria las Flores and La Mez—and quite a few other bars have dedicated significant shelf space to it. The latest is Logan Square’s Quiote, a multifaceted concept from Dan Salls, former owner of the Salsa Truck, and former DNAinfo reporter Paul Biasco. Located in the space formerly occupied by Letizia’s, it serves coffee

and conchas in the morning, tortas and tacos for lunch, and at dinner a full menu of Mexican and Mexican-ish dishes. But the heart of Quiote resides in the basement bar, accessed behind the restaurant, where more than 80 bottles are stocked, attesting to the diversity of agave spirits, all overseen by beverage director Bobby Baker, who was tending bar at a mezcaleria in Oaxaca City when he met Salls.

Baker has conceived a number of intriguing mezcal-based cocktails, including a margarita with tart hibiscus, a sweet and smoky celery shrub, and a relatively straightforward mezcal old-fashioned. But to get a sense of the vast diversity of the bar’s base spirit you need to dive into the thick mezcal list broken down by agave varietals, from the common but wide-ranging espadin to the fruity bicuixe to more complex blends and “celebration” agaves distilled with fruit and nuts or pieces of animal protein—lamb, chicken, turkey.

It could take weeks of happy and enlightening sipping to wrap your head around everything this plant is capable of. In the meantime you’ll need to eat. Upstairs Salls and chef de cuisine Ross Henke have put together a largely shareable menu of Mexican dishes and a few mashups with some of the predominant standards of contemporary bistro eating.

In that regard there’s bone marrow spiced with salsa macha to be smeared on Publican Quality Bread grilled sourdough. There are mussels in a Vinho Verde broth, with avocado and serrano, all to be sopped up with remarkably spongy and absorbent bolillos from Floriole Cafe & Bakery, the same used for Quiote’s tortas.

There’s also a $5 border-bridging bread course that sounds ridiculous and pandering but is something you’ll want to avail yourself of: slabs of more PQB bread to be smeared with habanero-compounded butter, and thin, crispy fresh tostadas with raw tomatillo salsa. Do yourself a favor: butter your tostadas. Smear salsa on your bread. For that matter, apply butter, then salsa. Make America great again!

In addition to stints at the Publican and Publican Quality Meats, Henke once was the executive sous chef at a place called Fat Rosie’s Taco & Tequila Bar, a far-suburban outpost of Scott Harris’s Francesca’s Restaurants Group—a place where white people go to get drunk and wear sombreros. I don’t know how deeply that experience informs Henke’s knowledge of Mexican food, but I do know the fried cauliflower on Quiote’s menu looks a lot like the coliflor frita at Fat Rosie’s.

Nestle some of these crispy-soft nuggets J

MARCH 16, 2017 - CHICAGO READER 39

S P O N S O R E D

N E I G H B O R H O O D

C O N T E N T

Chicago has always been a city of distinct neighborhoods with their own sense of identity and tradition — and each with stand-out bars and restaurants that are worthy of a haul on the El or bucking u up p for for parking. parking. Explore Explore some some local local faves faves here, here, tthen hen head head out out for for a taste of the real thing!

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SNARF’S // 6 0 0 W C H I C AG O // E AT S NA R F S .C O M In 1996, “Snarf” Jimmy Seidel opened the very first Snarf’s in Boulder, Colorado. Now, the family-owned business has grown to nearly 20 restaurants in Colorado, Chicago, St. Louis and Austin, Texas. Snarf’s award-winning sandwiches are made-to-order using only the finest ingredients including premium meats and cheeses, crisp veggies, their own blend of giardiniera peppers and homemade, oven-toasted bread. They also offer fresh salads with homemade dressings, soups, vegetarian options, desserts and a full catering menu.

“Good sandwiches and salads, a solid old stanby.”

40 CHICAGO READER - MARCH 16, 2017

— GEORGE / GOOGLE

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Clockwise from top left: bread course, chorizo verde, tortillas, pork collar, churro with ice cream, tamales o DANIELLE A. SCRUGGS

continued from 39 with fruity Fresno chiles into one of Quiote’s thin, fresh house-made tortillas and you have a respectable vegan approximation of a classic Baja fish taco. Maybe that’s the mezcal talking. But who cares?

The kitchen puts out a few other remarkable vegetable dishes: a substantial avocado salad given roughage with shaved brussels sprouts and quinoa; or chunks of sweet squash smothered in nutty pumpkin-seed mole and showered with soft queso fresco.

There’s even an enormous Oaxacan-style tamale, unwrapped and dissected—this isn’t your street-corner breakfast after all— stuffed with meaty maitake mushrooms, its cakelike texture soaked with smoky morita chile salsa.

The meatier minded might divert toward a trio of amply stuffed duck tacos, the gamy pastor-like caramelized meat offset by pickled red onions, or a slab of tender pork collar, smothered in dark, near-bitter pasilla chiles.

Or even a Seussian plate of green chorizo, tinted by poblanos, atop a bed of a crispy smashed-potato hash.

There are a few duds on this otherwise surprising menu. A sirloin glazed with agave syrup and mezcal is paired with an overly

vinegary composite of mushrooms and broccolini. A busy aguachile—hamachi showered with pomegranate seeds and shaved walnut—like most restaurant crudos, is a cruel, miserly bite that neither satisfies the eater nor respects the fish. Chicken and carrots are drowned in a thin, chocolaty mole with a fraction of the complexity of a packaged supermercado-sourced version.

That’s all easily forgotten at dessert, which brings a dense, moist, yet crusty tres leches cake deluged with an avalanche of fresh whipped cream. And a sugar-crusted hot churro forms a nearly custardlike doughnut to support a scoop of rapidly melting piloncillo ice cream alongside a smear of chile-dosed peanut butter.

Picking apart the menu at Quiote seems almost wrongheaded. The cooking is the product of someone who’s gifted in the same way some people are born to sing. Sure, there’s hard work, there’s planning, and thought, but then there’s this other ineffable thing. Maybe the kitchen’s heart became pure by soaking in mezcal. Or just maybe the food tastes better when you’ve been soaking in it. v

ß @Mike Sula MARCH 16, 2017 - CHICAGO READER 41

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Business Analysis Architect: Working /account & creative teams, provide technical expertise & side-by-side prototyping & development for large digital client w/complex technical architecture. Chicago, IL location. Req’s MS in Comp Sci & 2 yrs exp as SW Developer. Exp must incl use of the following technologies/ tools: J2EE, Oracle, Struts 2, HTML5, CSS3, Responsive Design, JavaScript, JQuery, AngularJS, SpringMVC, Swagger, Apigee, IBM Message Broker, Gradle, Maven, Jasmine, Hibernate, Caching-Ehcache, eXtreme Scale, Business Rules Management tools – ODM, Views – tiles, Jenkins, Webservices - SOAP and REST, Eclipse, Artificial Intelligence for Prospect identification, Database Management, Data Analysis, SVN, Git, WebSphere Application Server, JUnit, iOS mobile -- XCode, worklight, Cordova, Cloud/PAAS service providers, Marketing apps, agile methodologies – certified scrum master. Send resume to: Leo Burnett Company, Inc., 35 W Wacker Dr, Chicago, IL, 60601.

Attn: D. Bougdanos. p p y p Exp must incl dvlpng anlytcl solns for Retail/CPG industries; Req. strng knwldg in adv Stat. tchnqs & adv SAS prgrmng; deep knwldg of SAS products, such as SAS Base, SAS/Macros, SAS/Graph, SAS Enterprise Guide, SAS SQL, SAS/ETL, and SAS/STAT. Detailed job rqmnts at http:// prognosinc.com/content/Careers. html Job in Oak Park, IL. Travel/ reloc to unanticipated locations throughout US may be reqd. Apply: HR Manager, Prognos Inc., 1011 Lake St, #308, Oak Park, IL 60301 TRANSUNION, LLC SEEKS Sr.

Analysts, Insurance Analytics for Chicago, IL location to independently design & execute all aspects of statistical analytics projects for predictive modeling, business reporting & customer evaluations. Master’s in Statisti cs/Applied Mathematics /Predictive Analytics/related Quantitative field + 2yrs exp. or Bachelor’s in Statistics/ Applied Mathematics /Predictive Ana lytics/related Quantitative field + 5yrs exp. req’d. Req’d skills: SAS, R, SAS macros, Emblem, SQL, Hadoop/ Hive, Unix Command, Tableau, data visualization, MS VBA, Dimensionality reduction techniques (feature selection, feature extraction, and stratified sampling), GLM (Logistic, LASSO, Tweedie), Tree models (GBM), statistical techniques in insurance context.

Send resume to: C. Studniarz, REF: RML, 555 W Adams, Chicago, IL 60661

RAIL EUROPE, INC., a European based company is in search of F/T PROGRAMMER ANALYST Seasonal Staff employees to start AND SYSTEMS ANALYSTS work in March for the launch of its NEEDED new 2017 product line. The sales oriented consultants we seek must Programmer Analyst needed enjoy working w/ our customer base for research, design, develvia phone and/or email in a Customopment, testing, setting op- er Care Center environment. Strong erational specifications and customer service minded individuals formulating and analyzing are a must. All paid training will be software requirement using a done in-house at our Des Plaines wide variety of computer office location. Fluency in French, hardware and software, in- Spanish or Portuguese is a plus. We cluding iOS Mobile applicaoffer excellent Health and Travel tion development, Objective benefits along with our compensa–C Language, and Sqlite DB. tion package. Applicants may fax Systems Analysts needed to resumes to Attn: JW at 847-916-1002 analyze user requirements, or EMAIL to: 2hr@raileurope.com procedures, and problems to EOE automate or improve existing systems and review computer system capabilities, workflow, and scheduling limitations.

Develop solutions, Produce project feasibility and present proposals to clients. Multiple positions available for Systems Analysts position using one or more of the following tools; SAP HR, SAP HCM, and project management, OR SAP Business Objects, Oracle, and SQL Server. Work location for all positions is in Schaumburg, IL and various unanticipated client locations in US which may require relocation. Resumes to HR, Metmox, Inc. 1701 East Woodfield Road, Ste. 400, Schaumburg, IL 60173. Resume must specifically identify all skills relevant to job offered.

Lead Analytical Consultant: Lead solution architecture & provide implm support for analytical solns; dsgn & architect analytical solns; dvlp solns to forecast sales demand of Retail/CPG industries; perform rel duties. Req MS or eqv in Statistics or rel & 3 yrs exp. Will accept BS & 5 yrs exp.

42 CHICAGO READER | MARCH 16, 2017

TECHNOLOGY IT INFRASTRUCTURE MANAGER (MULT. POS.),

PricewaterhouseCoopers Advisory Services LLC, Chicago, IL. Help clients optimize their tech. infrastructure by transforming the way their infrastructure delivers capabilities & services to meet the business’ strategic goals. Req. Bach’s deg. or foreign equiv. in Comp Sci, Info Systms or rel. + 5 yrs post-bach’s prog. rel. work exp.; OR a Master’s deg. or foreign equiv. in Comp Sci, Info Systms or rel. + 3 yrs rel. work exp. Travel up to 80% req. Apply by mail, referencing Job Code IL1189, Attn: HR SSC/Talent Management, 4040 W. Boy Scout Blvd, Tampa, FL 33607.

CURATOR - JAPANESE Art

Conduct research and cataloguing for the development, maintenance and presentation of private Japanese lacquerware and painting collection.

Requirements: Master’s Degree or equiv in East Asian Art and 1 year experience researching and cataloguing 19th century Japanese art objects.

Fluency in written and spoken Japanese. Forward resume and references to Weston Foundation, Human Resources, 360 W Illinois St, Ste 11C, Chicago, IL 60654. NO calls

AURORA EAST SCHOOL District 131 (HQ Aurora, IL) seeks Elementary Bilingual Special Education Instructional Teachers for various locations throughout the district. Bachelor’s in Elementary Ed. (will also accept any field in accordance w/ State Board of Ed. requirements) req’d. Must hold PEL w/ K-4 bilingual endorsement AND LBS1/LBS2 endorsements; OR an ELS w/ Bilingual Endorsement & proof of program enrollment & passing of content area exam req’d. Must speak, read, & write Spanish. Send resume to: S. Megazzini, Ref. EMHG, Aurora East SD 131, 417 Fifth St., Aurora, IL 60505.

NM GROUP GLOBAL seeks a full

time Investment Analyst in Chicago.

The duties include working with private equity, public equity, biotech investments. Occasional travel (including overnight travel).

Qualifications: Bachelor’s degree in finance, accounting, or related field plus 4 years of experience in public equity and private equity, including experience with biotech and pharmaceuticals investments. Email resume to careers@nmgroupglobal.com.

Art Director: In partnership with Copywriter, develop bold, strategic & award-winning creative advertising product from concept to execution. Req’s BFA in Advertising & 1 yr exp in job offered (incl job titles Art Dir, Assoc Art Dir, Graphic Designer). Send resume to: Ten35 LLC, 401 N Michigan Ave, Ste 500, Chicago, IL, 60611.

Attn: C. Saxena MARKET RESEARCH ANALYST sought by seafood co. Req.

Bachelor in Business Admini. Reply: True World Foods Chicago LLC, 950 Chase Ave. Elk Grove Village, IL 60007.

Senior Financial Analyst-General Ledger, account reconciliations.

Master’s in accountancy/rel. req.

Apply: Housing Authority Of Cook County, 175 W. Jackson Blvd. #350, Chicago, IL60604, Attn: HR

REAL ESTATE RENTALS

STUDIO $500-$599 Chicago, Beverly/Cal Park/Blue Island Studio $575 & up, 1BR $665 & up, 2BR $885 & up. Heat, Appls, Balcony, Carpet, Laundry, Prkg.

708-388-0170

STUDIO $600-$699 LARGE STUDIO NEAR Loyola Park. 1341 W Estes. Hardwood floors.

Cats OK. Laundry in building. $695$715/ month. Heat included. Available 4/1.

773-761-4318, www. lakefrontmgt.com

1 BR UNDER $700 WOW!! MUST SEE!

Newly Remodeled 1, 2, & 3 Bd Apts $650 & up. Chgo. So. & West side No SD, & 1 Mo. Free Rent w/aprvd Credit. Sect 8 & All Credit Welc. to Apply. Ask us about our Rental Assistance Program for Qualified Applic ants.(773) 412.1153 Wesley Rlty.

7022 S. SHORE DRIVE Impecca-

bly Clean Highrise STUDIOS, 1 & 2 BEDROOMS Facing Lake & Park.

Laundry & Security on Premises.

Parking & Apts. Are Subject to Availability. TOWNHOUSE APARTMENTS 773-288-1030

WINTER SPECIAL: STUDIOS starting at $499 incls utilities. 1BR $550, 2BR $599, 3BR $699. With approved credit. No Security Deposit for Sec 8 Tenants. South Shore & Southside. Call 312-4463333 MIDWAY AREA/63RD KEDZIE Deluxe Studio 1 & 2 BRs. All

modern oak floors, appliances, Security system, on site maint. clean & quiet, Nr. transp. From $445. 773582-1985 (espanol)

CHICAGO SOUTH - YOU’VE tried the rest, we are the best.

Apartments & Homes for rent, city & suburb. No credit checks.

773-221-7490, 773-221-7493 WEST PULLMAN (INDIANA

Ave) RENT SPECIAL 1/2 Off 1 month rent + Sec dep. Nice,lrg 1BR $575; 2BR $675 & 1 3BR $850, balcony, Sec 8 Welc. 773-995-6950

WINTER SPECIAL $500 To-

EXCHANGE EAST APTS 1 Brdm

$575 w/Free Parking,Appl, AC,Free heat. Near trans. laundry rm. Elec.not incl. Kalabich Mgmt (708) 424-4216 Newly updated, clean furnished rooms, located near buses & Metra, elevator, utilities included, $91/wk. $ 395/mo. 815-722-1212 NICE ROOM w/stove, fridge & bath Near Aldi, Walgreens, Beach, Red Line & Buses. Elevator & Laundry. $130/wk & up. 773-275-4442 BIG ROOM with stove, fridge, bath & nice wood floors. Near Red Line & Buses. Elevator & Laundry, Shopping. $121/wk + up. 773-561-4970

CHICAGO 70th & King Dr, 1BR, clean, quiet, well maintained bldg, Lndry + Heat. Section 8 ok. $680/ mo. 773-510-9290.

CHICAGO - 1214 W 91st St, 1BR, heated, appliances, ceiling fans, laundry room, $670 + security deposit, Call 312-296-0411

1 BR $700-$799 HUMBOLDT PARK. ONE

bedroom apartment for rent. Newly remodeled. Next door to food store. $800 per month plus security deposit. Near shopping area. Monica, 773-592-2989.

74TH/KING DR. 1BR, 73rd/

Indiana, 2BR, 88th/Dauphin 1BR. Spac good trans, laundry on site, sec camera. $700+/mo, 312-341-1950

ward Rent Beautiful Studios 1, 2, 3 & 4 BR Sect. 8 Welc. Westside Loc, Must qualify. 773-287-4500 www.wjmngmt.com

WEST HUMBOLDT PK 1 & 2BR Apts, spacious, oak wood flrs, huge closets. heat incl, rehab, $795 & $895. Call 847-866-7234

CLEAN ROOM W/FRIDGE & micro, Near Oak Park, Food -4Less, Walmart, Walgreens, Buses & Metra, Laundry. $115/wk & up.

773-637-5957

AUBURN GRESHAM: 79TH &

NEWLY REMOD 1BR & Studios starting at $500. No sec dep, move in fee or app fee. Free heat/ hot water. 1155 W. 83rd St., 773619-0204 SOUTH SHORE, 75th & Saginaw, 1 & 2BRs, hardwood floors. Stove, fridge, parking & heat incl. $600$950. Call 312-403-8025 û NO SEC DEP û

6829 S. Perry.

Studio/1BR. $465-$520/mo.

HEAT INCL 773-955-5106

SOUTH SHORE - 2BR, 1.5BA, hdwd floors. appls incl, fin basement. near beach & Metra. $1250/mo, utilities not incl. 708-868-3225 76TH & PHILLIPS, 2BR, 1BA, $775-$825; 2BR, 2BA $875-$900.

Remodeled, Appliances avail. Free Heat. 312-286-5678 6930 S. SOUTH SHORE DRIVE Studios & 1BR, INCL. Heat, Elec, Cking gas & PARKING, $585-$925, Country Club Apts 773-752-2200

Paulina, 1-2 Bedroom, $745-$795, Free heat. Call 773.916.0039

1 BR $800-$899 EXTRA LARGE ROOMS. 4.5 room apt. Lovely, bright. 1-2 bedrooms. Remodeled. Hwfl. 2 blocks Brown Line, expressway. One block shopping area. $850. 773-710-3634.

OAK LAWN, SPACIOUS 1BR,

appliances, heat incl, close to Christ Hospital, $800/mo.

708-422-8801

1 BR $900-$1099 HEART

OF

BUCKTOWN/

Wicker Park. Milwaukee/ Ashland/ Division. Charming one bedroom. Extra room for office, etc. Remodeled.

Victorian building. Near Blue Line, expressway. $950. 773-710-3634.

SOUTH, LAKEFRONT CONDO, 4800 S. Lakeshore Dr. Newly remodeled, 1BR, 19th floor, appls incl, $1000/mo. Seniors welc. 773-717-6092

CHICAGO, HYDE PARK Arms Hotel, 5316 S. Harper, maid, phone, cable ready, fridge, private facilities, laundry avail. Switchboard. Start at $ 160/wk Call 773-493-3500

AVAILABLe NOW

9147 S. Ashland. Lrg Studio, dine -In Kit., laundry, closets. Clean & Se-

Section 8 Eligibility-Low Rents 1 Br & Studio aptS

cure. $650/mo. You pay utils. No Pets. Avail now! 312-914-8967.

7500 SOUTH SHORE Dr. Brand New Rehabbed Studio & 1BR Apts from $650.

Call 773-374-7777 for details.

STUDIO OTHER LARGE SUNNY ROOM w/fridge & microwave. Near Oak Park, Green Line & Buses. 24 hr Desk, Parking Lot $101/week & Up. (773)378-8888 CHICAGO - HYDE PARK 5401 S. Ellis.

1BR. $535/mo.

Call 773-955-5106

CROSSROADS HOTEL SRO SINGLE RMS Private bath, PHONE,

CABLE & MAIDS. 1 Block to Orange Line 5300 S. Pulaski 773-581-1188

Ashland Hotel nice clean rms.

24 hr desk/maid/TV/laundry/air.

Low rates daily/weekly/monthly.

South Side. Call 773-376-5200

SENior citizENS 62+ yEarS

3939 S Calumet Ave 773-373-8480 or 373-8482 6225 S Drexel Ave 773-955-6603 or 955-7162 Offering Quality services for Senior Citizens 62 years and older • Wellmaintained, secure-gated parking • Close to shopping, restaurants, public transportation • On-site Internet center • Computer training • Movies • Arts & Crafts classes • Bible classes • free weekly transportation for grocery shopping • Coin-operated laundry machines • Vending machines • Secure mail system and more

1 BR $1100 AND OVER LINCOLN SQUARE Beautiful

unit in nice neighborhood, owner occupied, 1 bedroom, 2nd floor, central air & heat, private deck, total rehab, great neighborhood, washer/ dryer in unit. Modern kitchen & bath in old Victorian home. Close to Andersonville & Lincoln Square. $1500 + utilities. 773-506-1125

EDGEWATER 2 1/2 RM studio: Full Kit, new appl, dinette, oak flrs, walk-n closets, $835/mo incls ht/ gas. Call 773-743-4141 or visit www. urbanequities.com

EDGEWATER 1000 SFT 1/B: new kit, ss appl, formal DRm, oak floors, new windows, Red Line/ Lake MI $1095/incl ht 773-7434141 urbanequities.com WHITECHAPEL APARTMENTS is pleased to announce the opening of its wait list for two and three bedroom apartments to individuals and families.

Whitechapel is a professionally managed, affordable rental property with attractive floor plans, laundry and onsite parking.

Whitechapel will accept requests for applications by USPS mail only beginning March 11, 2017 and continuing until March 19, 2017. All

requests postmarked after March 19, 2017 will not be accepted. To receive an application, send this form to: Whitechapel Apartments, 4910 N. Sheridan Rd, Chicago, IL 60640. An application will be mailed to you.

Completed applications must be returned by USPS mail and postmarked no later than March 19, 2017. Applications received after March 19, 2017 will NOT be accepted. Applications cannot be obtained at Whitechapel Apartments. No walk-ins or phone calls.

To request an application please completer the information below and mail to: Whitechapel Apartments 4910 N. Sheridan Rd Chicago, IL 60640

Applicant Name: ______________

1 BR OTHER

Date of Birth:_________________

Address: ____________________ City _________________ State: ______ Zip Code:________ Phone: ___________________ Cell: _______________________ Email: ______________________ Number of Bedrooms Requested: ____________________________ Number of Household Members: ____________________________ Whitechapel Apartments does not discriminate on the basis of disability in the admission or access to, or treatment or employment in, its government assisted programs and activities.

APTS. FOR RENT PARK MGMT & INV. LTD. IT’S MOVING TIME!!!

OUR UNITS INCLUDE HEAT, HW & CG PLENTY OF PARKING 1BDR FROM $750.00 2BDR FROM $895.00 3 BDR/2 FULL BATH FROM $1200 **1-(773)-476-6000*** APTS. FOR RENT PARK MGMT & INV. LTD. SPRING HAS SPRUNG!!

MOST UNITS INCLUDE..

HEAT & HOT WTR STUDIOS FROM $475.00 1BDR FROM $550.00 2BDR FROM $745.00 3 BDR/2 FULL BATH FROM $1200 **1-(773)-476-6000** ROUND LAKE BEACH, IL Cedar Villas is accepting applications for subsidized 1BR apts. for seniors 62 years or older and the disabled.

Rent is based on 30% of annual income. For details, call us at 847-546-1899 ∫

CHICAGO-HYDE PARK NO APPLICATION FEE LARGE 1BR $975 Free Heat, newly decor, hdwd flrs, appls, laundry Sec 8 OK. 773-667-6477 or 312-802-7301

1 BR OTHER

Brementowne Manor Apartments Tinley Park Affordable Senior Living

∂Age 62 or Older or Mobility Impaired ∂One Bedroom Apartments ∂Convenient Location ∂Carpeted ∂Mini-Blinds ∂On-Site Laundromat

Rent Assistance Available to Qualified Applicants

Income Limits: $26,950.00 One person $30,800.00 Two persons Application Information Available (waiting list only) Tuesday, March 21, 2017 708-429-4088 16130 S Oak Park Ave., Tinley Park, IL Office Open: Mon. thru Fri., 10am-4pm Equal Housing Opportunity

Get more information at the website: www.trinityseniorapartments.com

l

l

ONE OF THE BEST M&N MGMT, 7727 Colfax, 1BR, $595$625, FREE gas & parking. Completely rehabbed, 6220 Eberhart, large 2 & 3BR, $950-$1200. 312613-4427

2 BR $900-$1099 CHICAGO, 9307 S. Saginaw, Newly rehabbed, 2BR, carpet, stove & fridge, heat not incl, $950/ mo. Sect 8 welc. Mr. Johnson, 773294-0167

CALUMET CITY 158TH & PAXTON SANDRIDGE APTS 1 & 2 BEDROOM UNITS MODELS OPEN M-F, 9AM-5:30PM *** 708-841-5450 ***

DOLTON - 14526 Cottage Grove.

2 BR, heat, fridge, & stove incl. $940/mo + sec. Section 8 Ok. Call 708-846-5342

BEST PRICE, BEST LOCATION. JACKSON HIGHLAND. STUDIO, $590. 1BR, $690.

2BR, $790. CALL MIKE, 773744-3235 SOUTH SIDE, Beautiful, rehab 1 or 2 BR Apts, marble bath, jacuzzi, laundry in building.

Section 8 welcome. Call 773517-9622

Chicago - Beverly, large 2 room Studio & 1BR Apts. Carpet, A/C, laundry, near transportation, $650-$770/mo. Call 773-2334939 CHICAGO SOUTH SIDE Beautiful Studios, 1,2,3 & 4 BR’s, Sec 8 ok. $500 gift certificate for Sec 8 tenants. 773-287-9999/312-446-3333 SUBURBS, RENT TO OW N! Buy with No closing costs and get help with your credit. Call 708868-2422 or visit www.nhba.com CHICAGO, RENT TO OWN! Buy with no closing costs and get help with your credit. Call 708868-2422 or visit www.nhba.com

NO SECURITY DEPOSIT NO MOVE IN FEE 1, 2, 3 BEDROOM APTS (773) 874-1122 ACACIA SRO HOTEL Men Preferred! Rooms for Rent. Weekly & Monthly Rates. 312-421-4597

2 BR UNDER $900 69TH/CALIFORNIA 4RMS, 2BR ($820/mo) owner heated, coin laundry, off str pkng, nr Holy Cross Hospital. 1.5 mo sec dep.

O’Brien Family Realty 773-581-7883 Agent owned CHICAGO 5246 S. HERMITAGE: 2BR bsmt $400. 2BR 1st floor, $525. 3BR, 2nd floor, $625.

1.5 mo sec req’d. 708-574-4085.

2 BRS, REMODELED bathroom,

freshly painted, security fencing, heat included, AC unit, huge backyard, apartment for rent. 773-615-6453

2BR, 6148 S. Rhodes, LR/DR, encl porch, appls, lndry, new kitc & bath, $805/mo tenant pays utils. Seniors & Sect 8 Welc. 312504-2008 7701 S. South Shore Dr. 2 BDs with 1.5 Baths, Large Combo Living-Dining Rm, FREE Heat & cking gas. Prkng extra. $785-$850, Kalabich Mgmt (708)424-4216

7000 S. Merrill 2BR, hdwd flrs, lrg FR/sunrm, new remod., cable ready, lndry, O’keefe Elem, $800/ mo. Section 8 welcome. 708-3081509, 773-493-3500 SECTION 8 WELCOME! 7406 S. Vernon 1 & 2BR, 2nd flr, remod, hdwd flrs, appl inc, laundry on site $800+ Zoran 773.406.4841 2408 E. 77TH St(77th & Yates).

Sunny 2BR, free heat, appls, glistening hrwd flrs, c-fans, mini blinds, clean & quiet. $750. 312-479-5502

CHICAGO

7600 S Essex 2BR

$599, 3BR $699, 4BR $799 w/apprvd credit, no sec dep. Sect 8 Ok! 773287-9999 /312-446-3333

3227 W. MAYPOLE. Newly remod 5 rooms, 2BR Apt in family building, hdwd flrs, tile kitchen. $800/mo. 7773-696-0025 2BR W/ NEW CARPET, cherry

kit cabinets & Kolher prod., tenant pays heat, 8632 Escanaba, $650/mo + security. Call 773-415-4970

GLENWOOD - LARGE 2BR CONDO, H/F High School. Balc, C/A, appls, heat, water incl. 2 parking, lndry. $975/mo. Call 708-2683762 75 S.E. YATES - R e n o v a t e d 2BR Apt, Family Room, 1.

5BA, LR, DR, Eat in Kitchen, 3 flat, tenant heated, $950/ mo. Call 773-375-8068 W. HUMBOLDT PARK. 1302-08 N. Kildare. Division/ Pulaski. Newly Rehabbed, 2BR, $785. Sec 8 OK. 773-619-0280 or 773-286-8200 WOODLAWN - 1528 E. 65th Pl. 2BR, 2BA apt, 1st floor, with all hardwood floors. $900/mo.

773-614-9876 ALSIP

NEAR

120TH

and S. Kildare. 2BR, heat, gas and parking incl, newly updated, appls, laundry room. $900/mo. 773-263-3189

CHATHAM 8041 SOUTH St.

SOUTHWEST RENOV. 2BR, 2nd flr, Fridge & Stove incl. $900/mo + 1 mos sec + utils.

Seniors pref. 773-476-0460

2 BR $1100-$1299 Chicago, 6627 S. Drexel, 2BR, 1.5BA Condo, SS appls, granite ctrs, $1100/mo, heat included. Section 8 ok. Call Gerry, 773-699-5774 MAYWOOD - 2BR APT WITH enclosed sun porch, carpet A/C. No pets. Ten pays electric & gas.

Avail now. $900. David Miller, 708259-9219

2 BR $1300-$1499 HEART

OF

BUCKTOWN/

Wicker Park. Milwaukee/ Ashland/ Division. 4 rooms, 2 extra large bedrooms. Hwfl. Newly remodeled. Victorian building. Near Blue Line, expressway. $1400. 773-710-3634.

76TH/SAGINAW 1BR. $635$660. 2BR. $750-$775. Updates,

3 BR OR MORE $1200-$1499

appliances incl and Sec 8 Approved. 773-818-9346

SELF-STORAGE CENTERS. T W O locations to serve you. All

Villas is accepting applications for Subsidized 2 and 3 bedroom apt waiting list. Rent is based on 30% of annual income for qualified applicants. Contact us at 847-546-1899 for details

units fully heated and humidity controlled with ac available. North: Knox Avenue.

773-685-6868.

South: Pershing Avenue. 773-523-6868.

CHICAGO, NEWLY DECORATED. 6 rooms. Heat & gas included. Section 8 accepted. $1100/mo. 1 mo rent + 1 mo sec. 773-221-7269 CHICAGO, 5015-25 W. Iowa Ave. Augusta & Cicero. Newly Rehab, 2 & 3BR, $1000+/mo.

Section 8 OK. David, 773-6639488 NEAR BEVERLY Huge 2BR apt, with bonus room.

Sect 8 Welc 312.809.6068

3 BR OR MORE UNDER $1200 5021 S. RACINE, B e a u t i f u l 3BR, 1.5BA, fenced yard. $850/mo 9069

FOREST PARK, hdwd flrs, tenant ies. Laundry area 1150/mo. No pets.

773-486-1838

3BR Apt, pays utilitavailable. $ Call Terry,

3BR, 5729 S. MICHIGAN, $950 + sec. 3BR, 5723 S. Michigan, $900 + sec.

2BR Grdn 720 W 61st St $800+sec.

Ten pays utils. Call 773-858-3163

68th/Rockwell. Newly decorated 3BR, LR, DR, kit, bonus rm, heat incl. nr schools & trans. $1000/mo. $700 move in fee 773-851-2232 CHICAGO, 90TH & Laflin, 3BR,

heated, decorated, formal dining room, carpet & hardwood. $1075/mo + sec. 312-946-0130

SECTION 8 WELCOME. No Security Deposit. 7721 S Peoria, 3BR apt, appls incl. $1050/mo.

708-288-4510

HOUSE FOR RENT $1700.00

CHATHAM 3BR, 1BA, newly remod, LR & DR w/recessed lighting, hdwd flrs, C/A, indiv heat & alarm system. $1250/mo. 773-491-8438

NEAR ARMITAGE/CENTRAL 5BR, 2BA, fin bsmt, hdwd flrs, 2 car parking, convenient location. Sec 8 Welcome. $1450/ mo. 847-401-4574 E. GARFIELD PK Adams/ California 3BR, 2BA + Den, 2nd flr, A/C, tenant pays heat. Avail 3/15. $1370. Credit check req.

847-951-2515

**near** AUSTIN & LAKE , newly renov 3BR!!! $1450.

SS kit, gran c-tops, dw & mic, hdwd flrs, laund, blinds, air! heat incl 773.256.2070 BRONZEVILLE AREA, 3 Bedroom Town Home, Section 8 ok, $1469 month.

Call 312-501-0509 OAK PARK, 405 S. Maple. 2BR, 1.

5BA. Heat, C/A, appls & parking spot incl. Near trans. $1300/mo + 1 mo sec. 773-671-3826

Available May 01-2017.

Canaryville / Bridgeport Close proximity to I-90 (Dan Ryan Expressway & Red line 35th Sox & CTA bus stop). Large park two blocks south (Taylor Lauridsen Park).

3 bedrooms, 2 bathrooms, full basement (with additional bedroom), laundry. 2 car garage.

Available to see on weekends.

Call 773-931-6666 Oscar

3 BR OR MORE $1800-$2499 ROGERS PK 2000 sft/ 3BR2BA: new kit, SS appl, FDR, oak flrs, new windows, private deck & sunroom, nr lake/Red Line; $1995/ inc ht 773-743-4141 urbanequities .com

3 BR OR MORE $2500 AND OVER

ies plus security deposit. Ready April 5th 708-921-7810

3 BR OR MORE $1500-$1799 BEVERLY/MORGAN PARK. 3BR brick ranch house. C/A, $1,500/

CLASSICS WANTED ANY CLASSIC CARS IN ANY CONDITION. ’20S, ’30S, ’40S, ’50S, ’60S & ’70S. HOTRODS & EXOTICS! TOP DOLLAR PAID! COLLECTOR. CALL JAMES, 630-201-8122

cations for studio, 1 & 2 bedroom SUBSIDIZED apartments. Apply Tuesdays and Thursdays from 9am to 1pm ONLY at 1735 W 5th Ave. Applications are to be filled out on site. Adult applicants must provide a current picture ID and SS card.

3 BR OR MORE SOUTHSIDE TOTALLY RENOVATED, Sec 8 Welcome, 3BR, 1.5 BA House, finished basement. 773-392-3095

CHICAGO S: Newly renovated, Large 3-5BR. In unit laundry, hardwood flrs, very clean, No Deposit!

Available Now! 708-655-1397

Beautifully renovated 3-5BR Single Family Homes, new kit, fridge & stove incl, hdwd flrs, cash & Sec 8 Wel 708-557-0644

used. Large selection of professional high quality massage equipment at a very low price. Visit us at www. bestmassage.com or call us, 773764-6542.

HEALTH & WELLNESS FULL BODY MASSAGE. hotel, house calls welcome $90

special. Russian, Polish, Ukrainain girls. Northbrook and Schaumburg locations. 10% discount for new customers. Please call 773-407-7025

urbs. Hotels. 1250 S Michigan Avenue. Appointments. 773-616-6969.

MESSAGES

Avalon Park - 2BR, 1BA, fenced yrd, full bsmnt, close to schools & park. Sec 8 wel. $1300/mo + sec.

Available Now! 773-902-7011

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STRAIGHT DOPE SLUG SIGNORINO

FIND HUNDREDS OF

By Cecil Adams Q : How is the effectiveness of contraception

measured? Do they survey people? Could researchers randomize different birth control methods, even if they wanted to? As much as I’d like to, I don’t think I could have nearly as much sex as it would take to make a statistically significant sample. —CHRISTINE

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please recycle this paper 44 CHICAGO READER - MARCH 16, 2017

A : Given the stakes involved, you’d certainly

hope there’s plenty of published research to confirm that birth control really does what it’s supposed to. And sure enough, there is. But you’re right to guess that logistical and ethical concerns make this task somewhat tricky.

Typically researchers test a birth control method about the same way they’d test any drug or medical device—via randomized controlled trial. Participants are assigned randomly to one of several groups: some use the contraceptive that’s under scrutiny; others use some previously tested treatment to establish a baseline—that’s the control group. So when pharmaceutical docs tested a transdermal contraceptive patch in 2001, the control group got the pill; in a 1999 trial of polyurethane condoms, the controls used the latex kind.

What you won’t see in these studies, for obvious reasons, is a placebo control group.

Similarly, there usually isn’t a “no-method” group to compare to; if researchers want a baseline conception rate for young women regularly having sex without contraception, they may use an estimate based on external data.

And despite your concern, Christine, there’s no need for any one subject to shoulder the sample-size burden herself; FDA guidelines for condom-effectiveness studies, for instance, recommend at least 400 subject couples over a minimum of six menstrual cycles. But with the real action taking place off-site, test results depend at least in part on subjects’ self-reporting: in that 1999 condom study, participants kept “coital diaries” to record frequency of use, breakage and slippage events, etc.

To compare various contraceptives across multiple studies, you need a single applesto-apples measurement of effectiveness. The most common is something called the Pearl Index, which professes to quantify how often a birth control method will fail per 100 woman years of use. Devised back in 1933, the Pearl Index enjoys the advantage of being simple to calculate: you just divide the number of pregnancies during a contraceptive study by the number of participants using the method and how many months the study went on,

then multiply by 1,200. The failure rate for spermicide used alone might score as high as 20; the pill is somewhere between 0.1 and 3.

Simple—or too simple? A big problem with the Pearl Index is that it assumes the results of a study are consistent from month to month, and that just ain’t so. The longer a contraceptive trial continues, the rarer pregnancies become. Why? The most fertile women conceive early and drop out of the study; the women who remain may be less pregnancy prone, or they may have grown increasingly adept at using the birth control method. Long trials, then, tend to produce lower Pearl numbers, and thus can’t be compared fairly to shorter ones. For this reason, many researchers prefer a stat format called life tables (or decrement tables), which shows results broken out by month instead.

But much of what we know about relative contraceptive effectiveness isn’t based on clinical trials at all. For decades now, Princeton population researcher James Trussell has been compiling and reviewing current data on birth control use. Trussell leans less on test results than on the long-running National Survey of Family Growth, run by the Centers for Disease Control. Now, it’s the CDC, so the survey is conducted with the utmost rigor. But trying to correct for known distortions in the data, Trussell suggests, is complicated, to say the least: study participants regularly underreport abortions, for instance, meaning a number of unintended pregnancies don’t get counted; but if you adjust for this by surveying women seeking abortions in clinics, they tend to overreport that they really were using contraception, meaning you count too many failures.

And if we’re always having to take the subjects’ word for it, you may wonder, how do we reliably distinguish between contraception failure and user error? This issue isn’t lost on Trussell, either. The march of science is being held back, it seems, because there aren’t enough folks who can roll a condom on correctly every time. v Send questions to Cecil via straightdope.com or write him c/o Chicago Reader, 350 N. Orleans, Chicago 60654.

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SAVAGE LOVE

By Dan Savage

What’s with the hijab wearers at the orgy?

A kinkster is curious. Plus: when bondage hurts feelings, hope for the panty fetishist Q : I went to Dark Odyssey

Winter Fire, the big kink hotel takeover event in Washington, D.C., in February. There was one thing I saw there that is messing with my head, and I hope you can set me straight.

There was this lovely little six-person orgy going on with two cute-as-could-be hippie girls and four older dudes. Then these four people came along. They sat and watched—a guy and three women in hijabs and dresses that went wrist to ankle, fully covered. After a while, one of the hippie girls turned to them and said, “I’d be happy to flog you later if you’d like.” The three women in hijab giggled. The whole scene was really sweet, but I just couldn’t get over these three women. I saw them walking around all night, taking it all in. Intellectually, I know there is no reason to think that conservative Islam is incompatible with kink. But my cultural biases make me feel that it is. Or is it possible that covering is their kink? What would you make of that? —WASHINGTON KINKSTER WONDERING

A : “With all the hateful anti-

Muslim rhetoric out there these days, it is tempting to romanticize Islam,” said Eiynah, a Pakistani-Canadian children’s book author who also hosts a podcast, Polite Conversations, that focuses on sex, Islam, and apostasy. “The impulse is understandable, but Islam is another one of the blatantly sex-negative Abrahamic faiths.” (The other blatantly sex-negative Abrahamic faiths, for those of you keeping score out there, are Judaism and Christianity.)

“Nothing outside of ultravanilla plain ol’ two-person hetero sex within the con-

fines of marriage is permissible,” said Eiynah. “So as much as I’d love to agree with WKW that conservative Islam isn’t incompatible with kink, there’s every reason to say that it is. It’s even incompatible with a woman being slightly ‘immodest’ in front of men. Modesty codes are pretty rigid in Islam, and in non-Muslim-majority countries, modesty garments tend to stick out rather than blend in. Which achieves the exact opposite purpose—attracting more attention, not less.”

And when sex negativity, modesty, and religion mix it up, WKW, the part of our brain that grinds out kinks— precise location yet to be determined—kicks into high gear. That’s why there’s Mormon-undergarment porn out there and nun porn and hotpriest calendars for sale on sidewalks just outside Vatican City.

“Islamic modesty has become fetishized for some— quite literally,” said Eiynah.

“There’s hijabi porn and hijabi Lolitas. So the people WKW saw could be into some form of hijab kink.

“Finally, it’s possible they could be a more ‘open-minded’ polygynous Muslim family that ventured into the hotel in a moment of adventurousness,” said Eiynah. “We are all human, after all, with urges, kinks, curiosities, and desires that surface, no matter what ancient morality code we try to follow.”

Amen.

Q : I’m a 30-year-old woman

in a long-term polyamorous relationship with a stellar guy. Our relationship began as extremely dom/sub, with me being the sub. Now, six years later, I find having kinky sex with him challenging.

We have a very deep, loving relationship, so my feelings

get hurt when we engage in bondage and kink play. This is especially problematic because I still enjoy BDSM with folks I’m not dating.

Basically, if I’m not in love with someone, it doesn’t hurt my feelings when they beat me and humiliate me. My boyfriend feels slighted, but I just don’t know what to do.

Every time we play rough— the same way we had played for years—my feelings get hurt. Any thoughts? —SHE’S

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Q : I cannot find a woman

who will accept my panty fetish. Please advise.

—TREMBLING MAN INQUIRES

A : Keep looking, TMI. There

are women out there who think men can be sexy in panties—and anyone who thinks men can’t be sexy in panties needs to check out all the hunky panty-wearing models at xdress.com. v

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MARCH 16, 2017 - CHICAGO READER 45

White Reaper o JESSE DEFLORIO

NEW

Ab-Soul 5/12, 8 PM, Bottom Lounge, 17+ Adult. 6/3, 9 PM, Empty Bottle, on sale Fri 3/17, 10 AM BJ Barham 6/17, 7 PM, Schubas, on sale Fri 3/17, noon, 18+ Dave Barnes 8/18, 8 PM, City Winery, on sale Thu 3/16, noon b Bleeker 5/16, 8:30 PM, Subterranean, on sale Thu 3/16, 9 AM Bodeans 5/26, 7 and 10 PM, City Winery, on sale Thu 3/16, noon b Brother Ali 5/24, 9 PM, Metro, 18+ Caifanes 9/23, 7 PM, Aragon Ballroom, on sale Sat 3/18, 10 AM Frank Carter & the Rattlesnakes, Dinosaur Pile-Up, Royal Republic 5/15, 6 PM, Cobra Lounge b Decrepit Birth 5/17, 7 PM, Reggie’s Rock Club, 17+ Fenech-Soler, Knox Hamilton 5/5, 8 PM, Lincoln Hall, on sale Fri 3/17, noon, 18+ Jimmie Dale Gilmore 5/27, 8 PM, FitzGerald’s, Berwyn, on sale Fri 3/17, 11 AM David Gray 5/17, 7:30 PM, City Winery, on sale Fri 3/17, 10 AM, 18+ Hanson 10/7, 8 PM, House of Blues, on sale Sat 3/18, 10 AM b Heartsfield 5/13, 8:30 PM, FitzGerald’s, Berwyn, on sale Fri 3/17, 11 AM Honeyhoney 10/4, 8 PM, City Winery, on sale Thu 3/16, noon b Ian Hunter & the Rant Band 5/13, 8 PM, Park West, on sale Fri 3/17, 10 AM, 18+ Jamestown Revival 6/15, 8 PM, Park West, 18+

Eddie Jobson & Marc Bonilla 5/1, 8 PM, City Winery, on sale Thu 3/16, noon b Ottmar Liebert & Luna Negra 6/4, 7 PM, Maurer Hall, Old Town School of Folk Music, on sale Fri 3/17, 8 AM b LP 6/9, 8 PM, Lincoln Hall, on sale Fri 3/17, 10 AM b Anais Mitchell, Grant-Lee Phillips 6/2, 8 PM, Maurer Hall, Old Town School of Folk Music, on sale Fri 3/17, 8 AM b Mod Sun 4/25, 6:30 PM, Reggie’s Rock Club b Mystic Braves 5/10, 9 PM, Empty Bottle North Mississippi Allstars 5/18, 8 PM, Lincoln Hall, on sale Fri 3/17, 10 AM Obsessed 4/19, 8 PM, Bottom Lounge, 17+ Okkervil River 7/21, 8 PM, Maurer Hall, Old Town School of Folk Music b Overcoats 5/4, 8 PM, Schubas, on sale Fri 3/17, noon, 18+ Progtoberfest III with Martin Barre, Alphonso Johnson Band, Tangent, Karmakanic, Bruce Soord, Cast, and more 10/20-22, 3 PM, Reggie’s Rock Club and Music Joint Raven 5/18, 7 PM, Reggie’s Music Joint Shannon & the Clams 6/2, 10 PM, Subterranean, on sale Fri 3/17, 10 AM, 17+ Ed Sheeran 9/15, 7:30 PM, Allstate Arena, Rosemont, on sale Fri 3/17, 10 AM Paul Simon 3/14, 8 PM, Huntington Bank Pavilion, on sale Fri 3/17, 10 AM Simply Saucer 5/11, 8 PM, Reggie’s Music Joint Skepta 4/24, 6 PM, Concord Music Hall, on sale Fri 3/17, 10 AM, 18+ Sorority Noise 5/11, 6:30 PM, Bottom Lounge b

46 CHICAGO READER - MARCH 16, 2017

Springtime Carnivore 6/6, 9 PM, Empty Bottle Sublime with Rome, Offspring 9/8, 7 PM, Huntington Bank Pavilion, on sale Fri 3/17, 10 AM Suburbs 6/30, 8 PM, Bottom Lounge, on sale Fri 3/17, 10 AM, 17+ 311, New Politics 7/2, 7 PM, Huntington Bank Pavilion, on sale Sat 3/18, 10 AM T.I. 5/20, 8 PM, Portage Theater, 17+ Tool 6/8, 8 PM, Allstate Arena, Rosemont, on sale Fri 3/17, 11 AM Tortured Soul 4/14, 7:30 PM, House of Blues, on sale Fri 3/17, 10 AM Unknown Hinson 6/8, 7 PM, Reggie’s Rock Club, 17+ Lewis Watson 5/11, 9 PM, Lincoln Hall, on sale Fri 3/17, noon b White Reaper 5/5, 8:30 PM, Beat Kitchen, 17+ Wild Belle 5/12, 7 PM, Metro, on sale Fri 3/17, 10 AM b XTX 4/18, 7 PM, Reggie’s Rock Club, 17+

UPDATED New Pornographers, Waxahatchee 4/19, 8 PM and 4/21, 9 PM, Metro, 4/21 sold out, 18+ The Revolution 4/23-24, 8 PM, Metro, 4/23 sold out, 18+ The Story So Far, Turnstile 5/17-18, 7 PM, Bottom Lounge, 5/17 sold out, 5/18 added b

UPCOMING Marsha Ambrosius, Eric Benet 5/14, 8 PM, Metro, 18+ At the Drive-In, Le Butcherettes 6/18, 7:30 PM, Aragon Ballroom b

b Bastille 4/3, 7:30 PM, Aragon Ballroom Belle & Sebastian, Julien Baker 8/16, 7:30 PM, Chicago Theatre Bongripper, Harm’s Way 5/26, 8 PM, Metro, 18+ Bush 5/15, 8 PM, Riviera Theatre, 18+ Cactus Blossoms 5/31, 7 PM, SPACE, Evanston b Bruce Cockburn 11/18-19, 8 PM, Maurer Hall, Old Town School of Folk Music b Coheed & Cambria, Dear Hunter 5/19, 8 PM, Aragon Ballroom b Cool Kids 4/14, 9 PM, Empty Bottle Dick Dale 8/9, 7:30 PM, Reggie’s Rock Club, 17+ The Damned 4/23, 8 PM, House of Blues, 17+ Deap Vally 4/3, 8 PM, Schubas Descendents 10/7, 7:30 PM, Riviera Theatre b Desiigner 5/2, 7:30 PM, the Vic b Kenny “Babyface” Edmonds, Brandy 5/13, 8 PM, Arie Crown Theater Entrance 4/10, 9 PM, Hideout Face to Face 6/10, 9 PM, Reggie’s Rock Club, 17+ Flaming Lips 4/17, 8 PM, Riviera Theatre, 18+ Flat Five 6/9, 8 PM, Thalia Hall Floating Points 4/9, 8 PM, Metro, 18+ Fruit Bats 5/11, 8 PM, Schubas Future 6/2, 7 PM, Hollywood Casino Amphitheatre, Tinley Park Girlpool 6/2, 9 PM, Empty Bottle Gnash 4/29, 6:30 PM, House of Blues b Gucci Mane 4/12, 8 PM, Chicago Theatre Ha Ha Tonka 5/20, 9 PM, Empty Bottle Bruce Hornsby & the Noisemakers 6/4-6, 8 PM and 6/8, 8 PM, City Winery b Jenny Hval 3/30, 9 PM, Lincoln Hall, 18+ Incubus, Jimmy Eat World 7/29, 6:45 PM, Hollywood Casino Amphitheatre, Tinley Park Iron Maiden, Ghost 6/15, 7:30 PM, Hollywood Casino Ampitheatre, Tinley Park b Wanda Jackson 4/1, 8 PM, City Winery b The Jesus and Mary Chain 5/10, 8 PM, Riviera Theatre, 18+ Jethro Tull 8/19, 8 PM, Chicago Theatre Kaskade 6/16-17, 9 PM, Aragon Ballroom, 18+ Kehlani 5/7, 6 PM, Concord Music Hall b Emily King 4/13, 8 PM, City Winery b King Crimson 6/28, 7:30 PM, Chicago Theatre Lambchop 3/24, 9 PM, Lincoln Hall

ALL AGES

WOLF BY KEITH HERZIK

EARLY WARNINGS

CHICAGO SHOWS YOU SHOULD KNOW ABOUT IN THE WEEKS TO COME

F

Never miss a show again.

Sign up for the newsletter at chicagoreader. com/early

Le Butcherettes 3/31, 7 PM, Cobra Lounge b Magpie Salute 7/28-29, 9 PM, Metro, 18+ Shawn Mendes 8/3, 7:30 PM, Allstate Arena, Rosemont New Bomb Turks 4/15, 9 PM, Empty Bottle Thao Nguyen 4/4, 7 PM, Lincoln Hall Of Montreal 4/22, 8:30 PM, Thalia Hall, 17+ Piebald 7/29, 9 PM, Subterranean, 17+ Pixies, Mitski 10/8, 7:30 PM, Chicago Theatre Quintron & Miss Pussycat, Nobunny 3/25, 9 PM, Empty Bottle Ratt 6/2, 7 PM, Concord Music Hall, 17+ San Fermin, Low Furs 4/12, 8:30 PM, Thalia Hall, 17+ Sigur Ros 6/3, 8 PM, Auditorium Theatre James Taylor & His All-Star Band, Bonnie Raitt 7/17, 7 PM, Wrigley Field b Testament, Sepultura, Prong 5/2, 6 PM, Concord Music Hall, 17+ Roger Waters 7/22, 8 PM, United Center Zombies 4/13-14, 8 PM, Thalia Hall, 17+

SOLD OUT Mac Demarco 5/16, 7:30 PM, the Vic, 18+ Father John Misty 5/15, 7:30 PM, Chicago Theatre Flat Five 3/24-25, 8 PM, Hideout King Gizzard & the Lizard Wizard 4/8, 9 PM, Metro, 18+ Hippo Campus 4/7, 7:30 PM, Metro b Lady Gaga 8/25, 7 PM, Wrigley Field Aimee Mann, Jonathan Coulton 4/29, 8 PM, Park West, 18+ Mayday Parade 4/22, 7 PM, House of Blues b Andrew McMahon in the Wilderness, Atlas Genius 3/24, 7:30 PM, House of Blues, 17+ Midnight Oil 5/18, 8 PM, the Vic, 18+ Never Shout Never 3/30, 7 PM, Bottom Lounge New Found Glory 4/11-13, 8 PM, Bottom Lounge, 17+ Opeth, Gojira 5/9, 7:30 PM, the Vic, 18+ Maggie Rogers 4/2, 7:30 PM, Lincoln Hall b Vulfpeck 5/4-6, 9 PM, Metro, 18+ v

GOSSIP WOLF A furry ear to the ground of the local music scene PRINTS BY JOSH DAVIS of Chicago’s Dead Meat Design turn up frequently in the Reader’s Gig Poster of the Week— and almost every time Gossip Wolf steals a cool show flyer from a light pole or the wall of a record store, it has Davis’s name on it! (But seriously, if you absolutely have to take a poster home with you, don’t rip it down till after the show has happened.

Otherwise, that’s a flyer felony!) On Tuesday, March 21, a solo show of Davis’s art called “Appetite for Distraction” opens in the lobby of Loyola University’s School of Communication at 51 E. Pearson. (It’ll stay up till the start of the fall semester, meaning at least August.) Amenities at the reception include Cajun-creole cuisine from Heaven on Seven and a live set (in the school’s Convergence Studio) from upbeat local psych-pop band Yawn.

There’s no cover charge, but you must RSVP through Eventbrite.

There are lots of ways to get through winter, but this wolf likes to eat chili and listen to synths. How fortunate, then, that in 2011 experimental musician Brett Naucke and producer Beau Wanzer launched the Chili-Synth Cook-Off! The annual event returns to the Empty Bottle on Sunday, March 19, with contestants Natalie Chami (aka TALsounds), Ken Zawacki, Jason Letkiewicz (aka Steve Summers), and Mike Broers (2016’s champion). The audience votes on whose synth set best complements their chili, bestowing a peanut-shaped trophy on the victor.

Subterranean’s downstairs lounge is one of the best aboveground venues in Chicago for underground punk, and it hosts a doozy of a show on Wednesday, March 22. Local noise-rockers Rash headline—you may remember that in November, Gossip Wolf told you to pick up their debut LP, Skinner Box. Also on the bill: grungy New Orleans outfit Pudge, local hardcore group C.H.E.W., and newish art-punk band Boney, whose lineup features former Haki bassist Connor Tomaka.

—J.R. NELSON AND LEOR GALIL Got a tip? Tweet @Gossip_Wolf or e-mail gossipwolf@chicagoreader.com.

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