Print Issue of July 20, 2017 (Volume 46, Number 41) by Chicago Reader

C H I C A G O â&#x20AC;&#x2122; 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 | J U LY 2 0 , 2 0 1 7

What kind of model for the Democratic Party is Mayor Rahm, the credit hog? 8

Daisies chef Joe Frillman is pushing pasta in a midwestern direction. 35

Tim Heidecker and Eric Wareheim of Tim and Eric Awesome Show, Great Job! talk to CAN TV variety show host and comedian Steve Gadlin about their shared love of public-access television, absurdist comedy, and much more. 12

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THIS WEEK

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FEATURE

IN THIS ISSUE 4 Agenda The play The Project(s), Sandra Bernhardt, the ﬁlm Harmonium, and more goings-on about town

EDITOR JAKE MALOOLEY CREATIVE DIRECTOR VINCE CERASANI CULTURE EDITOR TAL ROSENBERG DIRECTOR OF PHOTOGRAPHY DANIELLE A. SCRUGGS FILM EDITOR J.R. JONES MUSIC EDITOR PHILIP MONTORO ASSOCIATE EDITORS STEVE HEISLER, KATE SCHMIDT, KEVIN WARWICK SENIOR WRITER 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 FILM LISTINGS COORDINATOR PATRICK FRIEL CONTRIBUTING WRITERS NOAH BERLATSKY, MATT DE LA PEÑA, ANNE FORD, ISA GIALLORENZO, JOHN GREENFIELD, ANDREA GRONVALL, JUSTIN HAYFORD, JACK HELBIG, DAN JAKES, BILL MEYER, MICHAEL MINER, J.R. NELSON, MARISSA OBERLANDER, LEAH PICKETT, BEN SACHS, DMITRY SAMAROV, DAVID WHITEIS, ALBERT WILLIAMS INTERNS LIBBY BERRY, PORTER MCLEOD, EMILY WASIELEWSKI ----------------------------------------------------------------

CITY LIFE

7 Street View At the Pitchfork Music Festival, orange was the new black— for a good cause. 7 Chicagoans A Venezuelan ex-pat professor talks about watching the government of her homeland fall prey to dictatorships. 8 Joravsky | Politics Mayor Rahm has shown that he’ll gladly take all the credit even if someone else does the work. That’s no model for the Democratic Party. 10 Transportation Does the Vision Zero Plan have enough teeth to achieve its ambitious goals?

VICE PRESIDENT OF BUSINESS DEVELOPMENT NICKI STANULA VICE PRESIDENT OF NEW MEDIA GUADALUPE CARRANZA SENIOR ACCOUNT MANAGER EVANGELINE MILLER ACCOUNT EXECUTIVES FABIO CAVALIERI, BRIDGET KANE MARKETING AND EVENTS MANAGER BRYAN BURDA DIRECTOR OF DIGITAL JOHN DUNLEVY ADVERTISING COORDINATOR HERMINIA BATTAGLIA CLASSIFIEDS REPRESENTATIVE KRIS DODD

FOOD & DRINK

35 Restaurant review: Daisies Chef Joe Frillman’s veg-heavy pastatorium has range that extends far from Italy. 37 Cocktail Challenge: Instant ramen seasoning Drifter bar manager Jill Anderson makes a fresh, farm-focused quaﬀable with a highly processed food product.

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ARTS & CULTURE

---------------------------------------------------------------READER (ISSN 1096-6919) IS PUBLISHED WEEKLY BY STM READER, LLC, 350 N. ORLEANS, CHICAGO, IL 60654. COPYRIGHT © 2017 CHICAGO READER. PERIODICAL POSTAGE PAID AT CHICAGO, IL. ALL RIGHTS RESERVED. CHICAGO READER, READER, AND REVERSED R: REGISTERED TRADEMARKS ®.

ON THE COVER: TIM HEIDECKER AND ERIC WAREHEIM BY RICKETT SONES; STEVE GADLIN BY JOHNNY KNIGHT

Pitchfork Music Festival with their ﬁrst full show since his death. 26 In Rotation Current musical obsessions include whatever Dev Hynes does, and much more 27 Shows of note Jayda G, Lydia Lunch Retrovirus, the Melvins, and more of the week’s best 33 The Secret History of Chicago Music A tribute to the very ﬁrst SHOCM subject, Philip Cohran

ARTIST ON ARTIST

Awesome interview, great job!

With Tim Heidecker and Eric Wareheim in town to celebrate ten years of Tim and Eric Awesome Show, Great Job!, CAN TV variety show host and comedian Steve Gadlin talks to his Adult Swim heroes about their shared love of public-access television, absurdist comedy, and much more. 12

18 Urban planning Here’s what we know so far about the future of Jackson Park. 19 Theater Beauty’s Daughter is more showcase than show. 20 Lit A new exhibit is Amy Krouse Rosenthal’s moving, elaborate farewell. 21 Lit The Chicago Architecture Foundation creates a graphic novel for the city’s future. 22 Movies Free will is a bitch in Claude Sautet’s 1970 French drama Les Choses de la Vie.

MUSIC & NIGHTLIFE 25 Live review A Tribe Called Quest paid tribute to Phife Dawg at the

CLASSIFIEDS

38 Jobs 38 Apartments & Spaces 39 Marketplace 40 Straight Dope Historically, what has been the leading cause of death for humans? 41 Savage Love Is trouble reaching orgasm a temporary problem that will ﬁx itself? 42 Early Warnings Electric Six, Hot Chip DJ set, LCD Soundsystem, and more shows you should know about in the weeks to come. 42 Gossip Wolf Bottom Lounge and Lincoln Hall host fund-raising mini festivals, and more music news.

JULY 20, 2017 - CHICAGO READER 3

AGENDA R

READER RECOMMENDED

P Send your events to agenda@chicagoreader.com

b ALL AGES

F ford wives let loose in a world rife with the false allure of dating services and respectable careers. Its own structural weakness is the contrived tokenism with which viewers are presumably meant to identify. —IRENE HSIAO Through 7/29: Fri-Sat 7:30 PM, Public House Theatre, 3914 N. Clark, 800-650-6449, pubhousetheatre.com, $20.

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Megastasis On his last full R day in oﬃce, former president Barack Obama granted at least 330

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4 CHICAGO READER - JULY 20, 2017

Megastasis ò SCOTT DRAY

THEATER

927 Noyes St., Evanston, 847-866-8049, grippostagecompany.com, $39.

As You Like It My favorite Shakespeare comedies always have a touch of the melancholy in them. You need both the bitter and the sweet to raise the stakes and deepen the poetry. Some of the performers in Skyler Schrempp’s brash, uneven production for First Folio get this, most notably Kevin McKillip (superb as that most likable depressive, Jacques). McKillip isn’t afraid to show us there are tears behind laughter. Others seem utterly unaware there are dark undercurrents in the play, or that the Bard’s lines can have second and third meanings; too many are just bellowed, most of the comedy lost amid the histrionics. All of these missed opportunities contribute to the show’s lackluster ending—amusing, just not moving. —JACK HELBIG Through 8/20: Wed-Sun 8:15 PM, First Folio Theatre, Mayslake Peabody Estate, 31st and Rt. 83, Oak Brook, ﬁrstfolio.org, $29-$39, $26-$36 students and seniors.

The Wild Party) is a complex work on a simple theme: learning to trust your imperfect self and to appreciate your friends in a stressful, competitive world. The 90-minute one-act concerns Charlotte, a New York writer in her early 30s, whose decision to quit smoking prompts her to confront—and share with the audience—the anxieties and insecurities she realizes she’s been suppressing with nicotine. In lesser hands this premise could result in a whiny Facebook-style rant. But LaChiusa’s inventive, bebop-ﬂavored score and an expertly performed, imaginatively staged production keep the show from turning into a preachy pity party. As Charlotte, Chicago newcomer Nicole Laurenzi captures her character’s vulnerability, intelligence, humor, and grit, charting Charlotte’s emotional arc empathetically and authentically with the support of a superb eight-person ensemble playing multiple roles. The skillfulness of every aspect of this Kokandy Productions Chicago premiere—directed by Allison Hendrix, with choreography by Kasey Alfonso and musical direction by Kory Danielson—make this show a standout. —ALBERT WILLIAMS Through 8/20: ThuSat 8 PM, Sun 3 PM, Theater Wit, 1229 W. Belmont, 773-975-8150, theaterwit.org, $38, $33 students and seniors.

More at chicagoreader.com/ theater

The God of Isaac In 1977 neo-Nazi leader Frank Collin generated headlines, a legal battle, and tremendous anguish by threatening to march on the Chicago suburb of Skokie, then home to a large contingent of Holocaust survivors. James Sherman made the incident the basis for this comedy, about a Skokie-bred newspaper reporter who rediscovers his Jewish identity thanks to what turned out to be Collin’s bluﬀ. Sherman also starred in the original 1985 production, directed by Dennis Začek. Now the Grippo Stage Company is presenting a revival with Začek back in charge and the playwright’s own son, T. Isaac Sherman, in the title role (Isaac, not God). It’s a sweetly sentimental gesture, sure, but the play is still awful—telling what it could be showing, building to foregone conclusions, retailing hoary stereotypes as nostalgia, and—perhaps worst of all in terms of holding an audience’s interest—failing to take anything resembling a risk. —TONY ADLER Through 8/27: Fri 8 PM, Sat 3 and 8 PM, Sun 3 PM, Piven Theatre, Noyes Cultural Arts Center,

Little Fish This 2003 oﬀ-BroadR way musical by composer-librettist Michael John LaChiusa (Hello Again,

Loose Knit Somewhere between the convent and the sanatorium, in the days before Sex and the City and the pussy hat made salacious gossip and handcrafted knitwear trendy, lies the all-girl knitting group Theresa Rebeck portrays in Loose Knit. This small society of hysterics contains sisters, spinsters, sociopaths, and psychologists (well, one), all confined to the repetitive labor of knit and purl as they nurse their rage against the patriarchy. Two men penetrate the hive—ineffectual adulterer Bob and rich, arrogant Miles—naturally objects of both desire and loathing. The play’s best moments show structural flaws unraveling, well done by an ensemble that agrees upon a tone of would-be Step-

commutations to nonviolent drug oﬀenders. Whether that act is related to playwright Kia Corthron’s superb recounting of Tray (Anthony Conway), a young black teen who winds up with an extended prison sentence for pocketing a few joints, is beside the point. From Corthron’s perspective, Tray could very well be any one of those 330 cases (or for that matter, thousands of others), strangled by the criminal justice system and helpless in the aftermath. As becomes clear, it’s one thing to go to prison; it’s another kind of hell entirely to carry the label of a convicted felon. This roughly twohour world premiere, directed by Aaron Todd Douglas, features outstanding performances by the entire cast; between the writing and the acting, it’s a must-see. —MATT DE LA PEÑA Through 8/20: Thu-Sat 7:30 PM, Sun 2 PM, Athenaeum Theatre, 2936 N. Southport, 773-935-6860, eclipsetheatre.com, $35, $25 students and seniors.

The Project(s) I didn’t see the R late PJ Paparelli’s full-ﬂedged 2015 production of this documentary

play culled from oral histories of former residents of since-demolished CHA projects, but if this abridged ATC Youth Ensemble version bears any resemblance to it, I hope it’s remounted soon. Navigating in and around an imposing wooden-crate-like model of an apartment building—all exposed two-by-fours, chain-link fencing, and glaring electric lights—the talented high-schoolers’ voices crisscross into a polyphony of positive and negative anecdotes of lives in Chicago public housing. Though it’s at times jarring to hear teenagers delivering bits of old people’s memories, they add to the poignancy of the piece as an

elegy for communities that have now disappeared, never to return. Aside from the large, wobbly, rotating structure at center stage, the only other signiﬁcant stage decor is a collection of cardboard moving boxes with their owners’ names scrawled on the sides, containing links to a past they alternately mourn and celebrate. Abridged by Jess McCleod and Sarah Slight. Directed by Monty Cole. —DMITRY SAMAROV Fri-Sat 8 PM, Sun 2 PM, American Theater Company, 1909 W. Byron, 773-409-4125, atcweb.org, $15 suggested donation. Something Rotten Sure, it’s R an English major’s paradise, ﬁlled with wordplay and Elizabethan

references. And yes, your enjoyment will deﬁnitely be enhanced by an encyclopedic knowledge of musical theater. But even cultural illiterates can love this touring production of a 2015 Broadway hit. The puns are mostly dirty, after all, the dancing omelets unforgettable, and a sharp Equity cast puts the whole thing over with an energy approaching joy. Karey Kirkpatrick and John O’Farrell’s book follows the tribulations of the playwriting Bottom brothers, Nigel and Nick, as they vie for success in a theater scene dominated by rock-star glamorous Will Shakespeare. When Nick Bottom (ﬁrst quiz question: Where’ve you heard that name before?) decides to even the odds by hiring a soothsayer, high jinks— honest-to-God delightful high jinks— ensue. —TONY ADLER Through 7/23: Wed 2 and 7:30 PM, Thu-Fri 7:30 PM, Sat 2 and 8 PM, Sun 2 PM, Tue 7:30 PM, Ford Center for the Performing Arts, Oriental Theatre, 24 W. Randolph, 800-775-2000, broadwayinchicago.com, $27-$108.

DANCE A Fool’s Journey: A Misﬁt Circus Cabaret Inspired by the concept of a tarot deck, this contemporary dance performance explores unconscious desires through acrobatics, juggling, and other circus-based movement. The future says this show will have a busy stage. 7/20-8/13: Thu-Sun 8 PM, Chopin Theatre, 1543 W. Division, 773-769-3832, chopintheatre.com, $27-$36.

The Project(s) ò DUSTY SHELDON

Best bets, recommendations, and notable arts and culture events for the week of July 20 For more of the best things to do every day of the week, go to chicagoreader. com/agenda.

Juba! Masters of Tap and Percussive Dance Info! In the culmination of Chicago’s Rhythm World Festival, tap and percussive dancers join forces to stomp around in style. Performers include Dani Borak, Jumaane Taylor, and Lisa LaTouche. Fri 7/21-Sat 7/22, 7:30 PM, Studebaker Theater, 410 S. Michigan, 312-566-9800, $35-$55.

COMEDY

Sandra Bernhardt A bastion of sanity, Bernhardt deconstructs R politics and her own life until there’s

little left but humor and catharsis. Thu 7/20-Fri 7/21, 8 PM, City Winery, 1200 W. Randolph, 312-733-9463, citywinery.com, $45-$58.

I Saw You For a decade, Bruised R Orange Theater has combed personal ads, OkCupid, Craigslist, and mis-

cellaneous XXX-rated listings for juicy posts, then inhabited the characters they imagined behind them. And after a decade, they still manage to squeeze material out of what is now beyond low-hanging fruit. Online dating in 2007 was seen as a last resort, a way to find love in all the wrong places. But today the stigma has dissipated, so these online profiles seeking companionship or hookups have taken a cue from Alanis Morissette and become ironic. Also another cue and have become curiously genuine (nothing in “Ironic” is just that). I saw one of Ann Sonneville’s characters soothingly caressing a bruised apple saying, “What have they done to you?”— obviously the poster’s flopped attempt at a not-taking-this-seriously joke. Later, though, Clint Sheffer became a man who simply wants to watch women take shits and, if they’d like, pleasure themselves. (Who are we to judge?) Laughter erupts all the same for each dramatic reading, demonstrating that, written with irony or not, the words themselves are secondary to the committed performances of the actors, who dutifully treat the various solicitations and pleadings as honesty incarnate. Now if you’ll excuse me, I’m headed to the ladies’ restroom. —STEVE HEISLER Open run: Wed 8 PM, Town Hall Pub, 3340 N. Halsted, 773-4724405, bruisedorange.org, $5.

VISUAL ARTS Jean Albano Gallery Photographer David Weinberg’s latest solo show focuses on distortion, featuring wavy-gravy photos of skyscrapers and other cityscapes. Tue-Fri 10:30 AM-5:30 PM, Sat 11 AM-5 PM, and by appointment. 215 W. Superior, 312-440-0770, jeanalbanogallery.com. Weinberg/Newton Gallery “Youth Power = Vibrant Cities” The Chicago

Architecture Foundation and the Mikva Challenge cohost a conversation about the new graphic novel No Small Plans, by members of Eyes of a Cat Illustration Studio. The story follows teens as they try to design a city that would better serve their needs (for more see page 21). The discussion will be moderated by Jones College Prep student Jacob Naszke, who curated the concurrent exhibit “Bold Disobedience.” A signing and gallery tour follow. Thu 7/20, 5 PM. 300 W. Superior, #203, 312-529-5090, d-weinberg.com.

LIT & LECTURES John Corbett The gallerist, curator, and music critic Corbett discusses his new book, Vinyl Freak: Love Letters to a Dying Medium, with Superchunk founder and label owner Mac McCaughan. Largely drawn from Vinyl Freak, the column Corbett wrote for Downbeat for more than a decade, the collection oﬀers insights into the compulsion to crate dig and discusses more than 200 rare and out-of-print LPs. Sat 7/22, 3 PM, Seminary Co-op Bookstore, 5751 S. Woodlawn, 773-752-4381, semcoop.com.

Sandra Bernhardt ò STEPHEN LOVEKIN Stop the Violence Ninja Showcase This is a sentence I never thought I’d write: Bruce Kelly, brother of R. Kelly, hosts an anti-violence rally with music from gospel singer Elishama Tekoa and a cry for justice from all attendees—none of which are expected to be ninjas. Mon 7/24, noon, Richard J Daley Center, 50 W. Washington, 530-342-4426.

Lure of Sirens ò DAVID WEINBERG

tel Land) gets up close and personal with some of the RBSS members, who live with the daily threat of violent retribution and in some scenes comment from the cloistered security of German or Turkish safe houses. Honoring their heroism is Heineman’s primary agenda, though the documentary also includes eye-opening glimpses of the slick media strategy ISIS uses to recruit martyrs from around the globe (one video is a shameless knockoﬀ of Grand Theft Auto). RBSS has been accused of creating pro-ISIS propaganda, which may be the reason Heineman frames his story with footage of RBSS members visiting New York in 2015 to accept an award from the Committee to Protect Journalists. God knows they need protection— no sooner do members arrive at one safe house than an image of the front entrance turns up online. —J.R. JONES R, 92 min. Century 12 and CineArts 6, Landmark’s Century Centre F Dunkirk Written and directed by Christopher Nolan (The Dark Knight, Inception), this World War II epic dramatizes the heroic three-day eﬀort to evacuate French, British, and Belgian troops from the French port town of Dunkirk before German forces could move in and eviscerate them. Nolan carves up the operation into three stories that play out on land (with Fionn Whitehead as a British soldier trying to survive aerial bombard-

ment on the beach), in the air (with Tom Hardy as a dashing RAF pilot chasing German planes), and on the water (with Mark Rylance as one of the hundreds of private British boatsmen who set off across the English Channel to rescue soldiers). The characters tend to get lost in the shuffle, and Nolan makes little effort to explain the evacuation’s context in the wider war or even the Battle of Dunkirk. But as a big-screen experience this can be overwhelming, especially when characters are trapped below oncoming planes or inside beleaguered sea vessels; few war movies have communicated more viscerally how it feels to be a sitting duck. With Cillian Murphy and Kenneth Branagh. —J.R. JONES PG-13, 107 min. ArcLight, Century 12 and CineArts 6, Chatham 14, Cicero Showplace 14, City North 14, Crown Village 18, Davis, Ford City, Lake, Landmark’s Century Centre, Logan, New 400, River East 21, Showplace 14 Galewood Crossings, Showplace ICON, 600 N. Michigan, Webster Place 11

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False Confessions Marivaux’s 18th-century farce Les Fausses Conﬁdences tells the tale of a penniless lawyer who gets hired as personal assistant to a wealthy older woman he has loved from afar, then becomes embroiled in a romantic intrigue involving one of her female servants. Directors Luc Bondy and Marie-Louise Bischofberger shot this modern-dress adaptation in and around the historic Odéon-Théâtre de l’Europe in Paris, and they respect the play’s theatrical conventions: characters gesture broadly, deliver asides to the audience, and spy on one another from not-so-hidden places. Onscreen these devices seem stagey and awkward, and the pacing is slow and clunky. The cast—which includes Isabelle Huppert, Louis Garrel, and Bulle Ogier—deliver Marivaux’s dialogue with incongruous subtlety. In French with subtitles. —BEN SACHS 86 min. Fri 7/21, 2 PM and 6 PM; Sat 7/22, 7:45 PM; Sun 7/23, 3:30 PM; Mon 7/24, 6 PM; Tues 7/25, 8 PM; Wed 7/26, 6 PM; and Thu 7/27, 8:15 PM. Gene Siskel Film Center Harmonium After a selfR employed metalworker takes in an old friend who’s just completed a µ

MOVIES

More at chicagoreader.com/movies NEW REVIEWS City of Ghosts Amid the carnage of the Syrian civil war, the citizen journalist group Raqqa Is Being Slaughtered Silently provides the outside world with valuable information about the barbarity of Assad and ISIS alike. For this harsh documentary, Matthew Heineman (Car-

Harmonium

JULY 20, 2017 - CHICAGO READER 5

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6 CHICAGO READER - JULY 20, 2017

B prison sentence for murder, the friend ingratiates himself with the man’s young daughter and devout Christian wife, proving himself a more sympathetic listener than his emotionally distant host. I hate to reveal what happens next in this absorbing Japanese domestic drama; the plot hinges on several big surprises that force you to reevaluate how you feel about all the major characters. Writer-director Kôji Fukada (Hospitalité) maintains a somber tone throughout as well as a subtle visual style, rooted in patient long takes, that encourages deep reﬂection on the themes of grief and forgiveness. Tadanobu Asano, who plays the ex-con, has rarely been better, and Kanji Furutachi and Mariko Tsutsui are heartbreaking as the husband and wife. In Japanese with subtitles. —BEN SACHS 120 min. Fri 7/21 7, 9:15 PM; Sat 7/22 2:30, 4:45, 7, 9:15 PM; Sun 7/23 1, 3:15, 5:30 PM; Mon 7/24 7, 9:15 PM; Tue 7/25 7, 9:15 PM; Wed 7/26 7, 9:15 PM; Thu 7/27 7, 9:15 PM. Facets Cinematheque I Am the Blues This amiable documentary surveys small towns in Mississippi and Louisiana where aging blues musicians live and practice their art. The music is performed with gusto and the reminiscences are engaging; among the more charming performers are Barbara Lynn, Lazy Lester, Jimmy “Duck” Holmes, and Bobby Rush (who speaks in his car as he’s driving to gigs). Many of them express concern over the lack of younger people playing traditional blues, and some even wonder if the genre will die when they do. Regardless, the performances all convey a vital sense of joy, making one appreciate that so much of this music has been documented for posterity. Daniel Cross directed. —BEN SACHS 107 min. Sat 7/22, 7:45 PM, and Thu 7/27, 8:30 PM. Gene Siskel Film Center Lady Macbeth This R shocking period drama, the feature-ﬁlmmaking debut of British

theater director William Oldroyd, reminded me of Steve McQueen’s 12 Years a Slave in the way it lays bare the repressive attitudes of the 19th century (and, by extension, their vestiges today). Adapted from Nikolai Leskov’s Russian novella Lady Macbeth of the Mtsensk District, it tells of a young bride (Florence Pugh), sold into marriage, who responds to her tyrannical husband’s abuse and neglect by taking a stable hand (Cosmo Jarvis) as her lover; watching all this transpire is her even-more-abused black maid (Naomi Ackie), whom she defends or victimizes according to her own needs. The endless scenes of women being barked at, beaten, and dehumanized make this an unlikely date movie, but they lay the ground for a mighty revenge that earns the heroine her Shakespearean nickname. —J.R. JONES

Dunkirk R, 89 min. Century 12 and CineArts 6, Landmark’s Century Centre The Noonday Witch This promising debut feature from Czech director Jiří Sádek reminded me of The Babadook, another psychological horror film concerning grief and single motherhood, though it lacks that film’s high visual artistry and emotional punch. Here the mother (Ana Geislerova), whose husband recently died under mysterious circumstances, moves from Prague to the village where her husband grew up, but she never tells her young daughter that the father is dead, just “busy.” Over time the already uncomfortable pair begin to notice sinister forces in their midst, made even creepier by the fact that Sádek and cinematographer Alexander Surkala stage most of the action in blistering summer daylight. The climax suffers from unimpressive visual effects, but not enough to sink the measured, atmospheric buildup of the first two thirds or the exquisite performance from Geislerova. In Czech with subtitles. —LEAH PICKETT 88 min. Fri 7/21, 8:15 PM and Wed 7/26, 7:45 PM. Gene Siskel Film Center Stefan Zweig: Farewell to Europe German novelist and biographer Stefan Zweig was one of the most lionized writers of his day, though his years of international exile during the Third Reich so depressed and demoralized him and his wife that they committed suicide in Brazil in February 1942. This intelligent biopic is kept aloft by Josef Hader’s sensitive performance as the kind, gentlemanly Zweig, a man buffeted on the one hand by an adoring public and on the other by desperate friends, acquaintances, and even enemies back home who seek his help in securing travel visas. I’ve never read Zweig, so I can’t connect this story to his work, but one could hardly ask for a more concise notation of homesickness than the funny but heartbreaking scene in which an amateur marching band moves Zweig to tears with its horribly off-key rendition of a Strauss waltz. Maria Schrader directed a script she cowrote with Jan Schomburg. In English and subtitled German, French, Spanish, and Portuguese. —J.R. JONES 106

min. Fri 7/21, 2 PM and 7:45 PM; Sat 7/22, 3 PM; Sun, 7/23, 5:15 PM; Mon 7/24, 7:45 PM; Tue 7/25, 6 PM; Wed 7/26, 7:45 PM; and Thu 7/27, 6 PM. Gene Siskel Film Center 13 Minutes German director Oliver Hirschbiegel, who enjoyed his biggest success with the Third Reich drama Downfall (2004), hauls out the jackboots again for this absorbing biopic of Georg Elser, the carpenter who tried to assassinate Hitler and other top Nazis with a time bomb set to explode during the Fuhrer’s speech at a Munich beer hall in 1939. Apprehended by the Gestapo, Elser was interrogated and tortured for five days before signing a full confession; screenwriters Fred and Léonie-Claire Breinersdorfer use this crucible as a frame for serial flashbacks that show the hero (Christian Friedel) plotting the attack—which killed nine people but none of its targets—and, more happily, extricating a sexy fraulein (Katharina Schüttler) from her marriage to a violently abusive farmer. Conspiracy theories surrounded the Elser plot for years, and his political motives have been debated; as scripted here, he acted alone and purely from moral conviction, which Friedel conveys in a passionate, charismatic performance. In German with subtitles. —J.R. JONES R, 114 min. Landmark’s Century Centre Valerian and the City of a Thousand Planets Luc Besson (Lucy, The Fifth Element) wrote and directed this outer-space adventure, adapted from a venerable comic book series by Pierre Christin and Jean-Claude Mezieries, in which two beautiful, sarcastic time travelers (Dane DeHaan and Cara Delevigne) arrive at the title space station on a mission to locate an intergalactic MacGuffin. They succeed, but I couldn’t have cared less one way or the other because I was too busy gaping at the vast population of exotic aliens. With Ethan Hawke, Clive Owen, Rutger Hauer, and Herbie Hancock. —J.R. JONES PG-13, 137 min. AMC Dine-In Theatres Block 37, ArcLight, Century 12 and CineArts 6, Chatham 14, Cicero Showplace 14, Crown Village 18, Ford City, Lake, River East 21, Showplace 14 Galewood Crossings, Showplace ICON, 600 N. Michigan, Webster Place 11 v

CITY LIFE Chicagoans

The Venezuelan-American Ana Gil-Garcia, 60, Northeastern Illinois University professor

Madame Gandhi ò ISA GIALLORENZO

Street View

Living color IN UNION PARK last weekend many Pitchfork Music Festival attendees came wearing orange to support Beats > Bullets (aka Beats Over Bullets), Pitchfork’s community outreach initiative to bring attention to gun violence and two organizations leading the charge: Mothers Against Senseless Killings and Everytown for Gun Safety, the latter which encourages people to wear orange annually on June 2 for National Gun Violence Awareness Day. —ISA GIALLORENZO See more Chicago street style on Giallorenzo’s blog chicagolooks.blogspot.com.

WHEN I CAME to Chicago 21 years ago, there were probably less than 70 Venezuelans in Chicago. Right now, the number is unlimited. When you go to a restaurant, ask whoever is serving you, and you will ﬁnd a Venezuelan. I lived in Venezuela when the government was stable, when it was one of the flagships of democracy in Latin America. It was a refuge for many people coming from Argentina, from Chile, from Colombia. When I left the country to come and work here in the United States, it was 1996, two years before [Hugo] Chávez came to power. At the time, the oil money was coming into Venezuela in big chunks. People were feeling like, “OK, we have this poor class that hasn’t got any chance to get into the middle class.” And Chávez came with this discourse, saying, “I’m rescuing the poor.” Chavez was trained in the military, and for me, a person that is trained with such a philosophy only has one way of thinking. Because of him, the Socialist Party came to power and has remained in power. It has become a dictator type of government. A year after

his inauguration, he was changing the constitution to give himself more powers. He created this sense of division in the country: “If you’re not with me, you are my enemy.” He was obsessed about how to get all the institutions under his control. Freedom of expression immediately started getting cut. Cuba had a lot to do with this—it became the number one adviser of Venezuela. Fidel [Castro] finally found somebody who really went along with his ideas about dominating Latin America. Chávez was the perfect puppet. Maybe that looks familiar, right? Chávez then died, and [Nicolás] Maduro came to power. Maduro used to be a bus driver, and from being a bus driver he went to be president of the country. His government has started controlling all the communication systems—the government closed TV stations, the government closed radio stations, the government closed newspapers. CNN was thrown out of the country. There have been already dozens of people killed in the streets protesting for freedom. We have politicians in prison right now, we have business people in prison right now, and the only

“We have politicians and business people in prison right now, and the only crime is that they think diﬀerently from the governement and have been vocal,” Gil-Garcia says. ò PORTER MCLEOD

crime is that they think differently from the government and have been very vocal. I do not represent any political party in Venezuela. I’m just the voice of the opposition. I am organizing protests in front of the Venezuelan consulate here. I have organized forums at universities, calling for attention. Just today, a woman contacted me and said, “I just arrived from Venezuela, and I don’t have any place to stay in Chicago, could you help me?” I said, “OK, I can have you for a

week, and then we can place you somewhere.” That’s the day-today thing now. I know that it’s going to be very difficult for the country to recover; it will take years and years and years. I am very worried about not only my family in Venezuela, but everybody’s family there. When they don’t have toilet paper, when they can’t go to a supermarket, yes, of course I have to be worried. Everything I’ve seen, I’m gonna tell you, that has scared me a lot, a lot. —AS TOLD TO ANNE FORD

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

SURE THINGS THURSDAY 20

FRIDAY 21

SATURDAY 22

SUNDAY 23

MONDAY 24

TUESDAY 25

WEDNESDAY 26

J Messing Wi th a Friend Susan Messing’s raunchy weekly improv show welcomes 30 Rock alum Scott Adsit. The two are like Coke and Pop Rocks: they shine separately, but together are an explosive combo with unstoppable momentum. 10:30 PM, Annoyance Theatre, 851 W. Belmont, theannoyance.com, $5

× Taste of Rive r No rth If you missed the Taste of Chicago, visit its younger sibling up in River North to gorge on the neighborhood’s best bites—be they Italian, seafood, Italian seafood, or a variety of steaks. 5-10 PM (Sat noon-10 PM, Sun 11 AM-8 PM), Kingsbury and Erie, tasteofrivernorth.com, $5 suggested donation.

Î Where’s Waldo Pa rty Women and Children First hosts a day of snacks, games, prizes, and even a visit from the man himself as the capper of a monthlong neighborhood search for Waldo. 3 PM, Women & Children First, 5233 N. Clark, 773-7699299, womenandchildrenﬁrst. com. F

ã Chicago Craf t Beer Festival For the sixth year this festival oﬀers more than 70 specialty beers from over three dozen breweries, plus live music and grub. Tickets include a taste of 15 brews and a glass to take home. Tastings 11:30 AM-4 PM, Webster and Sheﬃeld, chicagoevents.com, $45, $40 in advance.

M Jane: Abortion and the Un derground This reading of Paula Kamen’s play, following the Chicago women who ran a service providing secret abortions between 1969 and 1972, includes a discussion on advocating for women’s rights in Trump’s America. 7:30 PM, Pride Arts Center, 4147 N. Broadway, prideﬁlmsandplays.com. F

* Steve Earle and th e Dukes The Reader’s Peter Margasak calls Earle’s new album “a hearty dose of twang, masterfully driven home by the ﬁddle playing of Eleanor Whitmore and the woozy pedal steel of Ricky Ray Jackson.” 8 PM, Old Town School of Folk Music, 4544 N. Lincoln, oldtownschool. org, $75.

J I Saw Yo u For ten years, Bruised Orange has culled oﬀ-putting, surprising, or bonkers personal ads, then acted as the people they imagined wrote those. OkCupid has fallen into ironic territory, but the actors attack all material, tongue-in-cheek or not, with aplomb. 8 PM, Town Hall Pub, 3340 N. Halsted, bruisedorange.com, $5.

JULY 20, 2017 - CHICAGO READER 7

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

CITY LIFE In a New York Times op-ed, Mayor Rahm Emanuel boasted about Chicago’s public transportation system but failed to give props to the people who do the actual work. ò ASHLEE REZIN/SUN-TIMES MEDIA

POLITICS

Rahm’s credit score

The mayor has shown that he’ll gladly take all the glory even if someone else does the work. That’s no model for the Democratic Party. By BEN JORAVSKY

n July 3, as the country got ready to celebrate its birthday, Mayor Rahm Emanuel celebrated one of his favorite subjects: himself. In a New York Times op-ed that appeared online with the headline “In Chicago, the Trains Actually Run on Time,” Rahm gave himself all the credit for whatever success the Chicago Transit Authority may have. He didn’t even mention the people, like bus drivers and train operators, who do the actual work. “Chicago riders have closer contact with the person whose job it is to make the trains run on time: the mayor,” he wrote. As if our busy, busy mayor drove a bus in his spare time, in addition to writing opinion pieces for the Times! Alas, several days later, on July 10, the CTA’s subway workers overwhelming voted to authorize a strike. Quick, New York Times—get me rewrite! In the editorial, ostensibly written to give transit advice to New York City, the mayor failed to mention that CTA bus and subway

8 CHICAGO READER - JULY 20, 2017

workers have gone more than 18 months without a contract. And that their unions are locked in bitter negotiations with the CTA over things like health-care cuts and work rules. It’s sort of like when Rahm parades around the country telling people how he’s made Chicago an educational Garden of Eden, without bringing up the fact that the system’s so broke it’s paying hundreds of millions of dollars in borrowing fees just to keep the doors open. As always, the less you know about Rahm’s Chicago, the better it seems. The mayor’s CTA op-ed provoked some outcry. The New York Daily News, for one, ripped him in a front-page headline that read: “Rahm touts Chicago trains, but AT LEAST our riders don’t get SHOT on the way home!” Low blow, but I guess the mayor was asking for it. The unfortunate headline of the piece recalled the old trope about Italian fascist Benito Mussolini: “Say what you want about Mussolini, but at least he got the trains running on time.”

A mayoral press handler said Rahm can’t be blamed for the Mussolini reference because he didn’t write the headline. That’s called throwing the Times under the bus. But, of course, the excuse overlooks the mayor’s trains-run-on-time passage I quoted above. It reminds me of the time Charles Barkley complained he was misquoted in his own autobiography. Like Barkley, Rahm apparently didn’t read what he wrote. This wasn’t the first time the Times has played footsie with Rahm. They have a codependent relationship, left over from the time when Rahm was a big player in Washington and they needed him for access and he needed them for publicity. Over the years, he’s been glowingly cited on a multitude of topics by a variety of columnists. Far be it from me to give advice to a great paper like the Times, but in Chicago there’s an old City News Bureau adage journalists are supposed to follow: “If your mother says she loves you, check it out.” When it comes to Rahm’s agenda, the reportorial technique is more like, “All right, buddy, whaddya want?” In the case of the Times op-ed, it’s pretty obvious what Rahm wants: to keep his name alive in national conversations and to promote himself as a model for other Democratic leaders. He aspires to be a paragon of the nonideological pragmatist who makes things, like schools and trains, run—even if he can’t. I used to think Rahm had no ideology other than winning. But now I realize there’s an ideology embedded in that approach. It values the bosses who sign the checks and disregards the workers who cash them. They might as well be as invisible as the bus drivers and subways operators Rahm failed to mention in his editorial. Emanuel’s ideology means that on policy issues he doesn’t take the lead—or oppose— economic policies like progressive taxation, higher wages, single-payer health care, or transaction taxes on Wall Street or the Chicago exchanges. That holds true even if the issues are ones that ﬁre up the Democratic base.

Moreover he champions public-private initiatives like his preschool program. He funded that by borrowing the money instead of fully covering it in the budget, which means less cash for the classroom and more money in interest rates. The cost of the program, therefore, doubled to $34 million, with $17 million intended to go to lenders. When it comes to the Democratic base, Rahm drips with contempt for it, especially the unions. In interviews and speeches, he writes them off as a bunch of out-of-touch losers. It’s no wonder that in Emanuel’s reelection race and subsequent runoff against Jesus “Chuy” Garcia, he was most popular in the wealthier neighborhoods like the Gold Coast and Lincoln Park, where Rauner also ran well. Emanuel thinks these so-called moderate swing voters are the future of the Democratic Party—and the city, for that matter. For everyone else—like the transit workers Rahm deemed unworthy of mentioning—it’s shut up and get in line.

I used to think Rahm had no ideology other than winning. But now I realize there’s an ideology embedded in that approach. It values the bosses who sign the checks and disregards the workers who cash them.

After reading Rahm’s Times piece, I called Kenneth Franklin, president of the Amalgamated Transit Union 308, made up of workers who just authorized a strike. “Yeah, I read that column,” he said. “I was disappointed that the mayor didn’t take the time to thank the workers who do the work. But I wasn’t surprised. I consider him to be arrogant. It’s all about him.” It’s no way to run the trains, the city, or the Democratic Party. v

v @joravben

Why Haven’t Senior Homeowners Been Told These Facts? Keep reading if you own a home in the U.S. and were born before 1955.

It’s a well-known fact that for many senior citizens in the U.S. their home is their single biggest asset, often accounting for more than 50% of their total net worth. Yet, according to new statistics from the mortgage industry, senior homeowners in the U.S. are now sitting on more than 6.1 trillion dollars of unused home equity.1 With people now living longer than ever before and home prices back up again, ignoring this “hidden wealth” may prove to be short sighted. All things considered, it’s not surprising that more than a million homeowners have already used a governmentinsured Home Equity Conversion Mortgage or “HECM” loan to turn their home equity into extra cash for retirement. However, today, there are still millions of eligible homeowners who could benefit from this FHA-insured loan but may simply not be aware of this “retirement secret.” Some homeowners think HECM loans sound “too good to be true.” After all, you get the cash you need out of your home but you have no more monthly mortgage payments.

NO MONTHLY MORTGAGE PAYMENTS?2 EXTRA CASH? It’s a fact: no monthly mortgage payments are required with a government-insured HECM loan;2 however the homeowners are still responsible for paying for the maintenance of their home, property taxes, homeowner’s insurance and, if required, their HOA fees. Another fact many are not aware of is that HECM reverse mortgages first took hold when President Reagan signed the FHA Reverse Mortgage Bill into law 29 years ago in order to help senior citizens remain in their homes. Today, HECM loans are simply an effective way for

homeowners 62 and older to get the extra cash they need to enjoy retirement. Although today’s HECM loans have been improved to provide even greater financial protection for homeowners, there are still many misconceptions. For example, a lot of people mistakenly believe the home must be paid off in full in order to qualify for a HECM loan, which is not the case. In fact, one key advantage of a HECM is that the proceeds will first be used to pay off any existing liens on the property, which frees up cash flow, a huge blessing for seniors living on a fixed income. Unfortunately, many senior homeowners who might be better off with HECM loan don’t even bother to get more information because of rumors they’ve heard. That’s a shame because HECM loans are helping many senior homeowners live a better life. In fact, a recent survey by American Advisors Group (AAG), the nation’s number one HECM lender, found that over 90% of their clients are satisfied with their loans. While these special loans are not for everyone, they can be a real lifesaver for senior homeowners like Betty Carter, who recently took out a HECM loan with AAG so that she could finally get the extra cash she needed to fix up her house. “With the help of AAG, I have been able to repair my home’s foundation that I had been putting off for several years, ref inish the hardwood floors, paint the interior and will have the exterior painted within a few days. My house is starting to look like my home again and it feels good, says Carter. The cash from a HECM loan can be used for any purpose. Many people use the money to save on interest charges by paying off credit cards or other high-interest loans. Other

FACT: In 1988, President Reagan signed an FHA bill that put HECM loans into law. common uses include making home improvements, paying off medical bills or helping other family members. Some people simply need the extra cash for everyday expenses while others are now using it as a “safety net” for financial emergencies. If you’re a homeowner age 62 or older, you owe it to yourself to learn more so that you can make an informed decision. Homeowners who are interested in learning more can request a free 2017 HECM loan Information Kit and free Educational DVD by calling American Advisors Group toll-free at 1-(800) 791-7450. At no cost or obligation, the professionals at AAG can help you find out if you qualify and also answer common questions such as: 1. What’s the government’s role? 2. How much money might I get? 3. Who owns the home after I take out a HECM loan? You may be pleasantly surprised by what you discover when you call AAG for more information today.

1 Source: http://reversemortgagedaily.com/2016/06/21/seniors-home-equity-grows-to-6-trillion-reverse-mortgage-opportunity. 2If you qualify and your loan is approved, a Home Equity Conversion Mortgage (HECM) must pay off any existing mortgage(s). With a HECM loan, no monthly mortgage payment is required. A HECM increases the principal mortgage loan amount and decreases home equity (it is a negative amortization loan). AAG works with other lenders and `nancial institutions that offer HECMs. To process your request for a loan, AAG may forward your contact information to such lenders for your consideration of HECM programs that they offer. Borrowers are responsible for paying property taxes and homeowner s insurance (which may be substantial). We do not establish an escrow account for disbursements of these payments. A set-aside account can be set up to pay taxes and insurance and may be required in some cases. Borrowers must occupy home as their primary residence and pay for ongoing maintenance; otherwise the loan becomes due and payable. The loan also becomes due and payable when the last borrower, or eligible non-borrowing surviving spouse, dies, sells the home, permanently moves out, defaults on taxes or insurance payments, or does not otherwise comply with the loan terms. American Advisors Group (AAG) is headquartered at 3800 W. Chapman Ave., 3rd & 7th Floors, Orange CA, 92868. (Illinois Residential Mortgage Licensee; Illinois Commissioner of Banks can be reached at 100 West Randolph, 9th Floor, Chicago, Illinois 60601, (312) 814-4500), V11082016

These materials are not from HUD or FHA and were not approved by HUD or a government agency. V11082016

JULY 20, 2017 - CHICAGO READER 9

GALLERY CLOSING

SALE

George Ritzlin Antique Maps & Prints 1937 Central Street, Evanston 847-328-1966 • maps@ritzlin.com Closing out our antique print inventory. After 41 years our gallery will close and we’ll move to an ofﬁce where we will sell maps only.

50% off 16-19 century prints including views, natural history, portraits, vintage ads, satire, genre, fashion plates, reference books, more th

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10 CHICAGO READER - JULY 20, 2017

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CITY LIFE TRANSPORTATION

Zero vision?

Some transportation advocates wonder if Chicago’s Vision Zero Plan has enough teeth to achieve its ambitious goals. By JOHN GREENFIELD

n mid-June, the city ﬁnally released the Vision Zero Action Plan, which lays out its strategy to eliminate serious and fatal traffic crashes. It arrived about six months later than originally planned— and years after peer cities launched similar programs. But it could not have come a moment too soon; more than 2,000 people per year are killed or seriously injured in collisions in Chicago, with an average of one fatality every three days. The plan, which was crafted by the Chicago Department of Transportation with input from a dozen city departments and agencies, has the stated goal of achieving zero serious and fatal crashes annually by 2026. The new plan covers the next three years of the decade-long safety push. By 2020 the city seeks to reach several ambitious benchmarks, including reducing deaths from traffic crashes by 20 percent from the 2011-2014 average of 111 per year, and serious injuries by 35 percent, from the four-year average of 1,896. As part of the planning process the city used crash data to identify 43 high-crash corridors and eight high-crash areas. All of the highcrash areas, save for downtown, are located on the south and west sides. (The plan attributes the higher-than-typical rate in the central business district to the greater population density and large amounts of vehicle and foot traffic.) The city’s goal by 2020 is to reduce the number of serious collisions in both highcrash areas and corridors by 40 percent. The plan outlines a number of strategies to reach these benchmarks by the three-year deadline. CDOT plans to improve 300 intersections across the city to improve pedestrian safety, using more than $1 million in ward menu money earmarked by aldermen to fund the infrastructure. The department will also work with the CTA to upgrade safety and walking access to 25 el stations. The document also calls for phasing in the installation of truck side guards, which help prevent pedestrians and bike riders from falling underneath the vehicles, and convex mirrors on city ﬂeet vehicles and other com-

mercial trucks. That’s especially welcome because last year half of the six Chicago bicycle fatalities involved right-turning flatbed truck drivers striking young adult cyclists, who were then crushed under the wheels. On June 28, Emanuel introduced the Large Vehicles Safety Equipment Ordinance, which will require city contractor vehicles to install the safety equipment starting in July 2018. The city fleet will begin adding the gear as well. The lower-income areas most heavily affected by traffic violence will be prioritized for safety outreach and education, beginning with a pilot program this summer in Austin, North Lawndale, and Garfield Park, funded by a $185,000 grant from the National Safety Council. The summer initiative focuses on working with local community groups and residents “to identify barriers to safe mobility and equitable solutions to improving traffic safety,” according to CDOT spokesman Mike Claffey. (A separate outreach process for the downtown high-crash area is slated to begin in late summer or early fall.) The phrase “equitable solutions” to reducing crashes means strategies that don’t involve racial profiling or unfairly targeting these AfricanAmerican communities for a ticketing surge. (The issue of police unfairly stopping motorists of color is well documented in Chicago—the ACLU reported that in 2013 nearly half of the drivers detained by Chicago police were black, even though African-Americans make up only 32 percent of the city’s population.) In February the Chicago Tribune’s Mary Wisniewski reported on the topic of “biking while black,” including wild discrepancies between the number of biking tickets written in African-American communities and majority-white ones. Black bike advocates I interviewed said they believe zero-tolerance policing of cyclists in communities of color is used to justify stop-and-frisk searches. So it’s important that Chicago’s Vision Zero Action Plan acknowledges the need for equitable enforcement, an issue that was previously raised by civil rights activists in Vision Zero cities such as New York. However, my writing partner Steven Vance

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has argued that the city of Chicago may have gone overboard in its efforts to avoid accusations of an unfair crackdown by minimizing the role of traffic enforcement in the plan. “This #VisionZero plan is crap,” he wrote at the beginning of a tweetstorm on the day the document was released. “Goals are appropriate, but little commitment as to how.” One of his main beefs was what he saw as a lack of emphasis on enforcement. “The role of police is downplayed. A lot.” Vance noted that the plan states that it “does not use increased traffic citations as a measure for success.” He argued that increasing the number of citations for reckless driving would be a way to change the city’s safety culture. Vance added that you can count on one hand the number of times the word “enforcement” appears in the 88-page document. When I raised the issue at last month’s Mayor’s Bicycle Advisory Council meeting, CDOT’s Vision Zero manager Rosanne Ferruggia argued that while ticketing isn’t being used as a metric for success, that doesn’t mean the police don’t have a key role to play. “We’re not saying that we’re not going to enforce traffic laws,” she said. “What we’re saying is that we’re not going to start ticketing people without talking to you ﬁrst.” Ferruggia underscored the importance of getting community input and buy-in before launching new traffic enforcement strategies. “We’re going to be going out and having

conversations about what the priorities are, what’s fair, what’s just, and what do we need to be working on,” she said. “There are a lot of priorities in those areas. . . . So we want to make sure we’re coming in and listening to what is happening in the communities before we prescribe something that could have an adverse effect on the residents.” At the meeting CDOT commissioner Rebekah Scheinfeld added that the plan’s focus is on “education and engagement,” including enforcement stings that involve officers warning motorists about dangerous behavior, such as not yielding to pedestrians in crosswalks, rather than ticketing them for it. Along with better street design, “that’s where we think we have the opportunity to really move the needle,” Scheinfeld says. As the CDOT staff acknowledged, enforcement needs to be a piece of the puzzle for reducing Chicago’s unacceptable traffic violence numbers, which disproportionately impact black communities. But there’s also the challenge of respecting citizens’ rights to move freely through public space, regardless of their skin color or where they live, especially in light of the CPD’s dismal record on civil rights. Achieving both of these goals is deﬁnitely going to be a balancing act. v

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

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D E N T A L S A L O N . C O M JULY 20, 2017 - CHICAGO READER 11

ARTIST ON ARTIST

uring the golden age of public-access television in the 1980s, a gloriously low-rent corner of the media world ﬂourished. In the absence of expectations of network executives and their advertisers, individuality reigned, and all manner of oddball delights were waiting to be discovered by curious teens: fanatical televangelist preachers, talent-show hacks, prank-prone call-in shows, and programs broadcasting the unedited perspectives of all manner of marginalized people—minorities, LGBTQ folks, atheists, clowns. Tim Heidecker and Eric Wareheim were among the children of the 80s who were drawn to the bizarro world of public-access TV. They poured their affinity for the idiom—the outlandish hosts and unconventional guests, the often clumsy production methods, and the aesthetics of vintage video (tracking lines, animated graphics)—into Tim and Eric Awesome Show, Great Job! The sketch comedy series ran from 2007 to 2010, appropriately during Cartoon Network’s night-owl block Adult Swim. Collaborator Doug Lussenhop, a Columbia College alum who’s also worked on Portlandia and The Eric Andre Show, helped shape Awesome Show’s surrealist antihumor with a distinctive eye-popping editing style full of stutters, skips, loops, repetition, and animation. A sketch could feature well-known comedians and actors such as Maria Bamford, Zach Galiﬁanakis, Bob Odenkirk,

Tim Heidecker (left) and Eric Wareheim (right) accompany amateur puppeteer David Liebe Hart on an episode of Tim and Eric Awesome Show, Great Job!

Starmakers host Steve Gadlin interviews musical group Honor & Decency after a performance of their single “How About Both?”

and “Weird Al” Yankovic, or unknowns like David Liebe Hart, an amateur puppeteer and songwriter, and cut-rate celebrity impressionist James Quall. (John C. Reilly’s clueless and painfully awkward Dr. Steve Brule was a breakout hit and became the basis for the Adult Swim spin-off Check It Out! that lasted six seasons.) Like Heidecker and Wareheim, Chicago’s Steve Gadlin shares an affinity for vintage public-access TV—but he happens to be a modern-day denizen of the public airwaves. As the host for two seasons of the variety show Steve Gadlin’s Starmakers on CAN TV, he’s given a platform to everyone from singer-songwriters and interpretive dancers to balloon artists and (literal) pickle lickers. The show—which has the winking tagline “Featuring tomorrow’s stars of Hollywood and/ or Broadway!”—is rife with Awesome Showinspired elements: strained silence, gratuitous star wipes, off-key musical numbers, and chintzy stagecraft. Gadlin intends to fund a third season of Starmakers if his IndieGoGo campaign, “I’m the guy that sold 1,000 raccoon penis bones!,” is a success. (Yes, he’s actually selling raccoon penis bones.) Gadlin previously hosted a show on CAN TV called Talkin’ Funny, but he’s perhaps better

known as part of the local comedy scene, where he’s been an irreverent presence for 13 years. For ﬁve years, he produced and cohosted Don’t Spit the Water, an interactive show at the Playground Theater in which audience members would ﬁll their mouths with water and stand-ups and improvisers were given a minute to try to make them do a spit take. His weekly show Impress These Apes—a competition for comedians judged by Gadlin and a panel of coconspirators wearing primate masks—gained a cult following in its eight seasons, most of them at ComedySportz. In 2010, Gadlin paid a Kenyan scammer $5 to write a play, which he mounted at the Annoyance Theatre under the title The Nairobi Project. Gadlin was featured on a 2012 episode of Shark Tank for his offbeat venture I Want to Draw a Cat for You; Mark Cuban invested $25,000, and to date Gadlin has drawn 19,843 kitties for $10 a pop. Given Gadlin’s full embrace of the absurd, there was no better Chicagoan to interview Heidecker and Wareheim. He spoke to each of the comedians separately over the phone in advance of the duo’s three live shows at the Vic celebrating the tenth anniversary of Awesome Show. Their conversations have been edited together. —STEVE HEISLER

Tim and Eric 10th Anniversary Awesome Tour Fri 7/21 (sold out), Sat 7/22 (sold out), and Mon 7/24, 8 PM, the Vic, 3145 N. Sheffield, 773-472-0449, victheatre.com, $47.50.

Steve Gadlin: On this tour, you’re doing three dates in only two cities: New York and Chicago. Is there something special about performing here? Tim Heidecker: This is gonna sound like pandering, but it’s true: It is the best place to do comedy, and I don’t really know why. The audience is smart but also engaged and excited and fun without being obnoxious. Eric Wareheim: We always start with Pequod’s pizza. We eat about two of those before we go on, and then we wanna seriously die because we can’t move. So the ﬁrst show is always a little slow, a little pizza induced. I feel like [Chicago’s food] is representative of Chicago people in terms of comedy. They’re accepting of new, experimental cuisine, and it’s the same as comedy. Everyone’s open-minded and willing to freak the fuck out.

SG: We’re the same age, 41, but growing up I never got into things like G.I. Joe or He-Man. I was a huge cable-access watcher. I’d ﬁnd random Christian puppet shows and just ﬁxate on them, and I think that’s why a lot of what you guys do really resonates with me. EW: I watched a lot of things like Cannonball Run, Airplane!—stupid comedies with my friends.

TH: I had a somewhat normal media diet because it was restrictive of what was available to me. I was a fan of G.I. Joe and He-Man and all that stuﬀ. I consumed it dutifully. Growing up in Allentown, Pennsylvania, there was cable access. I recall watching televangelists with my dad and laughing at that. [The preacher] would talk in tongues. I loved it much more than sports, or karate movies.

SG: The Chicago comedy scene’s different than the New York or LA comedy scenes in that we don’t have pressure to create something marketable. It’s this playground for people to try experimental stuff. Did you find that same atmosphere when you were coming up in Philadelphia?

EW: Yeah. But, I mean, we were on our own. We had no reference point, we had no fears, we J

JULY 20, 2017 - CHICAGO READER 13

14 CHICAGO READER - JULY 20, 2017

“The world is filled with people trying to do really good things, and we want to showcase the underbelly. Like, what would it sound like if this guy was making a weird techno track in his basement? We’ve always been interested in that realness versus the glossiness of life.”

continued from 13 were literally making stuff in our basement by ourselves. Now that I think about it, I’m very happy I didn’t grow up in a comedy scene, because that would’ve tainted our experience. SG: How so? EW: Well, the way we came up was showing our stuff at film festivals versus showing stuff at comedy clubs, or we would open for indie-rock bands like the Shins. TH: Is there a place for experimental comedy in Chicago?

Amateur puppeteer David Liebe Hart was a regular on Tim and Eric Awesome Show, Great Job!

SG: Chicago has plenty of great venues for experimental comedy outside its main institutions. We’re lucky to have so many storefront theaters in all parts of the city eager to rent space to anyone with an idea.

—Eric Wareheim

EW: Do you feel like being in Chicago, there’s a specific flavor to the performances you get from people on public access? SG: I definitely feel it has a thick Chicago style to it, but the same way that The Gong Show had that Burbank style to it—it was still universally appreciated because of the sincerity. And it’s just not the kind of thing you can shake.

ness about them. It’s hard to explain. There’s just certain people that we go, “You can’t make that guy up.” Whether his face is sort of funny or he’s got a funny voice—there’s a quality to them that makes them special, that makes them them.

EW: The world is ﬁlled with people trying to do really good things, and we want to showcase the underbelly. Like, what would it sound like if this guy was making a weird techno track in his basement? We’ve always been interested in that realness versus the glossiness of life. SG: Were you big on prank calls? There’s a pronounced realness to them. TH: It was a thing to do after having drunk a 40 or two. We would call the local video store and mispronounce movie names—[instead of The Shining] we’d ask for Steve Cooby’s Shiners. Just dumb shit. EW: Yeah, big time. We’d play a game where Tim would look through the phone book and give me a number, and it would be a mystery of where it was. So I’d pick up the phone and it’d be like, “Aunt Myrtle’s Bird Sanctuary, how can I help you?” We would do that for eight hours a night. SG: The art of the phony phone call had to evolve as technology changed. I remember freshman

SG: For one of the shows I produce, I wanted my British friend to try doing stand-up on it, so I went to a website called Fiver on which you can pay people $5 to do anything, and I got a guy to write a routine and had my British friend read it—but he’s reading it from the ’prompter for the ﬁrst time. It was a great way to capture a very nervous, stilted, authentic performance without having to fake it.

Celebrity impressionist James Quall made frequent appearances on Awesome Show.

year of college, when the Jerky Boys’ CD came out, I was immediately inﬂuenced. I almost got kicked out of school because I happened to ﬁnd this guy named Lincoln Butts in the phone book and couldn’t hold back. He took the tape of my calls to the police and, uh, it ended badly. TH: I’ll probably make a prank phone call later today. It was fun when I discovered you could do the reverse prank phone call. You’d start getting all of these telemarketing calls, so if I stayed close to a recorder of some kind, I’d use it when I got somebody calling me about some supplement that I should be taking.

SG: A lot of what’s great about Awesome Show is the sincerity that you get out of your actors. How do you direct people to honor that sincerity and make sure no one is approaching the work as mockery? EW: What we do is tell them to act seriously, like they’re in a drama. We recently made this new bit called Flatulent Pat. It’s silly, but the only way to sell it in our style would be to have the actors take it very, very seriously. TH: As Woody Allen says, it’s 90 percent casting. It’s ﬁnding the right person who has that earnest-

TH: One of my favorite young comedians right now is this guy named Jay Weingarten, who does a lot of stuﬀ with Fiver, and it just kills me. It’s so funny the way he uses it. But yeah, we’ll do stuﬀ on Decker [the Adult Swim series Heidecker created with Gregg Turkington, aka Neil Hamburger] like rewrite a big chunk of dialogue and give the actor the [script for the day] ten minutes before to see in those eyes the thinking and the clock.

SG: There’s a show I’ve produced here on cable access called Steve Gadlin’s Starmakers that I had pitched to a bunch of places, and the response was, “This belongs on the Internet.” J

JULY 20, 2017 - CHICAGO READER 15

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CHICAGO RARE BOOK CENTER

ARTS & CULTURE Barack Obama at the South Shore Cultural Center in May hosting a roundtable discussion about the Obama Presidential Center. ò SCOTT OLSEN/GETTY IMAGES

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hind CPGA (Mayor Rahm Emanuel’s former campaign manager Michael Ruemmler is a cofounder) have been incubating this idea for years, there was a noticeable lack of enthusiasm for the professional-level course among the crowd of 150 or more at the meeting. Anne Holcomb of the South Shore block club ETHOS was one of several speakers asking why a PGA course is needed—she said her group just wants the historic links rehabbed.

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Jackson Park scorecard

By DEANNA ISAACS

ast week, after a series of community meetings about the future of Jackson Park where some residents had been either shut out or effectively shut up, Fifth Ward alderman Leslie Hairston hosted an expanded ward meeting at the South Shore Cultural Center where everyone was offered the chance to talk. Dozens of them did. After short presentations by the Park District, the Obama Foundation, the Department of Transportation, and the Chicago Parks Golf Alliance (a new nonproﬁt entity devoted to turning the historic links at Jackson Park and South Shore into a single, elite course), folks who’d been itching to speak lined up for a crack at the mike. The July 13 meeting lasted three hours, with questions initially getting brief responses, and then just getting ﬂoated. Still, by the end of it, this much was clear: The Obama Center won’t be a presidential library. President Obama, who never wanted his center to be merely a library, announced in May that all his papers will be digitized, with the originals stored at some other location by the National Archives. This means that scholars won’t have to trek to Chicago for research, and also that the Obama Foundation will escape a rule that would’ve required it to hand the National Archives an operating en-

18 CHICAGO READER - JULY 20, 2017

dowment equal to 60 percent of the cost of the library’s construction. The center includes a superfluous building. As designed by Tod Williams and Billie Tsien, the center is to be a three-building complex grouped around a plaza—a bulky 180-foot tower that’ll house the Obama museum and two flat-topped one-story structures. One of those, the Forum, will be a public event space with an auditorium; the other, still referred to as the Library, is up for grabs. Obama Foundation strategist Jamie Clare Flaherty said it could house a new branch of the Chicago Public Library. The Obama Foundation doesn’t intend to sign a community benefits agreement. When asked by Kenwood Oakland Community Organization executive director Jawanza Malone and others why the foundation is resisting a CBA (which could protect against displacement and provide economic opportunity for local residents and businesses), Flaherty had two answers: “We feel that the Presidential Center is a benefit” and “We don’t want a contract, we want to put a policy in place.” It’s hard to see where the demand for a PGA course is coming from, or who will profit from it. Although the well-connected people be-

This plan will, in eﬀect, turn a south-side public treasure over to tourists and suburbanites. Promises of “affordable and accessible” golf for locals notwithstanding, if Jackson Park’s 18 holes and South Shore’s nine holes are combined into a single PGA-level course, they’ll be less available in prime time for residents, who are being thrown the bone of a new six-hole “family course.” An elite course is an odd fit for President Obama. Even though he’s known to be an avid golfer, it’s hard to believe that this gift to the 1 percenters is what the former community organizer wants as a prominent part of his legacy. Justifying it as an economic boost for the area is dicey, given that elite clubs are notoriously closed environments. The public will likely be on the hook for infrastructure costs. The plans for the presidential center and, more significantly, for the golf courses call for the closure of major roads through the park, shoreline improvements, and construction of two underpasses. The online group Jackson Park Watch has suggested that those costs alone will equal or surpass the $30 million CPGA is citing as the price for the course changes. It’s hurried. The Park District has set a deadline for completion of a new Jackson Park South Shore Framework Plan in October, but organizations like Friends of the Parks are asking for a slowdown that’ll allow for more information and more public participation. And that’s the point Jackson Park Watch’s Margaret Schmid chose to make when she got a turn at the mike last week: “We have very little information, and the time line is very short. There is no need to have it done by October.” v

v @DeannaIsaacs

Wandachristine ò MICHAEL BROSILOW

THEATER

Harlem through haunted eyes By JUSTIN HAYFORD

s a performer, Dael Orlandersmith, who wrote and starred in the Obie-winning 1995 one-person show Beauty’s Daughter, is pure empathic gravitas. Her chopping-block physique, orotund voice, and stately bearing give her a monumental presence, while her uncanny ability to conjure exquisitely damaged and pathetic characters lends a disarming warmth to everything she does. Chicago’s Wandachristine, who performs Beauty’s Daughter in American Blues Theater’s current revival, is in many ways Orlandersmith’s polar opposite. She’s lithe and unassuming. Nothing about her intimidates or towers. And when it comes to creating characters, she’s as demonstrative as Orlandersmith is reserved. So perhaps it’s not surprising that director Ron OJ Parson has staged Beauty’s Daughter in a bracing, if not entirely successful, anti-Orlandersmith style. The 90-minute show, made up of monologues and poems, is a carefully curated gallery of late 20th-century Harlem denizens, from heroin-addled former blues man Blind Louie to aspiring novelist and small-time dope dealer Papo to elderly starlet once-was Mary Askew. Each desperately

needs something from tough-as-nails poet Diane, who’s fled Harlem to pursue literary ambitions and now acts as the audience’s tour guide through her former neighborhood. While Orlandersmith is famous for appearing on a mostly empty stage with few if any props, here scenic designer Caitlin McLeod ensconces Wandachristine in Diane’s fully realized apartment, which Paul Deziel’s lush projections transform into other locations—a street corner, a neighborhood bar, other people’s apartments—when not obscuring it entirely under a ﬂood of images and words pulled from Orlandersmith’s poems. Extending the production’s overarticulation, Parson ends each monologue with a full blackout, after which Wandachristine exits and reenters in a new costume. And that overarticulation continues in Wandachristine’s approach to her characters, all of whom are given distinctive gestures, speech cadences, and accents. Rather than monologues, she gives us acting scenes. At times Beauty’s Daughter is less a show than a showcase. But that problem is, to a degree, inherent in Orlandersmith’s text, which journeys through several blocks of Harlem, as well as several

decades of Diane’s life, without getting much of anywhere. For the most part we meet a handful of people ensnared in an impoverished neighborhood, see their ﬂaws, fears, and humanity, and move on. Still, those encounters can be quite affecting, and Diane continually struggles to make peace with her past. When we meet her spiteful, resentful, alcoholic mother, Beauty, who insists her daughter is, among other things, a failure, it’s easy to understand why. Ultimately Diane concludes that, with the exception of an elderly neighbor who gives her old blues 78s, humanity is “a fucking collective mass of parasites who use guilt to put each other down.” At times it’s almost too much to witness, which ironically makes the evening’s showcaselike style particularly effective, at least in parts. This Beauty isn’t a clever monologist’s ingenious invocation; she is here before us,

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fully and unavoidably. And she dawdles and dallies, occupying every inch of the theater, trying our patience, musing over the ruins of her life, insisting on claiming the stage for no other reason than to run her daughter down. It’s harrowing to see her brought fully to life. If Wandachristine performed all her characters with equal commitment, the evening would be devastating. But on opening night she had only half ﬁrmly under her belt. Throughout the show, Orlandersmith lingers over Diane’s literary bent, imagining the thing that separates Diane from the hookers on her old block are the books in her room. Poetry may indeed have been Orlandersmith’s ticket to a better life, but it’s disappointing that she envisions the arts—namely literature and music—as the only route out of Harlem, or toward any semblance of happiness, for anyone. It’s a blinkered approach that not only imagines Harlem as a place necessarily to be abandoned, but dooms its nonartistic inhabitants to perpetual misery. v R BEAUTY’S DAUGHTER Stage 773, 1225 W. Belmont, 773-3275252, americanbluestheater.com, $29-$39.

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JULY 20, 2017 - CHICAGO READER 19

ARTS & CULTURE

LIT

Past, present, and future Plans

VISUAL ART

Amy Krouse Rosenthal’s elaborate goodbye

ò SUNSHINE TUCKER

By TANNER HOWARD

By JANET POTTER

my Krouse Rosenthal: A Beauty Salon” is an interactive exhibit that celebrates the life, work, and spirit of the Chicago writer, who died in March this year at the age of 51 from ovarian cancer. Rosenthal came up with the concept of a beauty salon—where “beauty” is deﬁned broadly and “salon” as a gathering of people to exchange ideas—last year, after her cancer diagnosis but before she knew it would take her life. When it became clear that the exhibit couldn’t happen before she died, she encouraged Ruby Western—her assistant and collaborator for the past three and a half years—and Carrie Secrist Gallery to continue the project. Western says that Rosenthal “wanted people to walk away with something new, not have it be a very sad thing.” “A Beauty Salon” includes Rosenthal’s published and unpublished writing, a seating area where visitors can drink coffee and read, books for sale, a film room, and a table (with swings for seats) covered with blank coloring pages and word searches. “I really hope it is a space where people feel they can come and be inspired and be working and making things,” Western says. Rosenthal was the author of more than 30 children’s books and two memoirs, 2005’s Encyclopedia of an Ordinary Life and Textbook Amy Krouse Rosenthal, which was published last year. She was a contributor to NPR and TED, and a self-described “tiny filmmaker,” writing in Textbook: “ . . . whether one interprets that as a person who makes tiny films or a tiny person who makes films, both are correct.” A column she wrote for the New York Times’s Modern Love series, “You May Want to Marry My Husband,” was posted just days before she died. It recounts meeting and falling in love with her husband of 26 years, Jason, and expounds on his excellence as a partner and father, in the hopes that he

20 CHICAGO READER - JULY 20, 2017

will ﬁnd love again after her death. Like all of Rosenthal’s work, it was charming, vulnerable, and generous. It was so compelling that it will be made into a movie. Many of her films were documents of her public art projects, such as The Money Tree, where she hung 100 $1 bills from a tree on a Chicago sidewalk and filmed people’s reactions, or Life Is a Marathon, in which a group of people met commuters disembarking from the el at the Belmont Red Line station at the end of a workday—Krouse Rosenthal’s team greeted passengers with high ﬁves, water bottles, and signs that said “Yay! You!” and “Way to go!” Even her books were interactive: Textbook listed a number that readers could text at certain points in the narrative for responses or supplemental information. So it’s not surprising that “A Beauty Salon” encourages people to respond to it. A wall that runs the length of the gallery is painted yellow, Amy’s favorite color. The words “I was here, you see. I was,” a quote from Encyclopedia, are printed along the top in Amy’s handwriting. A plaque at eye level reads: “Amy wrote things, she did—some mundane, some monumental. What have you done? What do you do?” Markers are provided for visitors to write their answers on the wall during the exhibit’s run, although the prompt will change periodically. Western called the “I was here” wall, along with a plinth located at the entrance to the gallery, one of the “lode-bearing poles” of the exhibit. On display are many of the journals Rosenthal kept, random lists and notes, a cartoon she submitted to Dave Eggers for Might magazine (along with instructions on how it should be laid out), a Mad Lib page that she turned into an author bio, and early drafts of her work. One handwritten draft of Textbook is turned to a page on her “midlife crisis,” when she became “weepy, chronically weepy.” “I wouldn’t

describe the origin of my tears as ‘boo-hoo I’m so old,’” she writes, “but more ‘oh my, here I am living, and I would like to keep on living, preferably and indeﬁnitely, but the hourglass is—if I’m lucky—half empty.’ ” The last journal she kept, found by her daughter after her death, is open to a page that reads “death may be knocking on my door, but I’m not getting out of this glorious hot bath to answer it.” All of her work incorporated the weighty and the playful, and “A Beauty Salon” is a reflection of that. The space is light and welcoming, with free coffee, couches and beanbag chairs, and a modified gumball machine that spits out temporary tattoos and art assignments for a quarter. But the exhibit also conveys the mournfulness of a creative life cut short. In a room at the back of the gallery, a few of Rosenthal’s favorite film projects are screened on a loop, including a music video of the song “Wanna,” which she wrote in the spring of this year with musician Nick Gage. Played over footage of her 50th birthday party, the lyrics read, “Wanna keep on breathing / so my kids aren’t scarred . . . Wanna meet the older versions / Of who they are” and end with “But if my time is up / I know I lived and loved hard.” In early discussions of “A Beauty Salon,” Rosenthal asked: “What is the most interesting way for someone to leave this exhibit?” She decided on an EXIT sign that reads EXCITE. “That was her last very concrete contribution, which was fabulous,” Western says, “and in terms of her leaving the project was also kind of a perfect exit.” v R “AMY KROUSE ROSENTHAL: A BEAUTY SALON” Through 8/12: Tue-Fri 10:30 AM-6 PM, Sat 11 AM-5 PM, Carrie Secrist Gallery, 835 W. Washington, 312-491-0917, secristgallery.com. F

v @sojanetpotter

hile the machinations of the Illinois government can make even the most hardened political observers tear their hair out, Chicago has always thrived in spite of the failures of those at the top—corrupt governments come and go, but there will always be new citizens ready to remake their environment. That truth is the beating heart of No Small Plans, a graphic novel published by the Chicago Architecture Foundation that shows teenagers living through the city’s shortcomings as they contemplate Chicago’s possibilities. Written by Gabrielle Lyon, vice president of education and experience at the Chicago Architecture Foundation, and lovingly illustrated by the Chicago-based collective Eyes of the Cat—led by Devin Mawdsley and including Kayce Bayer, Chris Lin, and Deon Reed—No Small Plans is meant to serve as a 21st-century update to the 1911 textbook Wacker’s Manual, which brought architect Daniel Burnham’s grand redesign of the city into Chicago’s classrooms. Showcasing the innate desire of Chicago’s youngest residents to envision a better version of their home, No Small Plans hopes to ignite the kind of Burnhamian grandiose thinking that could reimagine the city once more, a vision sorely needed to overcome the political pitfalls residents face today. By donating more than 30,000 copies to Chicago Public Schools students over the next three years, along with providing additional teaching tools to educators, CAF aspires to have as broad an impact as Wacker’s Manual, stirring a spirit of civic engagement among the city’s youth. No Small Plans traces the continuity of Chicago as experienced by its plucky, can-do teenagers, beginning in 1928, covering the present day, and venturing into the faraway future of 2211. Through different time periods, groups of people

An illustration by Eyes of the Cat from No Small Plans

ARTS & CULTURE

ò COURTESY CHICAGO ARCHITECTURE FOUNDATION

an empty lot. It’s a balanced, sophisticated understanding of Chicago that could resonate with local teenagers. What’s most remarkable about No Small Plans is the thoughtful rendering of Chicago’s constantly ﬂowing energy. Both the city itself and its teenage denizens are always on the move in the kind of commotion that can easily fade into the background of daily life. Whether the book is capturing the clattering of the el or the kinetic frenzy of a Logan Square antigentriﬁcation punk show, or zooming out to a bird’s-eye view, as Burnham’s plan frequently did, the reader is reminded of the vitality that permeates Chicago life. In its pivot to an imagined future, No Small Plans makes it obvious that Chicagoans can’t take their city for granted. When a group of students is asked to assess proposals for

redeveloping the Uptown Theatre (not so subtly preserved in 2020), they confront many of the same puzzles Chicagoans face today, with the development of luxury condos threatening to destroy the spirit of the original building. Empowered to make a planning decision that will affect the neighborhood for decades to come, the teenagers show a level of probity Bruce Rauner and Rahm Emanuel should aspire to. Whether Chicago will make it to the 23rd century is an unanswerable question, but No Small Plans reminds us that the city is alive and mutable when we respect our own power to transform it. v R NO SMALL PLANS By Gabrielle Lyon, Kayce Bayer, Chris Lin, Devin Mawdsley, and Deon Reed (Chicago Architecture Foundation)

v @tanner_howard

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ever-present questions of redevelopment and gentriﬁcation. The reader is introduced to Natalie, a lifelong Logan Square resident who’s worried about her family being pushed out of the neighborhood. As she and her friends traverse the 606, the reality of her neighbors’ displacement gradually dawns on them. With her friends’ assistance, Natalie faces down a bulldozer and wrecking ball, and they all decide, “We have a responsibility to be involved, to resist changes we don’t want, and to ﬁght to make the neighborhood the way we want it to be.” With a growing awareness of the impact, both positive and negative, of neighborhood change, her friend David contemplates the possibilities of healthy development in Englewood, seeing a skate park in place of

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Get showtimes at chicagoreader.com/movies.

ARTS & CULTURE

MOVIES

Unsure at any speed By J.R. JONES

Les Choses de la Vie

arlier this month Gene Siskel Film Center presented My Journey Through French Cinema, a 200-minute essay film by the venerable writer-director Bertrand Tavernier (Round Midnight, Life and Nothing But) that presents his country’s movies through the lens of personal reminiscence—much as Martin Scorsese did with My Voyage to Italy (1999) and A Personal Journey With Martin Scorsese Through American Movies (1995). In concert with the documentary, Film Center is also screening nine films that Tavernier discusses; most of them are commonly available favorites (Grand Illusion, Children of Paradise, Cleo From 5 to 7), but the series includes the first Chicago screening in decades of Claude Sautet’s fascinating Les Choses de la Vie (“The Things of Life”), which was nominated for the Palme d’Or at the Cannes film festival in 1970. Tavernier was friends with Sautet for 40 years and is so taken with Les Choses that he chose its final shot—of a dazed Romy Schneider wandering into a crowd as the focus blurs—to be the concluding image of his essay. You can see why Tavernier might have seized on the film as a kind of summation: Sautet, adapting Paul Guimard’s novel Inter-

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section, ponders no less than the curse of free will in a world governed by chance. Pierre (Michel Piccoli), a middle-aged architect in Paris, can’t make up his mind to leave behind his estranged wife, Catherine (Lea Massari), and teenage son, Bertrand (Gérard Lartigau), to move to Tunis with his young lover, Hélène (Schneider). Pierre has arrived at a crossroads in life, both figuratively and literally: speeding along a country road in his Alfa Romeo, he swerves to avoid a stalled truck in his path, and the car flies off the road, rolling in midair and finally expelling him onto the grass. Waiting for an ambulance, he flashes on people close to him and worries that if he dies someone will find and deliver to Hélène the kiss-off letter he’s written but never mailed. Tavernier first met Sautet in 1960, after being floored by the director’s blistering crime drama Classe Tous Risques (“Consider All Risks”). Made ten years apart, these two movies couldn’t be less similar in their social milieus, but thematically they’re strikingly similar. Classe stars Lino Ventura as a gangster who’s been on the lam for years with his wife and two little boys, now aged four and seven. Like Pierre in Les Choses, he’s pulled away from his nuclear family by another

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relationship, with his old partner in crime, and as the family try to sneak back into Paris from exile in Italy, the wife is killed by police, which leaves the gangster responsible for his children. In My Journey, Ventura remembers José Giovanni, author of the source novel, asking Sautet for his take on the story and the director telling him, “I see Lino walking, holding his kids by the hand. Then, later, I see his kids walking 50 yards behind him.” For Pierre the dilemma is less acute—his son is 19 and has a thriving business designing electronic novelties—but it’s compounded by an inability to act decisively. Pierre has been with Hélène for some time now, but whenever she presses him to sign papers accepting a new position in Tunis, he procrastinates. Bertrand, who’s about to begin his national service, invites Pierre to join him and his mother for a visit to their old summer home on the Île de Ré, and when Pierre uses this as yet another pretext for delay, Hélène glumly concludes, “We’ll never leave.” Interviewed in My Journey, Tavernier remembers Sautet describing Pierre as “a guy who’s glad to die because it saves him from making a choice.” His greatest concern as his life ebbs away is that fate will decide for him.

One thing you can say for Sautet: he knew how to shoot a speeding automobile. Classe fairly leaps off the screen as the gangster and his friend, traveling separately from the wife and children, fly down the highway by car and stolen motorcycle, separating to outflank a police roadblock. For Les Choses, Sautet films the car crash in minute detail but incorporates it into a fractured chronology. In the opening shot, children gather around a tire that has flown off the Alfa Romeo, then a wider shot reveals the crowd surrounding the crash site; for the credit sequence, Sautet runs the crash sequence in reverse slow motion, ending with Pierre safe in his garage and turning off his headlights. Leaping back in time again, Sautet spends the movie’s first half mapping out Pierre’s complicated personal situation, as well as his fraught relationship with a ne’erdo-well father and his professional conflict with a rapacious developer. But periodically, to provide a violent contrast to these everyday concerns, the director cuts to slow-motion close-ups of Pierre stricken with fear inside the rolling car. The crash unfolds from so many angles that when Sautet finally runs the whole thing in real time—mere seconds onscreen—it feels like a rocket. This postmodern storytelling is more impressive than the movie’s second half, which relies on the melodramatic convention of cutting back and forth between a critically injured man and his unsuspecting loved ones far away. More flashbacks arrive, easily interpreted now as Pierre’s life passing before his eyes. He drifts into a twilight world, musing in voice-over, “I’ve ruined my suit. . . . I’m tired. . . . I feel fine in the grass. . . . I should be in pain but I’m not.” As Sautet observed, Pierre is relieved to be off the hook, his heart soaring as his power to act leaves him. To live is to choose, the old saying goes, though as Kofi Annan, former secretary-general of the United Nations, once added, “to choose well, you must know who you are and what you stand for, where you want to go and why you want to get there.” Pierre doesn’t seem too sure about any of that, which might be the reason he can’t keep his wheels on the road. v LES CHOSES DE LA VIE sss Directed by Claude Sautet. 107 min. Sun 7/23, 1:45 PM, and Mon 7/24, 6 PM. Gene Siskel Film Center, 164 N. State, 773-846-2800, siskelfilmcenter.org, $11.

v @JR_Jones

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MUSIC

For more coverage of the Pitchfork Music Festival, go to chicagoreader.com/music.

Consequence, Q-Tip, and Jarobi White ò ZAKKIYYAH NAJEEBAH

A Tribe Called Quest paid tribute to Phife Dawg at Pitchfork with their ﬁrst full show since his death By LEOR GALIL

ust minutes into A Tribe Called Quest’s headlining Pitchfork set on Saturday, July 15, when Phife Dawg’s vocals streamed out of the speakers during what would’ve been his ﬁrst big turn, the jumbotron right of the stage showed a crane shot of an empty space and unattended mike stand in front of Ali Shaheed Muhammad’s DJ setup. Phife Dawg, born Malik Taylor, died on March 22, 2016, a few months after he and rapper-producer Q-Tip got the group back together to play The Tonight Show in November 2015—a performance that convinced them they were meant to make music again. Tribe’s ﬁrst album since 1998’s The Love Movement, titled We Got It From Here . . . Thank You 4 Your Service, came out November 11, almost a year after they reunited. Since Phife’s death they’ve reconvened only twice in public, with Pitchfork making three—in November they

did two songs on Saturday Night Live, and in February they played a medley at the Grammys. Saturday’s set was Tribe’s first full show without Phife, and it succeeded because the group approached their past and present with clear eyes. Lots of band reunions fail to capture what made the group magical in the first place—especially when the lineup that conjured that magic is incomplete. A Tribe Called Quest without Phife Dawg is like Led Zeppelin without John Bonham’s drums, or Parliament Funkadelic (who also played Pitchfork on Saturday) without Bootsy Collins’s bass. Tribe’s best material, including much of We Got It From Here, is great because of Phife as much as anyone else—and because of the brotherly chemistry that Toure’s November New York Times profile says the group reignited nearly two decades after their initial breakup.

At Pitchfork, Tribe acknowledged the loss in the only way they could—by recreating onstage the hole Phife’s death had left in their lives. Throughout the night Q-Tip, rapper Jarobi White (who left the group after their debut album but returned for We Got It From Here), and rapper Consequence (a cousin of Q-Tip’s who contributed to three Tribe albums) stepped aside to make room for Phife’s presence whenever Muhammad triggered a recording of their deceased member’s voice. Tribe probably have the means to produce a technologically impressive tribute, but no hologram or other wizardlike imagery would resonate quite as much as this austere display—they know nothing can replace Phife. Tribe found a way to carry on in Phife’s absence, but not without some bumps. An a cappella break in “Find a Way” (from The Love Movement) exposed White’s sluggishness on

the mike. The kind of sound issues that plague so many festival performances threatened to muffle Tribe’s golden instrumentals, though the group’s compact melodies still shined through. When Tribe closed their encore with the We Got It From Here single “We the People . . . ,” the instrumental sputtered and stopped, but Q-Tip appeared all too happy to hit replay. The second time, the song nearly ran its course, but then Q-Tip signaled Muhammad to run the track back to the beginning again—third time’s the charm, or perhaps charming. Q-Tip cracked jokes about his age while beatboxing (“Nobody does this anymore”), screamed Phife’s name as if suddenly compelled to by something rumbling deep in his body, and circled the stage with the attentiveness of a drill sergeant—he looked like he didn’t want to be anywhere else. Q-Tip seemed driven by a desire to do right by Phife. When I listened through Tribe’s discography in the days before Pitchfork, I was struck by a brief moment on “Mr. Muhammad,” off the group’s 1990 debut, People’s Instinctive Travels and the Paths of Rhythm. Just before a pitched-down sample of the vocal harmonies from Earth, Wind & Fire’s “Brazilian Rhyme” bubbles up in the mix, Q-Tip raps, “Muhammad push the button / Sample sing the score.” Tribe’s music recognizes the power history has over us—that we couldn’t get to where we are without knowing where we started. And the group’s approach to sampling gives the source material room to breathe—Q-Tip’s line, which Phife repeats later in the song, suggests as much—while allowing Tribe to create something new. In the middle of Tribe’s set, Muhammad broke the silence between songs by ﬁring up a recording of Phife’s a cappella vocals from The Low End Theory cut “Butter.” The stage was dark, save for a few white spotlights focused on Muhammad. Phife’s line “Smooth like butter” began to echo at the end of his verse, and Muhammad let that sample sing—allowing us to hear Phife anew, if only for a moment. v

v @imLeor JULY 20, 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. Lotte Lenya in Berlin in 1958 ò AP

Dálava ò FARHAD GHADERI

The artwork for Odd J’s Sanpo Disco mix

PETER MARGASAK Reader music critic

JENNA LYLE Composer, performer, Parlour Tapes cofounder

ERIC FERNANDEZ

Chiyoko Szlavnics, During a Lifetime This portrait CD features three serene, minimalist works by Berlin-based Canadian composer Chiyoko Szlavnics, built from haunting long tones and in two cases augmented by sine waves from Szlavnics. The newest is the 2015 title track, commissioned by Swiss saxophone ensemble Konus Quartett, which uses multiphonic techniques to create a spooky, meditative, overtone-rich environment. The other two pieces, composed in 2006 and ’08 and performed by UK group Apartment House, are just as beautiful and quietly absorbing.

Bryant Smith as a didgeridoo-playing cowboy prophet Funk trombonist Bryant Smith, creator of iO’s Electrodide, has a new project called Ayahuasca Baby. It’s a monthly variety show at iO (beginning July 25) that the theater describes as “featuring an enlightened fetusgod and narrated by a didgeridoo-playing cowboy prophet.” I can’t honestly say I absorb most of the actual words Smith says, but the juxtaposition of his gravelly, fetishy cowboy voice with the similarly pixelated drones of the didgeridoo is maybe the most satisfying and transﬁxing thing I’ve heard in a while.

Lena Willikens, RA.421 podcast “Trippy, rough and twisted” is how Cologne-based DJ and producer Lena Willikens describes her Resident Advisor podcast from 2014. I couldn’t agree more. Industrial, electro, disco—Willikens pulls from a number of genres to make this a haunting and engaging set. Keywords: analog, basement party, funk

Honest John, International Breakthrough On its second album, this Norwegian quintet led by reedist Klaus Ellerhusen Holm adds improvisatory daring to the intimacy and precision of chamber music, brushing oﬀ orthodoxies with the unexpected drum machine of percussionist Erik Nylander and the increasingly astringent playing of violinist Ole-Henrik Moe. The band’s sublime dexterity allows it to react en masse with the alacrity if not the humor of the ICP Orchestra.

Late-career Lotte Lenya singing Kurt Weill In the same way I enjoy Smith and his didgeridoo, I love how much I can hear Lotte Lenya’s body in her voice—especially during her later years. On a version of “Surabaya Johnny” I especially like, she uses the fact that she’s running out of breath to her advantage, seeming to push out air faster on purpose to give her phrases a hopeless, beleaguered feel. But she doesn’t overdo it. She would never.

Dálava, The Book of Transfigurations Vancouver singer Julia Ulehla and her husband, adventurous jazz guitarist Aram Bajakian, collaborate with cellist Peggy Lee and drummer Dylan van der Schyff to present sorrowful 19th- and 20th-century Moravian folk songs in a variety of styles: art-rock, folk, even archival recordings by the singer’s grandfather Jiri. Whether the arrangements are delicate or punishing, though, the beauty of the songs comes through powerfully.

26 CHICAGO READER - JULY 20, 2017

Whatever Dev Hynes does Dev Hynes’s music reminds me of an old outdoor wall with chipping paint. If you look closely you can see that somebody must have repainted it a hundred times—and now the color they picked in the 70s looks like sparkly urine beneath the cheesy but pleasing aqua blue from the 90s. Hynes’s work doesn’t just make era references but also reveals, via loving layers of production, the time and attention that went into its creation. And all of that is before you even see him perform.

Composer, techno artist

Rezzett, Goodness When I’m aimlessly drifting through a day or procrastinating on my to-do list, I like to throw this on the big speakers and sit down in my favorite spot—occasionally I get up and dance. Goodness, a 2015 EP from obscure London duo Rezzett, is a wild ride full of distortion, saturation, and fun sonic surprises. Keywords: fuzz, tape, hi-ﬁ meets lo-ﬁ, should I be dancing? Odd J, Sanpo Disco mix This is one of my favorite mixes from Melbourne-based radio show Sanpo Disco. By tossing in some saxophones alongside the synths and drum machines, Odd J’s mix makes me feel transported to a tropical paradise with all-youcan-drink rosé. Keywords: morning, summer, beach, vibes

Recommended and notable shows and critics’ insights for the week of July 20 b ALL AGES F

THURSDAY20

PICK OF THE WEEK

Julie Byrne Johanna Warren and J Fernandez open. 8 PM, Schubas, 3159 N. Southport, $15. 18+

Jayda G throws a dance party for the freaks

Singer Julie Byrne uses her lovely recent album Not Even Happiness (Ba Da Bing) as a kind of introspective travelogue, a search across this big country of ours for love, meaning, and purpose. Her delicate, misty voice tells cryptic stories as though it’s whispering directly in the ear of the listener. On the ethereal “Natural Blue” she offers context for her wandering when she sings, “Back on tour / Driving through southwestern towns,” but it’s the next verse that provides a greater sense of purpose. She sings, “When I first saw you / The sky, it was such a natural blue,” and in a number of songs it’s the presence of another person that defines her seeking. In the remarkable “Sleepwalker,” however, she finds a solution within, albeit again in the presence of another: “The one sense of permanence I felt was mine, only beneath your gaze.” Byrne’s gentle vocals get all the support they really need from her simple acoustic guitar strumming—mirroring the lightness of her voice—but here and there gorgeous accents arise, like the pretty flute assonance on “Melting Grid” or the sudden electric guitar twang that ripples through “Sea as It Glides.” Byrne will be joined for her set by touring partner Johanna Warren, who plays second. —PETER MARGASAK

Barry Harris Trio Through Sunday. 8 and 10 PM, Jazz Showcase, 806 S. Plymouth, $20.

ò FARAH NOSH

JAYDA G, SPECTER, SAMONE

Fri 7/21, 10 PM, Smart Bar, 3730 N. Clark, $18, $15 before midnight, $12 in advance, $5 for students before midnight.

JAYDA G WEARS several hats in her music and professional career, balancing her pursuit of an environmental toxicology master’s degree with her growing DJ career. She also manages the differences between her solo production work—which usually takes the form of more ethereal, downtempo, funky house—and the sonic avenues of her DJ sets, where she explores the sinuous tension of funk and the effusiveness of classic disco alike. A collaborator and friend of Berlin iconoclast and Sex Tags Mania mainstay DJ Fett Burger, Jayda is well acquainted with the stranger side of the dance community, though her recent mixes for Trushmix and Discwoman favor dance-ﬂoor populism over underground tinkering. Still, she said it best during a Q&A with Mixmag: when asked why she and Fett Burger named their label Freakout Cult, Jayda says simply and pointedly, “Because we wanted to do a party for the freaks!” Music for the freaks of the world that commits to, well, freaking out . . . that’s something worth celebrating. —AUSTIN BROWN

Our living links to the golden age of hard bop have seriously dwindled over the last couple of decades, making the continued vitality and drive of Detroitbred pianist Barry Harris, 87, all the more special. As a performer and educator he’s championed the music on which he cut his teeth—and now with so few of his colleagues remaining, a sound that might’ve seemed old-fashioned has become invaluable. Before relocating to New York in the mid-50s he was a busy pickup player for touring heavies, supporting the likes of Miles Davis with a rhythmic thrust that he learned from a rigorous absorption of recordings by Bud Powell, an inﬂuence that shaped his vaunted career. His skills led to a string of important work, none more meaningful than his strong presence in bands led by Cannonball Adder-

MUSIC

ley (he also worked with Dexter Gordon, Yusef Lateef, and Hank Mobley, among others). Starting in the early 60s, he launched fruitful relationships with Riverside and Prestige Records, which released a slew of strong mainstream eﬀorts under his leadership. Though his pace as a recording artist slowed long ago, he continues to perform, imparting wisdom with every sequence of notes he plays. —PETER MARGASAK

Lydia Lunch Retrovirus No Men and End Result open. 9 PM, 1st Ward, 2033 W. North, $15, $13 in advance. 18+

While the very name of this project helmed by veteran singer and antisocial icon Lydia Lunch addresses a rearview-looking mind-set, its unexpectedly long lifespan speaks to the way the combo has evolved into something bigger. Flanked by drummer Bob Bert—an old-school postpunk drummer who served time in Sonic Youth, Pussy Galore, and Action Swingers, among others—as well as guitarist and former Chicagoan Weasel Walter and bassist Tim Dahl, a pair as comfortable essaying punishing postpunk as they are lacerating free jazz, Lunch has improbably found the best, most enduring band of her lengthy career. Even though the material stretches back decades, it’s as vital and forceful as nearly anything she’s ever been involved with. Two years ago the group dropped a succinct album establishing its modus operandi: Urge to Kill (UgExplode) juggles songs from Lunch’s early 80s solo records as well as material from her great no-wave combo 8-Eyed Spy and collaborative efforts with folks like Roland S. Howard of the Birthday Party. The new performances up the intensity, which is only further heightened by the nasty rasp and sinister wheeze that age has visited upon Lunch’s voice. During a performance this last December in Paris— one which included a cover of Pere Ubu’s “Final Solution”—the singer proved that her world-weary humor in no way contradicts the ongoing misanthropy of her presence. —PETER MARGASAK

Planning for Burial My Empty Phantom and Trevor de Brauw open. 9 PM, Empty Bottle, 1035 N. Western, $8. Thom Wasluck was born in and is currently a citizen of Wilkes-Barre in northeastern Penn-

Lydia Lunch Retrovirus ò COURTESY OF THE ARTIST

JULY 20, 2017 - CHICAGO READER 27

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Find more music listings at chicagoreader.com/soundboard.

MUSIC

continued from 27

Tar ò SUN-TIMES MEDIA

FESTIVALS

R&B, noise-rock, mall punk, and a gala to support Experimental Sound Studio All Tomorrow’s Impeachments A bunch of midwestern noise-rock greats, including Tar (see page 31), Poster Children, Bear Claw, and Dianogah, play this two-day beneﬁt for the ACLU and the Southern Poverty Law Center. 7/21-7/22, Bottom Lounge, 1375 W. Lake, $40 per day, $65 two-day pass, 17+ Experimental Sound Studio Gala Local experimental-music hub ESS takes over Constellation for a gala and fund-raiser: Tortoise tops a bill that also includes TALsounds, a duo of Helen Gillet and Kim Alpert, and a trio of Jeff Parker, Ben LaMar Gay, and Tomeka Reid. Food by Sauce & Bread Kitchen. 7/22, Constellation, 3111 N. Western, ess.org, $50, 18+ V103 Summer Block Party Jill Scott headlines the third-annual edition of this R&B party, whose bill also includes Bel Biv Devoe, SWV, and Kelly Rowland. 7/22, Huntington Bank Pavilion, 1300 S. Linn White, v103.iheart. com, sold out, all-ages Warped Tour This year the world-famous one-stop mallpunk shop features Attila, CKY, Hawthorne Heights, I Prevail, and dozens more. 7/22, Hollywood Casino Amphitheatre, I-80 and Harlem, Tinley Park, vanswarpedtour.com, $42.50, all-ages

sylvania. That’s where I grew up as well. It’s a coal-mining region that stopped coal mining generations back. Thirty years ago the area was still dotted with giant heaps of black slag; there were even urban legends about how kids would get sucked into it like quicksand. The Wilkes-Barre population is old and getting older—young people leave when they can. When I was last there, every third business seemed to be a funeral parlor, which may explain the name of Wasluck’s one-man project: Planning for Burial. His latest album, Below the House (The Flenser), is a lyrical mix of drone and slowcore, an ominously bland elegy for nowhere in particular. “Whiskey and Wine,” inspired by Wasluck’s alcoholism, moves toward heavy funeral doom, with whining tones rising above the trudging grief and screaming, despairing vocals. “Warmth of You” has a gentler, indie Sonic Youth vibe. The lyrics are sung rather than screamed and remain suﬀused with failure: “I’m trying . . . I tried and I tried and I tried and I tried” isn’t an aﬃrmation but a prelude to giving up. The two-part “Dull Knife” is a textured wall of feedback for you to nod your head to under gray skies for 16 minutes. I wouldn’t exactly say the album made me homesick, but it did make me feel unsettled and sad, thinking of home. —NOAH BERLATSKY

FRIDAY21 Football, Etc. Mountains for Clouds, Warren Franklin, and Granddad open. 6:30 PM, Subterranean, 2011 W. North, $12, $10 in advance, 17+ At times I wonder if musicians who have gone fishing for gold in 90s-era emo are aware of the cliche frequently misattributed to Albert Einstein: the definition of insanity is repeating something over and over again in hopes of getting a different result. Houston fourth-wave emo trio Football, Etc. realize it takes just a bit of subtlety to unlock hidden powers in the gently recycled, plaintive melodies of emo’s yesteryear—even a slight shift in the breeze over the guitar chords can suddenly make everything feel both familiar and completely different. On their third full-length, May’s Corner (Community), Football, Etc. sound capable of shifting concrete; they’re precise and focused—not a word often associated with the emo of yore—and they find ways to improve on the genre as it exists today. The looping guitar riff that slowly builds through “U20” should feel familiar to anyone able to recognize the Crank! Records logo, while Football Etc.’s sturdy approach to emo’s sky-scraping lunges brings new shades and colors to the heavens they explore. —LEOR GALIL

Barry Harris Trio See Thursday. 8 and 10 PM, Jazz Showcase, 806 S. Plymouth, $20. J

JULY 20, 2017 - CHICAGO READER 29

Chicago forever.

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MAX WEINBERG’S JUKEBOX

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30 CHICAGO READER - JULY 20, 2017

Mountain Movers

MUSIC

ò NICKI CHAVOYA

sculptural matter. Despite their predilection for unkempt noise, Mountain Movers exhibit a strong focus on the record, with drummer Ross Menze and bassist Rock Omonte showing an impressive looseness that’s got nothing to do with sloppiness. On “Angels Don’t Worry” the former relies on cymbals much more than snare—at least until guitarists Dan Greene and Kryssi Battalene hit the eﬀects pedals. —PETER MARGASAK

continued from 29 Jayda G See Pick of the Week (page 27). Specter and Samone open. 10 PM, Smart Bar, 3730 N. Clark, $18, $15 before midnight, $12 in advance, $5 for students before midnight. Mountain Movers The Hecks headline; Mountain Movers and Matchess open. 9 PM, Empty Bottle, 1035 N. Western, $5. Though they don’t do much to disguise their inﬂuences, this quartet from New Haven, Connecti-

cut, kick up a deeply satisfying din by burrowing into their psychedelic comfort zone. On the recent eponymous album, their sixth full-length in total but ﬁrst for Chicago’s ever-reliable Trouble in Mind imprint, Mountain Movers use ﬁve extended tracks to reflect different points of reference: “I Could Really See Things” suggests a more extroverted Spacemen 3, “Everyone Cares” embraces a loose, almost jazzy groove and a languid vocal sound recalling the Velvet Underground, and “Vision Television” conveys the shambling, distended thrust of Swell Maps. Across the board, the combo can’t shake their abiding love for feedback and overdrive, using in-the-red-guitar machinations as raw

Tar See also Saturday. Part of All Tomorrow’s Impeachments. Bear Claw, Dianogah, Lardo, Nonagon, and Poster Children also perform. 7:30 PM, Bottom Lounge, 1375 W. Lake, $40 per day, $65 two-day pass. 17+ With Shellac, the Jesus Lizard, and Touch & Go— as well as Amphetamine Reptile Records just a clip away in Minneapolis—the Chicago posthardcore and noise-rock community of the early 90s was lush. And that doesn’t even count the dudes with the aluminum guitars. Tar commissioned the bizarre instruments from Ian Schneller at Specimen Products, and they soon thereafter became a signature for the band, even showing up on the album art of their 1993 EP Clincher. Though nimbler and little less hellﬁre than a lot of their peers, Tar still seethed with cycling metallic bass and measured bursts of rage that paired well with that onstage image

and arsenal. Their four full-lengths released by the two aforementioned imprints between sport a Mudhoney-like bite and snark that cuts through the very same vintage, muddy din that’s being imitated by 90s babies today—as they try to re-create the sound of their birth year. The band, which disbanded after 1995’s Over and Out, has reunited only here and there over the past decade or so, so this is most deﬁnitely a special occasion. —KEVIN WARWICK

SATURDAY22 Barry Harris Trio See Thursday. 8 and 10 PM, Jazz Showcase, 806 S. Plymouth, $20. Tar See Friday. Part of All Tomorrow’s Impeachments. Bear Claw, Lardo, Nonagon, Poster Children, and Poison Arrows also perform. 7:30 PM, Bottom Lounge, 1375 W. Lake, $40 per day, $65 two-day pass. 17+

SUNDAY23

Barry Harris Trio See Thursday. 4, 8, and 10 PM, Jazz Showcase, 806 S. Plymouth, $20. J

JULY 20, 2017 - CHICAGO READER 31

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Country Skyline Robbie Fulks & Friends

Navy Pier, Lake Stage

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continued from 31

MONDAY24 Amadou & Mariam Frank Waln opens. 6:30 PM, Pritzker Pavilion, Millennium Park, Michigan and Randolph. F b Few artists have done more to popularize the sound of West Africa than Amadou & Mariam. The blind Malian couple have built a career tweaking and modernizing traditional Mande forms, ﬁrst by underlining aﬃnities with American blues and then

MUSIC

by opening up their sound to outside producers, especially Franco-Iberian star Manu Chao, who has helped them achieve global fame. In recent years they’ve cast a broader net, with mixed results. The duo’s disappointing 2012 album Folila (Nonesuch) included collaborations with indie-rock and electro-pop artists, and the hybrids began to water down their essence. Later this year they’re due to drop a new album called La Confusion, and the ﬁrst single from it, “Bafou Safu,” indicates another shift, this time toward electronic dance music. The soulful, piercing vocals of Mariam Doumbia cut through synth-driven grooves, lending an air of solemnity to a song that otherwise J

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goes straight for the dance ﬂoor with posthouse rhythms and vocoderized backing vocals. Another track from the initial EP, “Filaou Bessame,” features the unmistakable spindly, bluesy guitar licks of Amadou Bagayoko. Still, the production has a tendency to box in the couple’s naturally spacious sound, compressing it with a radio-friendly polish and a saxophone line that sounds cribbed from a George Michael ballad. I’m sure the duo’s live show will break free of such studio constraints, but here’s hoping these early singles are anomalous to what follows. —PETER MARGASAK

TUESDAY25 Steve Earle & the Dukes See also Wednesday. 8 PM, Maurer Hall, Old Town School of Folk Music, 4544 N. Lincoln, sold out. b

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Steve Earle opens his latest album, So You Wannabe an Outlaw (Warner Brothers), with a cautionary tale that asks listeners considering his outsider path to think twice. If anyone can offer such warnings, it’s Earle, whose anti-Nashville posturing and copious substance abuse eventually landed him in jail. The title track features a cameo from fellow Texan Willie Nelson, one of Earle’s early inspirations and another singer who’s taunted mortality (and prison) for decades, but it’s Earle that sings, “Won’t nobody give a damn about you when you die / But the devil he comes for his due”—and while I’m pretty sure the singer is still alive, we get the point. Earle followed the original outlaw crew and fellow travelers like Townes Van Zandt and Guy Clark by a generation, but he turned their megaphone up much louder, flexing his contrarian muscles for decades. It could all merit lots of eye rolling if he weren’t so consistent. In a recent story in the Guardian the seven-time divorcee savages ex-wife Allison Moorer for leaving him, but he also says of nearly all male mainstream country singers, “They’re just doing hiphop for people who are afraid of black people”— he’ll take Kendrick Lamar. The new record is plenty strong, with a hearty dose of twang, masterfully driven home by the fiddle playing of Eleanor Whitmore and the woozy pedal steel of Ricky Ray Jackson. For every bit of over-the-top myopia he exhibits on something like “Fixin’ to Die,” he counters with the mordant wit of “Walkin’ in LA,” which basically explains that if walking is your sole mode of transport you’re fucked. —PETER MARGASAK

Melvins Spotlights open. 8 PM, Metro, 3730 N. Clark, $24. 18+

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34 CHICAGO READER - JULY 20, 2017

After 35 years of profound confounding, it’s a wonder the Melvins have any “ﬁrsts” and “never done befores” left. But they claim that the brand-new A Walk With Love & Death (Ipecac) is their only double album to date. That’s a little bit misleading, though. Album one, Death, now, that’s a real Melvins record—from the eerily percolating, almost Pere Ubu-like “Black Heath” to the huge, shrieking barn burner “Euthanasia” to the heavy psych chug of “Edgar the Elephant.” The second half, Love— spun as a soundtrack to an indie art ﬁlm—is produc-

Melvins ò CHRIS CASELLA

ing some indignant squawking from reviewers for its self-indulgence and shapelessness. (Compare its reception to that of Lou Reed’s Metal Machine Music, and we’ll see if it’s lauded decades later the same way that monumental work of fuck-you was.) It’s decadent, for sure, but if fairly mainstream pop culture can now embrace the sheer bizarritude of, say, David Lynch’s extreme Lynch-ness in the new Twin Peaks, we can roll with some undiluted inner Melvins goo. This probably isn’t the one you’re going to use to convince your uninitiated friends, though. —MONICA KENDRICK

WEDNESDAY26 Born Days Hanna Brock, Lykanthea, and Rasplyn open. 8:30 PM, Elastic, 3429 W. Diversey, $10 suggested donation. b Melissa Harris, who records and performs under the name Born Days, describes her project in dark tones. Though her new self-released debut EP Be True is built on barren synth landscapes that feel liable to crack and dissolve each time a stark electronic drum slams down, she nevertheless manages to ﬁnd a sliver of sunlight so that she can direct some heat on her material. Her yearning vocals, which tiptoe the line between whispered singing and monotone half-talking, exude a subtle sense of hope even as her lyrics contemplate anxiousness and misery. While the cinematic, corkscrew synths that anchor lead single “Analogue” build on Harris’s lyrical exploration of the complexities of decision making—in the process forging a labyrinthian terrain that threatens to swallow her whole—Harris maintains an austere composure throughout. When she explores the highest notes of her voice in the wordless segments of the chorus it’s as if she’s creating her own secret escape from the music’s maze. —LEOR GALIL

Steve Earle & the Dukes See Tuesday. 8 PM, Maurer Hall, Old Town School of Folk Music, 4544 N. Lincoln, sold out. b v

FOOD & DRINK

RESTAURANT REVIEW

Daisies pushes pasta in a midwestern direction

Chef Joe Frillman’s veg-heavy pastatorium has range that extends far from Italy. By MIKE SULA

or a short time at least, no one is going to talk about Daisies without talking about Analogue. Analogue, which could only be described as a Cajun cocktail bar, became one of the most lamentable restaurant closings of 2016, after its principal talents (the chef and founding bartenders) exited the restaurant, which then shuttered two months later. Everybody loved Analogue, and everybody was sorry to see it go. Now the space, on an enviable strip of Logan Square teeming with nightlife, might as well be haunted. It certainly isn’t fair, but any new restaurant that moves into these digs has to make a resounding first impression if it wants everybody to stop worrying about the ghosts of Analogue while they’re trying to enjoy a negroni or spool up a garlicky tangle of gossamer tajarin sprinkled with crumbled fried chicken skin. That’s a lush, extraordinarily satisfying dish that at the very least creates a pretty good first impression of Daisies. Created by chef Joe Frillman, a veteran of the Bristol, Perennial,

DAISIES | $$ R 2523 N. Milwaukee 773-661-1671 daisieschicago.com

From left: pierogies with a lemon saison sauce, tempurabattered mushrooms and cheese curds with a tangy green goddesss dressing, whole wheat tagliatelle with walnuts and pesto made from fava bean leaves ò JAMIE RAMSAY

and Balena, it evokes the kind of contentedness you feel when you eat perfectly cooked scrambled eggs. At Daisies Frillman’s offering eight pasta dishes, nine, really, if you count a pasta salad appetizer. I’m interested in knowing who would go for a pasta salad starter and then follow it with something like mushroom ragu pappardelle or whole wheat tagliatelle with walnuts and fava bean pesto. I’ve never met anyone like that. That pasta salad—bowties!—is perhaps more designed for the minority of guests who choose to reject Frillman’s dreams of pasta world domination and instead order his cornflake-fried chicken or a piece of Lake Superior whitefish, the only two entrees on the menu. At least there’s not a burger, which as I’ve pointed out before has been a virtual requirement at Chicago’s recent clutch of vegetable-oriented restaurants, in which camp Daisies resides. The cornflake chicken arrives in the form of flattened schnitzel-style planks of fried, dry, white breast meat that, relative to the vibrancy of much of this menu, taste like they were grown in a lab, served beside a scoop of rhubarb compote. After that I thought it best to concentrate on the pasta, and the eight starters that are Frillman’s pawns in the vegetable game of thrones that chefs are playing this summer. There’s a dish I predict Frillman’s future regulars will never allow him to take off the menu: tempura-battered mushrooms and cheese curds with a tangy green goddesss dressing. It’s a crunchy, creamy, melty marriage of fat and meaty fungus that made everyone I ate it with turn into slack-jawed zombies. This is a combination designed to combat the most urgent symptom of cannabis consumption. Theoretically the same condition could be addressed by a plate of potato chips and onion dip—yes, the same thing you eat at barbecues, picnics, church lock-ins, and Netflix marathons on the couch. Here at least there’s no assertive chemical taste like that of a dip made from a supermarket soup mix. It’s a dainty plate of thin, nicely browned waffled chips with a cool dollop of gently onionized dairy; a miniature presentation of what you’re probably used to seeing out in the wild, and not something you’d use to tame a beastly hunger. For better and worse, both of these appetizers represent something we’ve seen again and again recently: chefs applying J

JULY 20, 2017 - CHICAGO READER 35

king crab house

FOOD & DRINK continued from 35

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midwestern ideas, ingredients, and flavors to foreign cuisines (see Kitsune, Mango Pickle). This is most evident among the pastas, which are represented by six traditional Italian shapes—and pierogies. Besides that, almost nothing else on the menu even hints that it’s been nudged by the Italian boot. Well, OK, there’s a dusting of Calabrian chile burn on the grilled zucchini showered with Parmesan flakes. And at this point in our culinary history, burrata has accepted U.S. citizenship and taken up permanent residence on all kinds of menus from coast to coast. Here it hides under a verdant pea shoot salad showered in a light spring onion vinaigrette—a veritable garden party for your guts. An abundantly refreshing butter lettuce salad offers some of the only pork on the menu—dark, crunchy guanciale bits showered over the greens and sweet stretches of pickled red onion. Luscious segments of softpoached and charred leeks are smothered in creamy hollandaise sharpened with mustard. Practically no Daisies diner will fail to order the carrot rillettes—a puck of finely shredded carrot cooked in duck fat, frosted on top with horseradish creme fraiche. It sounds alluring, but all of its attendant components— from grilled fennel bread and seed-studded Publican Quality Bread crackers to the thin ribbons of pickled carrot—trump the sweet, soft carrot mass. That dish is among three on the menu that are disturbing. Along with the aforementioned chicken, the third is a plate of glistening blood-red agnolotti, a reprise from Balena, stained by beet juice, filled with feather-light ricotta, and dressed with dill and smoked trout roe. It presents a lovely eastern European profile but appears on the plate like something a surgeon might remove from the lower thorax. Sorry—I just had to get that out of the way. The rest of the pastas range from very good to sublime. That would be the previously mentioned tajarin, as well as its opposite: wide ribbons of toothy pappardelle in a chunky mushroom ragu. This is the plate of pasta you wish for when you’re cold, alone, and running out of hope. I feel like whenever a soulful chef puts pierogies on the menu, they’re stuffed with his grandmother’s disappointment. But Frillman’s potato dumplings are pillowy, browned pockets of redemption that sparkle with a lemon saison sauce. (Never mind the

extraneous shelled clam meat that shows up with them.) There are also some meaty pastas on the menu: tortellini stuffed with pureed beluga lentils, chunks of pork sausage, and kale; wide sheets of thick stracci (literally “rags”) with shreds of braised lamb and sweet English peas. But the whole wheat tagliatelle with walnuts and pesto made from fava bean leaves is singular, straddling the divide between the grace of the lighter pastas and the heartiness of the heavier ones, and providing a pleasing garden-green visual antidote to the gory agnolotti. Dishes like that can help you forget that the space Daisies inherited—at least the front dining room and bar—is a small, close, and claustrophobic universe. The hostess is jailed in a tiny black box that serves as the entrance, and on warm evenings the air-conditioning can’t prevent things from getting a bit clammy. Analogue was primarily a bar, so it had a right to be somewhat dark and mysterious, but valiant efforts have been made to brighten up the space by letting in some natural light near the front and adorning the walls with pretty watercolors of vegetables in close-up. Still, the dining area in the rear provides better breathing room, and the patio at the moment is the perfect place to enjoy a user-friendly wine list, presented in a twotier price-point format—all bottles at $39 or $59, and all available by the glass. That includes surprising options like a peachy, gently effervescent, and dry rosé from downstate Utica’s Illinois Sparkling Co., and McPherson Cellars’ Les Copains, a fruity rhone blend from Lubbock, Texas, that can stand up to anything on the menu. While the storefront is no longer home to a cocktail bar, there are cocktails, such as a barely bitter negroni sweetened by amaro, and an only slightly oversweetened rye old-fashioned that looks like purple Kool-Aid thanks to the power of beets. Desserts seem to be an afterthought: a cloud-light Kahlua cake and a seasonally varied fruit-and-oat bar. Despite the improved but still imperfect design of Daisies, I have faith that people will begin to talk about the restaurant wholly on its own terms. And apart from a few dishes that ought to be rethought, Frillman is a chef of enough original talent to chase away whatever ghosts of restaurants past that may still reside in the minds of his guests. v

v @MikeSula

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nstant ramen is one of the most typical examples there is of a highly processed, factory-produced food. But when Kiel Schelich of Eight Bar challenged JILL ANDERSON, bar manager at THE DRIFTER, to create a cocktail with INSTANT RAMEN SEASONING, her mind went immediately to Willowthorne, the small farm she owns just south of Chicago. “This week all kinds of stuff was popping: we were able to pull honey out of our hives, we had a few tomatoes that started ripening up, we had all this amazing purple ruffled basil that came up,” Anderson says. “I was thinking, how do you take this very processed product and make it into a fresh, summery, farm-focused cocktail?” Anderson started with the ramen seasoning, stopping at Jong Boo Market to look for ﬂavors beyond the ones available in most grocery stores. “I found that the flavors are very diverse,” she says. “They’re not quite as salty as I had imagined, so I could get some really cool, nuanced flavors. I chose one that’s more on the teriyaki side.” (The ramen package doesn’t contain much English beyond the words “noodle soup” and “gourmet spicy,” so she isn’t sure what the ﬂavor is officially called.) Anderson stirred the powder into spring honey from her farm, tasting to achieve the right salty-sweet ratio. Then she chose her spirit: Gustaf Navy Strength Gin, which she

describes as grassy in ﬂavor, without too much juniper. She muddled a few tart early tomatoes and shook all the ingredients with lemon juice before straining the mixture into a coupe glass. A few drops of Kensington Aromatic Bitters added notes of citrus, resin, and spice, Anderson said. She garnished the drink, which she dubbed the Summer Ramen-San, with purple ruffled basil and a skewer of beef jerky, dried tomato, and fresh tomato.

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Anderson has challenged SARAH SYMAN of OTTO MEZZO to create a cocktail with KIMCHI. v

v @juliathiel

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in Health Administration or appropriate combination of education and experience plus three years of experience in the job offered or with clinical research protocols re quired. Required skills: 3 years of experience with each: protocol compliance; preparation & maintenance of regulatory documentation; informed consent process; clinical data mining. Criminal background check required. Send resume to: Anna P. Wright, REF: KKA, 676 N. St. Clair, Suite 1200, Chicago, IL 60611.

REGULATORY COORDINAGLOBAL EQUITY ANALYST TORS, SENIOR (Chicago, IL) LOCATION: Chicago, IL

Specific Responsibilities: Regulatory Coordinators, Senior for Chicago, IL location. Coordinate and guide the review and approval process of all research activities associated with complex clinical research studies involving human subjects ensuring the protection of their safety, rights and welfare. These studies are considered complex by the inclusion of several of the following: multiple investigators; teams; sites; subcontracts; participants; longitudinal assessments/interventions; multi-million dollar budgets. Interpret and apply rules and recommend and guide principal investigators and research staff in the preparation, creation, submission, and maintenance of regulatory documentation and reporting of study activities ensuring appropriate protocol compliance, including informed consent process, modifications, amendments, safety reports, etc. Liaise between research staff and internal/ external regulatory/oversight groups. Work with clinical data mining teams to derive regulatory components for FDA and IRB submissions. Represent Regulatory Department on NU-IIT team in planning and implementation of Phase I trials. Provide training and guidance to junior staff. Technical Environment: EMR/ EPIC. Qualifications: Bachelor’s degree

Perform stock screening and initiate coverage on public companies with focus on the Japanese equities; conduct fundamental and primary research, develop investment thesis, build valuation models and write initiation reports; lead conference calls with management or investment relation of target companies; present investment recommendations to portfolio manager and engage in ongoing position monitoring and trading decisions; prepare reports of findings, illustrating data graphically and translating complex findings into written text; and provide support and manage portfolios with understanding of finance, accounting, and business strategy. Master’s in Business Administration, Economics, Finance, or related field or foreign equivalent. One (1) year of business experience. Will accept any suitable combination of education, training or experience. Fluency in Japanese. Send resumes to: Ref#140 HR Dir, Cedar Street Asset Management LLC, 455 N. Cityfront Plaza Drive, Suite 1710, Chicago, IL 60611; EOE

Software Developer Needed Software Developer needed to develop, create, and modify general computer applications software or specialized utility programs. Analyze user needs and develop software solutions. Build new data pipelines to interconnect the massive data lakes to the Business Intelligence tools to design advanced analysis and business models; develop the forecast models for the business peaks and downs in future that leads to act before hand to avoid

Retail

BINNY’S IS HIRING! Binny’s Beverage Depot is the Midwest’s largest upscale retailer of ﬁne wines, spirits, beers and cigars, and due to our continued growth, we are now looking for dedicated individuals to join our team at our Portage Park location.

STORE ASSOCIATES Full Time and Part Time

We are seeking energetic, customer-oriented individuals to perform a variety of store functions. Qualiﬁed persons must be over 21 years of age, able to lift 40-50 lbs. and available to work ﬂexible hours. Previous retail experience a plus with cashier or stock experience preferred. Candidates must be able to work nights & weekends.

Please apply online at: www.binnys.com/careers

EOE

38 CHICAGO READER | JULY 20, 2017

the impact. All of the above duties will be performed using a wide variety of tools, but most importantly Apache Hive, Kafka, Spring XD, and HBase. Work location is Arlington Heights, IL and various unanticipated locations throughout the US which may require relocation. Resumes to Aclat Inc., Attn: HR, 5 E College Drive, Suite 100, Arlington Heights, IL 60004. Resume must specifically identify all education & skills relevant to job offered. COMPUTER SYSTEMS ANALYSTS ZENSAR TECHNOLOGIES, INC.

has openings in Oak Brook, IL. All positions may be assigned to various, unanticipated sites throughout the US. Job code USOBIL131 Computer Systems Analyst (Assessments): analyze & assess bus. req.s & user stories. Job Code USOBIL132 Computer Systems Analyst (Developments/Enhancements): feasibility & scoping + functional spec.s. Job Code US-OBIL134 Computer Systems Analyst (Document/Req.s): business flows, documents & testing. Job Code USOBIL135 Computer Systems Analyst (Root Cause/Analysis): enhancements, troubleshooting & resolutions. Mail resume to: Prasun Maharatna, 2107 North First Street, Suite 100, San Jose, CA 95131. Include job code & full job title/s of interest + recruitment source in cover letter. EOE

BUSINESS MU SIGMA, INC. has multiple

openings for the following positions in Northbrook, IL & various, unanticipated sites throughout the U.S.

ENGAGEMENT MANAGER (11089.77) to conduct organizational studies and evaluations, design systems and procedures.

REGIONAL HEAD (11089.143)

responsible for overall delivery of organizational studies and evaluations, design systems and procedures and work simplification and measurement studies to assist in operational efficiency.

nancial projections; capturing & analyzing KPI data for depts; SQL db mgmt sys. Bkgd check req’d. Send resume to: A. Fary, Ref JL, 1155 E 60th St. Chicago, IL 60637 HDI GLOBAL INSURANCE CO.

is seeking a Risk Engineer in Chicago, IL with the following requirements: MS in Mechanical Engineering or Fire Protection Engineering plus 2 years related experience. Prior experience must include at least 2 years with each of the following: performing Fire Risk Assessment and Fire Hazard Analysis including evaluation of fire p revention/protection features including sprinkler systems, fire detection and alarm systems, hazardous materials use, storage, and associated safeguards, Fire and Life safety Code evaluation; inspecting, validating and testing the installation of fire protection systems; performing fire protection code analysis and compliance review; performing Smoke and Fire modeling utilizing Fire Dynamic Simulation. 34% travel required. Submit resume to IT.employment@us.hdi. global and reference Code #072682.

SOFTWARE ENGINEER (WEX

Developer). Des./develop apps to access markets & execute large-scale trades, process hi-speed computations, and process transactions using code. Master’s deg. (Computer Science or related field) req’d. Min. 2 yrs’ exp research engineer or software engineer posn’s involving C/C++ code to develop apps for high-speed computations req’d. Must pass standardized coding test. Wolverine Trading Technologies, LLC, Chicago, IL. Resumes to: Recruiting, Wolverine Trading Technologies, LLC, 175 W. Jackson Blvd., Suite 200, Chicago, IL 60604.

PRODUCTIVE

EDGE

LLC.

is seeking a Team Lead SW Engineer for Chicago, IL. Manage team of Developers who are integrating the Dynatrace mobile perf. monitoring framework with complex white-label mobile apps. in order to monitor data, including but not limited to app runtime performance, network communication speed, event, checkpoints & establish reporting/support frameworks to react to alerts. Email resumes to careers@productiveedge. com.

Must be available to work on projects at various, unanticipated sites throughout U.S. To apply, send resume to recruitmentgc@mu-sigma. com. Must reference title & job SW ENG — Comcast Cable Comm, number to be considered LLC, Chicago, IL. Build & maintain SW apps used to help Co’s agency & mrktng customers manage their media cmpaigns. Reqs. Bach in CS, Engin or rltd & 6 mos exp dvelp .NET, web-based SW in Agile environ, utilize C#, JavaScript, npm, HTML, CSS, TECHNOLOGY jQuery & SQL in ASP.NET Web API & ADVISORY MANAGER, ASP.NET MVC frmwrks. Apply to: ann SALESFORCE TECHNOLOGY e_duong@cable.comcast.com. Refer (MULT. POS.), to Job ID# 0237

PricewaterhouseCoopers Advisory Services LLC, Chicago, IL. Leverage the Salesforce tech. & platform to transform sales, service & marketing capabilities. Req. Bach’s deg. or foreign equiv. in Comp Sci, I.T., Electronic Eng or rel. + 5 yrs post-bach’s progressive rel. work exp.; OR a Master’s deg. or foreign equiv. in Comp Sci, I.T., Electronic Eng or rel. + 3 yrs rel. work exp. Must have at least one of the following Salesforce.com certs: Certified Administrator, Certified Developer or Certified Sales/Service Consultant. Travel up to 80% req. Apply by mail, referencing Job Code IL1325, Attn: HR SSC/Talent Management, 4040 W. Boy Scout Blvd, Tampa, FL 33607.

The University of Chicago seeks Associate Directors of Data Analytics, Academic & Student Affairs for Chicago, IL location to implement new methods to collect & analyze data for Academic & Student Affairs depts. Bachelor’s in Public Policy/Statistics/ related discipline +2yrs exp req’d. Req’d Skills: Slate, Symplicity, Salesforce in higher ed. environment; designing survey questionnaires, survey tools & analysis (SurveyMonkey, Qualtrics, Tableau); machine learning, statistical & regression analysis tool (Stata); predictive analytics & modeling for enrollment & academic performances; capturing & analyzing career outcomes data; forecasting tuition revenue & fi-

NATIONAL SALES DIRECTOR: promote sales, mktg & tech. support; develop sales strategies. BS in Indust. Eng. & 2y exp. req. Travel is req. Mail res: Shamrock International Fastener LLC, 1475 E Industrial Dr, Itasca, IL 60143

STUDIO $600-$699 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

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 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

1 BR UNDER $700 SUMMER SPECIAL: STUDIOS starting at $499 incls utilities , 1BR

$550, 2BR $599, 2BR $699, With approved credit. No Security Deposit for Sec 8 Tenants. South Shore & Southside. 312-446-3333 or 773-2879999

SUMMERTIME SAVINGS! NEWLY Remod. 1 BR Apts $650 w/

gas incl. 2-5BR start at $650 & up. Sec 8 Welc. Rental Assistance Prog. for Qualified Applicants offer up to $ 400/month for 1 yr. (773)412-1153 Wesley Realty

7022 S. SHORE DRIVE Impeccably Clean Highrise STUDIOS, 1 & 2 BEDROOMS Facing Lake & Park. Laundry & Security on Premises. Parking & Apts. Are Subject to Availability. TOWNHOUSE APARTMENTS 773-288-1030 WEST PULLMAN (INDIANA

Ave) RENT SPECIAL: Pay 1st month rent only - No Security dep req’d. Nice lrg 1BR $575; 2BR $699 & 1 3BR $850, balcony. Sec 8 Welc 773995-6950

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)

6933 S. STEWART, 1 B R , stove & fridge incl. Churches on 3 corners, schl 1/2 blk away. $530. 773-568-2384, must leave name & number. REMODELED 4 1/2 RM apt.,

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

SOUTH SHORE AREA Newly remod Studios. Near Metra & CTA, appls incl. $500-$525/mo. Steve 312-952-3901

BIG ROOM with stove, fridge, bath & nice wood floors. Near Red Line & Buses. Elevator & Laundry, Shopping. $121/wk + up. 773-561-4970

108TH & PRAIRIE: 1BR $685 & 2BR $750, Newly decorated, heat & appls incl. Section 8 ok. 888-2497971

SOUTH SHORE NICE and Cozy w/hdwd flrs, 1-2BR Apts. $630$770/mo. Huge 3BR/2BA. $1020/ mo. 76th/Saginaw. 773-445-0329

CHATHAM - 7105 S. Champlain, 1BR. $640/mo. Sec 8 OK. Heat & appl. Call Office: 773-9665275 or Steve: 773-936-4749 6930 S. SOUTH SHORE DRIVE Studios & 1BR, INCL. Heat, Elec, Cking gas & PARKING, $585-$925, Country Club Apts 773-752-2200 ONE MONTH FREE. Move In NOW!!! Studios - 1 Beds Hyde Park. Call Megan 773-285-3310

1 BR $700-$799 NO APPLICATION FEE Studio. $675 1BR. $750. Near Metra & shops, Section 8 OK. Newly decorated, dining room, carpeted, appls, FREE heat & cooking gas. Elevator & laundry rm 1-773-919-7102 or 1-312-802-7301 10815 S. KING DR., updated, hdwd flrs, 0/mo. Tenant pays Credit check req’d. 484-9250

3BR, C/A. own Call

2BA, $110 heat. 773-

8322 S INGLESIDE, 1BR, $660/ mo, newly remodeled, hrdwd floors, cable, laundry, Sec. 8 wel-

come. 708-308-1509 or 773-4933500.

CHICAGO A MUST See!! 4.5 rooms, 1BD. Heated, 2nd flr, fridge & stove. $750/mo + utils. 773-7233482 contact between 12 & 5pm CHICAGO, 107th & King Dr, Totally Rehabbed 1BR, New appliances & carpeting, heat included. $72 5/mo. Call Frank 708-670-8727 AUBURN GRESHAM; 80TH & Paulina, 2 bed - $795, Heat included, FREE MONTH! Call 773-6698060 NEWLY REHABBED 6642 S. Evans 1 & 2 Bedroom apartments. $700-$800/month + security. SS appl. Tenant pays util. 773-858-3163

108TH ST., LOVELY 4 rm, 1BR, liv rm, din rm, kitchen/bath, heated & hw flrs. Close to trans. Avail now. Also, 1BR w/ crpt avail. 773-264-6711

735 N. LOREL. 4rms, 1BR, Fresh

CLEAN ROOM W/FRIDGE & micro, Near Oak Park, Food -4Less, Walmart, Walgreens, Buses & Metra, Laundry. $115/wk & up. 773-637-5957

77th/Drexel. 2BR. $700. 773-874-9637 or 773-493-5359

RENTALS

NICE ROOM w/stove, fridge & bath Near Aldi, Walgreens, Beach, Red Line & Buses. Elevator & Laundry. $130/wk & up. 773-275-4442

1BR, 1BA, LR/DR, kitc, hdwd flrs, 2nd flr, nice area, $850/mo., 1 mo rent_+ 1 /2 mo security, Call btwn 9-5, 773995-8605 ask for Ethel

CPA/Bookkeeper Burr Ridge distributor seeks PT accountant. Monthly bank, A/R, A SECTION 8 WELCOME /P & inventory reconciliations. Prep monthly financials. All as- Newly Decorated 74th/East End. 1BR. $625. pects of G/L

REAL ESTATE

CHICAGO 225 W. 111TH ST. Lovely spac 1.5BR, 1st flr. Crpt, Ceiling fans, tenant pays all utils $600 + sec dep. 773-568-2546

NEWLY REMOD 1BR & Studios starting at $580. No sec dep, move in fee or app fee. Free heat/ hot water. 1155 W. 83rd St., 773619-0204 SUMMER SPECIAL $500 Toward Rent Beautiful Studios 1, 2, 3 & 4 BR Sect. 8 Welc. Westside Loc, Must qualify. 773-287-4500 www.wjmngmt.com

Newly updated, clean furnished rooms in Joliet, near buses & Metra, elevator. Utilities included, $91/wk. $395/mo. 815-722-1212

MARQUETTE PARK: 6315-19 S . California, 1 Bedrooms from $675, 2 Bedrooms from $825. Heat included. Call 312.208.1771

rehabbed, new appliances, new heat and water incl. $750/mo + 2 mo sec. 847-451-1669

LARGE ONE BEDROOM near

the lake. 1335 W Estes. Hardwood floors. Cats OK. Heat included. Laundry in building. $925/month. Available 9/1. 773-761-4318.

1 BR $1100 AND OVER DELUXE BRIDGEPORT LOFT ,

Custom Beamed Ceilings, Marble Fireplace, Large Sundeck, Washer/ Dryer, appliances, $1,395 Per Month, $25 credit check 773-373-7368

5 ROOM 2 bedroom apartment

$1150 per month plus 1 month deposit. No Pets. 4008 N Central Park. Call ZINGG REALTY 708 355-1106

1 BR OTHER APTS. FOR RENT PARK MGMT & INV. Ltd. IT’S MOVING TIME!!! OUR UNITS INCLUDE HEAT, HW & CG Plenty of parking 1Bdr From $775.00 2Bdr From $925.00 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 ∫

MOST BEAUT. APTS! 6748 Crandon, 2BR, $875. 7727 Colfax, 2BR, $875. 6220 Eberhart, 2 & 3BR, $850-$1150. 7527 Essex, 2BR, $950 773-9478572 / 312-613-4424 CALUMET CITY 158TH & PAXTON SANDRIDGE APTS 1 & 2 BEDROOM UNITS MODELS OPEN M-F, 9AM-5:30PM *** 708-841-5450 *** SPACIOUS-SAFE 773-4235727. BRONZEVILLE, 3BR, heat included. Englewood, 1,2 & 3BR, heat incl. Dolton, 2BR, Gated Parking. CHICAGO - BEVERLY, large studio, 1 & 2BR Apts. Carpet, A/ C, laundry, near transportation, $680-$1020/mo. Call 773-2334939 CHICAGO, 11019 S. Vernon,

1 BR $800-$899 SECTION 8 WELCOME SOUTHSIDE, Recently renovated, 1 BR Apts. FREE HEAT! $800-$1000/mo. Call Sean, 773-410-7084

3600 W IRVING 1 bedroom apartment $850 plus 1 month deposit. No pets. ZINGG REALTY 708 355-1106

1 BR $900-$1099 LINCOLN SQUARE/ WINNEMAC PARK (5000N.2200W.) 1 bedroom + den, 2nd floor, owner occupied 2-flat, newly decorated, dishwasher, C/A, no pets. Security deposit, credit check. $1025. 773-561-9266.

ONE BEDROOM NEAR Warren

Park and Metra. 6804 N. Wolcott. Hardwood floors. Cats OK. Heat included. Laundry in building. $925/ month. Available 9/1. 773-761-4318.

Studio $500. 2bdrm. $750. Heat Incl. Section 8 OK. No Sec Dep. Call 312-326-3692

1BR, 1ST FLR, Newly rehab, hdwd

flrs, spac, appls, lndry facility, Quiet bldg. Gated backyard. Sec 8 ok. 773344-4050

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 BEAUTIFUL 1BR APT. All utilit-

ies & appliances included. 1306 N. Cicero $700/mo; 5510 W Cortland $8 00/mo. 773-354-2819

CHICAGO - CLEAN, NEWLY remod, 1BR, 2nd floor Apt, oak flooring. Ready Now! 722 E. 89th St. FREE HEAT. 708-951-2889 CHICAGO SOUTH SIDE Beauti-

ful Studios, 1,2,3 & 4 BR’s, Sec 8 ok. $500 gift certificate for Sec 8 tenants. 773-287-9999/312-446-3333

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 92ND & LAFLIN. 2BR clean, fenced brick 2 flat, hw flrs, custom mirrors & blinds, appls incl, ceiling fans, A/C unit, enclosed b ack porch. $800 + sec. no pets. 773-881-8699

CHATHAM: QUIET NONsmoking building. 2 bed, 1 bath, 2nd floor, appliances included, inter-

com, $850/month, heat included, cats okay, 1/2 block to CTA and Metra. 708-261-6566

CALUMET CITYApt Wall to wall heat & appliances month’s security, 708-323-8317

Large 2BR carpeting, included, 1 $825. Call

97TH & YATES. Town-Hse,

2 BR $900-$1099 110TH & VERNON. Large 2BR,

NR 76TH & MARSHFIELD.

2BR Bsmt apt incl heat & W/D, close to transportation, shopping and schools. $730/mo. 773-349-5534

CHATHAM 556 E. 89th St. 2BR Garden Apt, Cent heat, tenant pays utils. $700/mo + 1 month rent and 1 month sec 773-617-3499 AUBURN GRESHAM: 1401 W.

80TH 2BR from $775, Free heat - no deposit. Open House 12PM-2PM 07/ 22 Call 773-669-8060 CHICAGO, 8000 S. Hermitage, 2BR, $675/mo + security. Tenant pays own heat. Call James Dennis, 312-683-6837 SECTION 8 WELCOME! 4950 S. Prairie. 1BR. $680+. remod, hdwd flrs, appl inc, laundry on site. Zoran 773.406.4841 SECTION 8 WELCOME! 7410 S. Vernon 2BR, 1st flr, remod, hdwd flrs, appl & heat inc, laundry on site $815+ Zoran 773.406.4841 CHICAGO

7600 S Essex 2BR

$599, 3BR $699, 4BR $799 w/apprvd credit, no sec dep. Sect 8 Ok! 773287-9999 /312-446-3333 91st/Ada 5 rms, 2BR, decor, hdwd

flrs, c-fans, modern kit and BA, tenant pays heat. $725 + sec. Brown R.E. 773-239-9467®

773-715-1591

mo & Quiet area 1140 E. 81st Pl. 1BR. $670/mo. Heat & appls incl. Living & dining rm, newly remodeled. No Sec Dep. Sec 8 OK. 312-915-0100.

GLENWOOD, Updated lrg 2BR Condo, HF HS, Balcony, C/A, appls, heat/water incl. 2 pkng, laundry.

2111 E. 67TH ST. 2BRM, 1BA, hdwd flrs, SS appls, central heat and air, dishwasher and W/D in unit. $1050/mo. Call 773-495-0286

$975/mo. 708.268.3762

2 & 3BR House

& Townhome. Matteson, Sauk Village, University Park. Section 8 OK. Call 708-625-7355 for info.

CHICAGO 6654 S. UNIVERSITY

CHICAGO - 1206 E. 82nd St. 2E. 2BR, newly remodeled, carpet, security bar doors, heat incl. CHA tenant welcome. 708-957-9004

2BR,1BA Condo Apt, all utilities incl, Sec 8 OK. 1BR Voucher OK. $1000/mo. Call Jerry, 773-699-5774

CHICAGO- 2ND FLR unit. 2BD,

2BR, 5rm, 2nd floor, appls, parking, storage & closet space, near shops/ trans. $900 + sec. 708-335-0786

ENGLEWOOD 2-4BR unit apts in 2 unit gated bldgs, hdwd flrs, pets OK, no sec dep, W/D & appls incl, tenant pays own utils

8200 S. DREXEL XL 2BR $995/

55 W. 68TH ST. 2BR, granite countertops in kitchen, newer appls., hdwd flrs, lndry on site, gra nite/marble bath, $850. 773-4181132

FREE HEAT 94-3739 S. BISHOP.

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

SECT 8 WELC, 71st & Wentworth, newly decorated, 2BR, $850/mo, heat incl, lndry on site. Contact Frank, 708-205-4311

7904 S WABASH: Unit 3A - 1

BELLWOOD, BEAUTIFUL garden apt, 2BD, c/a, laundry, stove, fridge, & water included, $850 month plus 1 month security, 630363-6690

ROUND LAKE BEACH, IL Cedar

Quiet Building w/ many long term tenants, Heat/appls, Laundry Rm, $925/mo no sec/appl fee, 312-388-3845

2 story, 5rms, 2BR - newly decor, bsmt, yrd, side drive, nr trans & shops, $750 + sec. Brown R.E. Inc. 773-239-9467

APTS: 70th/Aberdeen. 2BR, 1st floor, $695 & 3BR garden apt, $725. 1 mo rent + 1 mo sec. laundry rm, heat incl, hdwd flrs. 773-651-8673

2 BR OTHER

bedroom, $745.00, Free heat, GRANITE COUNTER TOPS, Call 312-2081771 1BA in Chatham. Utils not incl. App fee of $50 per adult. $900/mo w/ move in fee. 773-717-2051

7530 S. LANGLEY, 2BR, 1BA Apt

hdwd flrs, 1st flr, updated kitchen and Bath, heat incl. Sec 8 Welc. $950+. 773-383-4718

68TH/ROCKWELL. Newly decorated, Nice size 2 & 3BR, 1st flr, LR,

COMPLETELY RENOVATED 2

Bdrm, 1 Bath Apartment. Charming apartment in a multi-unit building in West Rogers Park on a tree line street and a block to Warren Park. The apartment has hardwood floors throughout, 3 spacious closets in the 2 bedrooms and living room, plus coat and linen closets. Kitchen has plenty of storage space with 2 year old refrigerator and stove. Cats and small dogs are OK. Call Charlie at 773-580-9956

DR, kit, HEAT incl. $900-$1000/ mo + move in fee 773-851-2232

2 BR $1500 AND

2 BR $1100-$1299 4300 BLOCK OF AUGUSTA,

2BRs 2nd floor, laundry facility on site. $1150/mo, utils incl. Sect 8 ok. No pets/no smoking. 773-418-0195 BRONZEVILLE, 35TH/KING DR., 2BR condo, 1st flr, W/D in unit,

OVER

LINCOLN PARK - Howe Street-

NR 84TH/INGLESIDE, nice 23BR, mod kit & BA, C/A, laundry hkup. $1100. 1 mo rent + 1 mo sec. No Smoking Call/text 708-721-0006

73RD & DORCHESTER, 2BR, refrig & stove, lndry hookups, off street prkg, enclosed yard, $975/ mo. No security dep. 773-684-1166

2 BR $1300-$1499 LAKEVIEW 4 ROOM 2 bedroom

apartment $1450 per month plus one month deposit. No pets. 1410 W Fletcher. ZINGG REALTY 708 355-1106

4209 W CERMAK - Beautiful

CALUMET CITY 3-4BR , 1.5 BA 2

3 BR OR MORE $1500-$1799

car gar, fully rehab w/ gorgeous finishes & hdwd flrs. Beautiful bkyd. Sec 8 ok $1150-$1350. 510.735.7171

8222 S. MARSHFIELD 3BR, 2nd Fl. Showing Sat only 11AM–2PM $925. + Sec, Tens. Pay utils, Phone calls not necessary 773-426-0280

WOODLAWN COMMUNITY (CLOSE to U of C campus) 3 BR, 1 BA, includes heat, Sec. 8 OK. $1,050/mo. 773-802-0422

SECTION 8 WELCOME. No Security Deposit. 7721 S Peoria, 3BR apt, appls incl. $1050/mo. 708-288-4510

Lawndale- 3BR, 6 room Tenant Pays Gas & Electric $825 + move in fee 3101 W Flournoy 773-486-1838

3 BR OR MORE $1200-$1499

84th/Paulina 2BR, updated bath & kitchen with ss appliances garage space included Sec 8 Welcome 312-282-6555

2br, 1 ba, hwd flrs, d/w, w/d, c/a. 847382-3543 or jminam@ameritech.net $2000.00/month plus util

61st/Langley 3BR/1BA in 2unit bldg Avail Now beautiful apt new bathroom, w/d in bsmt, Nr Trans & sch Sec 8 ok $1000/mo 312-6130974

ADULT SERVICES

COLLEGE GIRL BODY RUBS $40 w/AD 24/7

224-223-7787

3 BR OR MORE $1800-$2499 LARGE 3 BEDROOM apartment near Wrigley Field. 3820 N. Fremont. Two bathrooms. Hardwood Floors. Cats OK. $2190/month. Parking available at additional cost. Available 9/1. 773-761-4318.

WASHINGTON PARK, NEWLY remod 3BR duplex, 2BA, LR, DR & den. Hdwd flrs, appls incl. ample prkg. Near trans/schools. 773-241-0619

car detached garage. 1 story house - no stairs to climb, large yard, new ceramic tile floor in kitchen, washer dryer hookups, A/C, well lit exterior, freshly painted interior, ceiling fans, new bathroom fixtures, and wall to wall carpeting. $1,350/Month, $1,000 Security Deposit. Section 8 Welcome. Call Lee 312-420-7780.

DOLTON - LOVELY 3BR, 1.5BA House, large fenced back yard, all appls incl, Tenant pays utils. Lrg fam rm w/fireplace, C/A. $1400/mo. 708-841-9025 BRICK 4BRS/1.5BA 62nd & Winchester. $1300/mo & 8955 S. May. $1550/mo. Move-in Fee, Sec 8 Ok. 773-720-9787 or 773-483-2594

4221 S ELLIS 1s 6 room 3BR, 1BA,

$1300 heat and water included, No security deposit. Call Pam 312-2081771.

SERVICES PROFESSIONAL EXPERT INTIMATE WAXING for both

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legal notices NOTICE IS HEREBY given, pur-

suant to “An Act in relation to the use of an Assumed Business Name in the conduct or transaction of Business in the State,” as amended, that a certification was registered by the undersigned with the County Clerk of Cook County. Registration Number: D17151342 on July 7, 2017 Under the Assumed Business Name of BEHOLD INTERNATIONAL SALON with the business located at: 1824 W 79TH ST, CHICAGO, IL 60620. The true and real full name(s) and residence address of the owner(s)/partner(s) is: CHICTOWA WEATHERSPOON 3447 W 137TH BOX 1163, ROBBINS, IL 60472, USA

SOUTHSIDE - 55TH & Ashland, Clean Rooms, use of kitchen and bath. Available Now. Call 773-434-4046

MARKETPLACE

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SECT 8 OK, 2 story, 4br/2ba w/ bsmt. New decor, crpt & hdwds, ceiling fans, stove/fridge, $1465. 11243 S. Eggleston, 773-443-5397

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

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

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buyers pick up and pay cash for R-12 refrigerantfinders.com 312291-9169

excellent. 95,000 miles. New tires. 4 cyl. Ac. Great. $3700. Call 773-7159721. No texting please!

MORGAN PARK - $1600/mo.

MARKHAM HOME FOR RENT 4-5BR. Section 8 preferred. Call 708-296-6222

FREON 12 WANTED Certified

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MARQUETTE PARK: 7326 S Artesian, beaut rehab 5BR/3BA house, granite ctrs/SS appls, whirlpl tub, fin bsmt, 2 car gar. $1700/mo 708288-4510.

OTHER

DOLTON. NEWLY DECORATED 3 bedroom brick ranch with a 2

FOR SALE

CHATHAM: 7234 S PRAIRIE beautiful rehabbed 5BR house, hdwd floors, fin bsmt, granite ctr tops, SS appls, $1675/mo. 708288-4510.

BEAUTIFULLY RENOVATED 3BR Single Family Homes, new kit. Fridge, stove & W/D incl. Hdwd flrs. Cash & Sect 8 Welc. 708-557-0644

CHICAGO, 7028 S. GREEN, 3BR, lrg living room, dining room, hardwood flrs, 1.5BA, 3rd floor, $985/mo + heat. Section 8 Welc. 708-2049881 70TH & ARTESIAN, H u g e 3BR, eat in kitch, large pantry + bonus rm,1st fl lndry rm, sep heat. hdwds $850/mo Section 8 Welcome 630-4121612

3BR apartment. Section 8 welcome $1200/mo; 773-354-2819

3 BR OR MORE

3 BR OR MORE UNDER $1200

maple cabs, hdwd flrs, granite ctrs, Sec 8 welcome. $1195/mo. 773-4472122

CHICAGO SOUTH. 11419 S. Throop, 2BR Coach House, whirlpool tub, pvt pkng. Sec 8 ok. $100 0/mo + sec. No pets. Neal. 773419-8770

RIVERDALE 3/4BR, 1.5BA Townhome, hdwd flrs, off street parking, near Metra & PACE, starts at $900/mo + sec. 708-539-0522

NOTICE IS HEREBY given, pur-

suant to "An Act in relation to the use of an Assumed Business Name in the conduct or transaction of Business in the State," as amended, that a certification was registered by the undersigned with the County Clerk of Cook County. Registration Number: D17151337 on July 7, 2017 under the Assumed Business Name of Joyride Organics with the business located at 331 W Armitage Ave, Chicago, IL 60614. The true and real full name(s) and residence address of the owner( s)/ partner(s) is: Danielle Marie Ostrowski, 526 Hampshire Lane, Bolingbrook, IL 60440, USA.

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STRAIGHT DOPE By Cecil Adams Q : Historically, what has been the leading

cause of death for humans? Imagine a chart of all causes of death for every human who has ever died. Will it be prehistoric causes of death due to the tens of thousands of years they had to accumulate, or will it be more modern causes due to the population explosion that came with civilization?

SLUG SIGNORINO

THE LATEST ON YOUR FAVORITE

—MR. KOBAYASHI

A : This is going to involve some guesswork, Mr. K. OK, a lot of guesswork. But let’s see what we can figure out. As you rightly intuit, the answer depends on how many people were alive during the successive epochs of history, since the leading causes of death have shifted over time. Here we have the beneﬁt of work done by others. In the 1970s, when fears about the population explosion were at their peak, the story arose that 75 percent (or some other large fraction) of all people who’d ever been born were then alive. Though durable, this tale had no basis in reality. We know this thanks to the Population Reference Bureau, a D.C.-based not-for-proﬁt that’s been tracking global population statistics since 1929. The PRB came up with estimates for the number of people born per era, as summarized below (I’ve tweaked the numbers to bring things up to date):

• 50,000 BC to 8,000 BC—about 1 billion; • 8,000 BC to 1 AD—about 46 billion; • 1 to 1850 AD—about 47 billion; • 1850 to present—about 14 billion. Total: 108 billion. In other words, nearly 90 percent of people who have ever lived were born prior to 1850. The world’s population today, roughly 7.5 billion, accounts for about 7 percent of all people who have ever lived. PRB concedes that plenty of guesswork went into these numbers. But let’s assume they’re right. We can reasonably take 1850 as the point at which industrialization and urbanization had begun to get traction in parts of the world. Prior to then, the vast majority of humanity lived in rural settings without modern sanitation, got by on minimal calories, had no access to health care worthy of the name, and died young. We can thus rule out as candidates for leading cause of death what we might call diseases of modernity: heart disease, cancer, stroke, Alzheimer’s, etc. These are what you succumb to if you survive the scourges of antiquity. Let’s talk about those scourges. Disease, famine, and war are obvious candidates;

mother/child mortality must also be included. Famine and war are episodic and in terms of quantity, year over year, surely trail disease. We’ve already excluded noncommunicable diseases common in the developed world; what remains may be broadly categorized as infectious disease, which overlaps to some extent with mother/child deaths. Now, it’s true that mortality statistics prior to 1900 are hopelessly inadequate. But while don’t have good data for most of history, we have OK data for most of the world now. In particular, the World Health Organization publishes top-ten causes-of-death lists for different “economy income groups.” These lists diﬀer sharply. For high-income economies, the leading cause of death is heart disease, followed by stroke and Alzheimer’s. For the other end of the scale, here’s a quote from WHO: “More than half (52%) of all deaths in low-income countries in 2015 were caused by the so-called ‘Group I’ conditions, which include communicable diseases, maternal causes, conditions arising during pregnancy and childbirth, and nutritional diseases.” Sounds to me like what you’d have expected worldwide prior to 1850. The leading CoD? Lower respiratory infection (chiefly pneumonia, bronchitis, and influenza), followed by diarrheal disease (dysentery, cholera, etc), stroke, and heart disease. Tuberculosis and malaria are numbers six and seven, preterm birth complications and birth asphyxiation are eight and nine. The list doesn’t precisely replicate what you’d have found in antiquity. The number-five cause of death in poor countries now is HIV/ AIDS, and number ten is road injury, both modern problems. Even in low-income economies, modern medicine has likely pushed TB and malaria lower on the list than they’d have been in centuries past. But I’d say the WHO ranking is pretty close. v Send questions to Cecil via straightdope.com or write him c/o Chicago Reader, 350 N. Orleans, Chicago 60654.

SAVAGE LOVE

By Dan Savage

Newly married—and newly, unhappily inorgasmic

Will this problem ﬁx itself? Plus: “rituals” ruining posh Central London digs Q : I’m a 35-year-old straight

woman, recently married, and everything is great. But I’ve been having problems reaching orgasm. When we first started dating, I had them all the time. It was only after we got engaged that it became an issue. He isn’t doing anything differently, and he works hard to give me oral pleasure, last longer, and include more foreplay. He’s sexy and attractive and has a great working penis. I am very aroused when we have sex, but I just can’t climax. It is weird because I used to very easily, and still can when I masturbate. I have never been so in love before, and I have definitely never been with a man who is so good to me. Honestly, all of my previous boyfriends did not treat me that well, but I never had a problem having orgasms. My husband is willing to do whatever it takes, but it’s been almost a year since I came during vaginal intercourse! Is this just a temporary problem that will fix itself? —MY ORGASMS ARE NOW SHY

A : “This is a temporary

problem that will ﬁx itself,” said Meredith Chivers, an associate professor of psychology at Queen’s University and a worldrenowned sex researcher who has done—and is still doing—groundbreaking work on female sexuality, desire, and arousal. “And here’s why it will fix itself,” said Chivers. “First, MOANS has enjoyed being orgasmic with her partner and previous partners. Second, even though she’s had a hiatus in orgasms through vaginal intercourse, she is able to have orgasms when masturbating. Third, she describes no concerns with becoming sexually aroused physically and mentally.

Fourth, MOANS has a great relationship, has good sexual communication, and is sexually attracted to her partner. Fifth, what she’s experiencing is a completely normal and expected variation in sexual functioning that probably relates to stress.” The orgasms you’re not having right now—orgasms during PIV sex with your husband—the lack of which is causing you stress? Most likely the result of stress, MOANS, so stressing out about the situation will only make the problem worse. Distracting, anxiety-provoking thoughts can also make it harder to come.“Being able to have an orgasm is about giving yourself over to pleasure in the moment,” said Chivers. You’ve got to just let it go. “Let go of working toward vaginal orgasm during sex,” Chivers advised. “Take vaginal orgasm off the table for at least a month—you’re allowed to do other things and come other ways, just not through vaginal-penile intercourse. Instead of working toward the goal of bringing back your vaginal orgasm, enjoy being with your sexy husband and experiment with other ways of sharing pleasure, and if the vaginal orgasms don’t immediately come back, oh well. There are, fortunately, many roads to Rome. Enjoy!” My advice? Buy some stress-busting pot edibles if you’re lucky enough to live in a state that has legal weed, MOANS, or make your own if you live in a suck-ass state that doesn’t. And tell your husband to stop trying so hard—if his efforts are making you feel guilty, that’s going to be hugely counterproductive. Good luck! But last word goes to Dr. Chivers: “If your vaginal orgasms don’t return, and

you’re unhappy about that, consider connecting with a sex therapist in your area. In the USA, AASECT (AASECT.org) is a great resource for finding a therapist or counselor.”

Q : I’m a straight man who recently moved in with a rich, straight friend. He sent me an e-mail before I moved in letting me know he was in a femdom relationship. He was only telling me this, he said, because I might notice “small, subtle rituals meant to reinforce [their] D/s dynamic.” If it bothered me, I shouldn’t move in. Finding an aﬀordable place in Central London is hard, so I told him I didn’t mind. But I do. Their many “rituals” run the gamut from the subtle to the not-so-subtle: he can’t sit on the furniture without her permission, which she grants with a little nod (subtle); when he buzzes her in, he has to wait by the door on his hands and knees and kiss her feet when she enters and keep at it until she tells him to stop (NOT SUBTLE!). She’s normal with me—she doesn’t attempt to order me around—but these “rituals” make me uncomfortable and I worry they’re getting oﬀ from my witnessing them. —RITUALS OFTEN OBSERVED MORTIFYING IN EXTREME

A : His apartment, his rules—

or her rules, actually. If you don’t want to witness the shit your rich and submissive friend with the great apartment warned you about before you moved in, ROOMIE, you’ll have to move your ass out. v Send letters to mail@ savagelove.net. Download the Savage Lovecast every Tuesday at savagelovecast. com. v @fakedansavage

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b Yehme2 10/12, 8 PM, Lincoln Hall, 18+

UPDATED AJJ 9/11, 6 and 8 PM, Subterranean, late show sold out, early show added, 17+ Rezz 10/14-15, 9 PM, Concord Music Hall, second show added, 18+

UPCOMING

Big Thief ò COURTESY GROUND CONTROL TOURING

NEW

Agnostic Front, Spare Change 9/30, 8 PM, Reggie’s Rock Club, 17+ Big Thief, Mega Bog 10/15, 8:30 PM, Thalia Hall, on sale Fri 7/21, 10 AM, 17+ Blanck Mass 9/9, 9 PM, Empty Bottle Brockhampton 9/6, 7 PM, Bottom Lounge b Busty & the Bass 12/1, 9 PM, Lincoln Hall, on sale Fri 7/21, 10 AM, 18+ Cerny Brothers 9/8, 8 PM, Schubas, on sale Fri 7/21, 10 AM, 18+ The Church, Helio Sequence 10/6, 8 PM, Park West, 18+ Coast Modern 9/18, 6:30 PM, Bottom Lounge, on sale Fri 7/21, 10 AM b Deerhoof, Sad13 10/1, 9 PM, Empty Bottle Ducktails 9/8, 9 PM, Empty Bottle Billie Eilish 10/12, 8 PM, Schubas, on sale Fri 7/21, 10 AM b El Ten Eleven 9/21, 8 PM, SPACE, Evanston b Electric Six 10/13, 8 PM, Reggie’s Rock Club, on sale Fri 7/21, 10 AM, 17+ Sam Evian 9/14, 9 PM, Schubas, on sale Fri 7/21, 10 AM, 18+ Flamin’ Groovies 10/19, 8 PM, SPACE, Evanston, on sale Fri 7/21, 10 AM b Jeﬀrey Foucault & Kris Delmhorst 12/3, 8 PM, City Winery, on sale Thu 7/20, noon b Froggy Fresh 9/11, 8:30 PM, Beat Kitchen Galantis 11/17, 9 PM, Aragon Ballroom, on sale Fri 7/21, 10 AM, 18+ Terisa Griﬃn 9/22, 8 PM, City Winery, on sale Thu 7/20, noon b

Yasmine Hamdan 11/7, 8 PM, Martyrs’, on sale Fri 7/21, 10 AM Hot Chip (DJ set) 11/18, 10 PM, Smart Bar In This Moment, Of Mice & Men 9/25-26, 4 PM, House of Blues, on sale Fri 7/21, 10 AM b Infected Mushroom (DJ set) 8/18, 9 PM, Concord Music Hall, 17+ Itchy-O 10/5, 8 PM, Reggie’s Rock Club, 17+ Jackopierce 11/19, 7 PM, City Winery, on sale Thu 7/20, noon b Japanese Breakfast, Mannequin Pussy 10/4, 8:30 PM, Subterranean, 17+ Lucy Kaplansky 10/1, 7 PM, SPACE, Evanston, on sale Fri 7/21, 10 AM b Dermot Kennedy 9/10, 8 PM, Subterranean, 17+ Kenny Dope 7/28, 10 PM, Smart Bar Habib Koité 10/27, 7 and 9:30 PM, SPACE, Evanston, on sale Fri 7/21, 10 AM b Kool Keith 8/4, 9 PM, 1st Ward, 18+ LCD Soundsystem 11/6-7, 7:30 PM, Aragon Ballroom, on sale Fri 7/21, 10 AM b Yngwie Malmsteen 11/3, 7 PM, Portage Theater Mariza 11/8, 8 PM, City Winery, on sale Thu 7/20, noon b James McMurtry 11/10, 8 PM, SPACE, Evanston and 11/11, 9 PM, FitzGerald’s, Berwyn, on sale Fri7/21, 10 AM Murderburgers, City Mouse 8/23, 9 PM, Quenchers Saloon No Warning, Down to Nothing, Backtrack, Twitching Tongues, Higher Power 9/21, 7 PM, Bottom Lounge, 17+ Nora En Pure 8/12, 10 PM, the Mid

42 CHICAGO READER - JULY 20, 2017

100 Demons, All Out War 10/21, 8 PM, Cobra Lounge, on sale Fri 7/21, noon Open Mike Eagle 9/22, 10 PM, Schubas, 18+ John Pizzarelli Quartet 10/29, 4 and 7 PM, SPACE, Evanston, on sale Fri 7/21, 10 AM b Quinn XCII 10/6, 8 PM, Lincoln Hall, on sale Fri 7/21, 10 AM b David Ramirez 12/2, 9 PM, Schubas Jason Richardson & Luke Holland, Reign of Kindo, Stolas 8/26, 5 PM, Reggie’s Rock Club b Shiba San 8/19, 10 PM, the Mid Slaves, Secrets 9/20, 6 PM, Wire, Berwyn Sleeping With Sirens 9/8, 7 PM, Bottom Lounge, on sale Fri 7/21, 10 AM b Skylar Spence 9/30, 9 PM, Subterranean, 17+ Straight No Chaser 12/9, 3 and 7:30 PM, Civic Opera House, on sale Fri 7/21, 10 AM b Styx 11/10, 8 PM, the Venue at Horseshoe Casino, Hammond, on sale Fri 7/21, 10 AM Today Is the Day 9/6, 7 PM, Reggie’s Rock Club, 17+ Twilight Hours 10/15, 7 PM, Schubas, on sale Fri 7/21, 10 AM Cale Tyson 8/23, 9 PM, Empty Bottle Claude Vonstroke 8/18, 10 PM, the Mid Willie Watson 10/18, 7 PM, Szold Hall, Old Town School of Folk Music b Weather Station 12/2, 9 PM, Hideout, on sale Fri 7/21, 9 AM Whitehorse 10/4, 8 PM, Schubas Dustin Wong & Takako Minekawa 8/8, 9 PM, Empty Bottle X Eye Blind 9/19, 8 PM, SPACE, Evanston, on sale Fri 7/21, 10 AM b

Agent Orange 10/14, 8:30 PM, Beat Kitchen, 17+ Appleseed Collective 9/8, 8:30 PM, FitzGerald’s, Berwyn Bad Suns 10/20, 7:30 PM, Metro b Beach Fossils, Snail Mail 10/17, 8 PM, Bottom Lounge, 17+ Scott H. Biram 8/17, 7 PM, Reggie’s Rock Club, 17+ Black Dahlia Murder, Dying Fetus, Faceless, Oceano 8/22, 12:30 PM, Concord Music Hall b Black Heart Procession 11/10, 9 PM, Empty Bottle Cap’n Jazz, Hop Along 7/29, 7 PM, House of Vans, 18+ F Cattle Decapitation, Revocation 10/27, 7 PM, Reggie’s Rock Club, 17+ Cloud Nothings 8/3, 10 PM, Reggie’s Rock Club, 18+ Descendents, Get Up Kids 10/7, 7:30 PM, Riviera Theatre b D.R.I. 10/15, 7 PM, Reggie’s Rock Club, 17+ Drums, Stef Chura 8/2, 9 PM, Empty Bottle EMA 11/18, 9 PM, Empty Bottle Roky Erickson, Death Valley Girls 9/15, 9 PM, Empty Bottle Ex-Cult 8/14, 9 PM, Empty Bottle Ben Folds 10/28, 8 PM, Riviera Theatre, 18+ Frankie Cosmos 9/30, 8 PM, SPACE, Evanston b Marty Friedman 8/10, 7 PM, Reggie’s Rock Club, 17+ Liam Gallagher 11/21, 8 PM, Riviera Theatre, 18+ Mike Gordon 10/6, 8 PM, Metro, 18+ Growlers 10/6, 9:30 PM, the Vic, 18+ Halsey, Partynextdoor, Charli XCX 11/19, 7 PM, Allstate Arena, Rosemont Chris Hillman, Herb Pedersen, and John Jorgensen 10/6, 8 PM, Maurer Hall, Old Town School of Folk Music b Hundred Waters 9/30, 9 PM, Empty Bottle Incubus, Jimmy Eat World 7/29, 6:45 PM, Hollywood Casino Amphitheatre, Tinley Park Inter Arma 8/6, 9 PM, Empty Bottle Jethro Tull 8/19, 8 PM, Chicago Theatre

ALL AGES

WOLF BY KEITH HERZIK

EARLY WARNINGS

CHICAGO SHOWS YOU SHOULD KNOW ABOUT IN THE WEEKS TO COME

Never miss a show again. Sign up for the newsletter at chicagoreader. com/early

Juliana Theory 8/27, 8 PM, House of Blues, 17+ King Gizzard & the Lizard Wizard 9/24-25, 8 PM, Lincoln Hall Kings of Leon 8/12, 7 PM, Hollywood Casino Amphitheatre, Tinley Park Mark Lanegan Band 8/22, 9 PM, Thalia Hall, 18+ Lemon Twigs 8/4, 11 PM, Schubas, 18+ Living Colour 9/3, 6 and 9 PM, City Winery b Male Gaze 8/27, 9 PM, Empty Bottle Maximo Park 11/24, 8:30 PM, Lincoln Hall, 18+ Mountain Goats 11/17, 8 PM, Riviera Theatre, 18+ Neurosis, Converge, Amenra 7/28, 8 PM, Thalia Hall, 17+ Nots 9/5, 9 PM, Empty Bottle Of Montreal 9/14, 8 PM, Logan Square Auditorium, 18+ Pelican 10/13, 9 PM, Empty Bottle A Perfect Circle 11/24, 8 PM, UIC Pavilion Pretty Lights 8/18-19, 7 PM, Huntington Bank Pavilion Quicksand 9/27, 8:30 PM, Thalia Hall, 17+ RAC 10/13, 8 PM, Metro, 18+ Rainer Maria 9/14, 9 PM, Lincoln Hall Sacred Reich 9/20, 7 PM, Reggie’s Rock Club, 17+ A. Savage, Jack Cooper 11/2, 9 PM, Empty Bottle Sheer Mag, Flesh World 9/15, 9:30 PM, Thalia Hall, 17+ Slackers 12/1-3, 8 PM, Reggie’s Rock Club, 17+ Stick Men 9/1, 7 PM, Reggie’s Rock Club, 17+ Stiﬀ Little Fingers, Death by Unga Bunga 9/20, 8 PM, Metro, 18+ Temples, Declan McKenna 8/2, 9 PM, Lincoln Hall, 18+ Tiempo Libre 8/2, 8 PM, City Winery b Toadies, Local H 10/10, 9 PM, Metro, 18+ Touche Amore 10/7, 8 PM, Subterranean, 17+ UFO, Saxon 10/8, 6:30 PM, Concord Music Hall, 17+ Venom Inc., Goatwhore, Toxic Holocaust 9/8, 7 PM, Reggie’s Rock Club, 17+ Wand, Darto 9/30, 9 PM, Lincoln Hall, 18+ War on Drugs 10/19, 8 PM, Riviera Theatre, 18+ Victor Wooten Trio 11/5, 5 and 8 PM, City Winery b Zola Jesus, John Wiese 10/8, 8:30 PM, Thalia Hall, 17+ v

GOSSIP WOLF A furry ear to the ground of the local music scene GOSSIP WOLF WISHES that local garage-rock label Randy Records, run by Yolks guitarist Nathan Johnson, would put out music more often—its punk and frat-rock bangers are a welcome addition to any turntable! On Saturday, July 22, Randy releases debut LPs from two shithot Chicago bands. Skip Church’s Out of Tune, in Touch With the Devil has enough snotty punk residue to gum up a thousand boxes of Kleenex, while the self-titled LP from Today’s Hits sounds like the Kingsmen if they’d spent a few years living in a hotboxed economy car. Romantic weed jams! Both bands celebrate with sets at Hermosa dive bar the Levee that night, sharing a bill with the Yolks. So far DIY label Dumpster Tapes has dropped two volumes in its Monster Compilation series, each one a sprawling document of Chicago’s underground rock, punk, and garage scenes. Volume two came out in April 2016, and the third arrives on Saturday, July 22—Dumpster Tapes has corralled 25 more bands, including lo-ﬁ darlings Bunny, power-pop heartthrob Dan Rico, and postpunk miscreants No Men. You can buy a cassette at Cole’s on Saturday, when the label throws a free Monster Compilation release show. Everyone on the bill is on the compilation: Mia Joy, Krozer, Laverne, and Soft Candy. Those of you who were at Pitchfork with Gossip Wolf might feel like taking a little break from festivals, but would you make an exception for fests held indoors? On Friday and Saturday, July 21 and 22, Bottom Lounge hosts All Tomorrow’s Impeachments, a benefit for the ACLU and the Southern Poverty Law Center with the likes of Dianogah (Friday), the Poison Arrows (Saturday), and Tar (both nights—see show preview). And on Saturday, July 22, Lincoln Hall presents the second-annual Localpalooza, a fund-raiser for the Patrick Grange Memorial Foundation for ALS research; performers include the Ivorys, Rich Jones, and Bad Bad Meow. —J.R. NELSON AND LEOR GALIL Got a tip? Tweet @Gossip_Wolf or e-mail gossipwolf@chicagoreader.com.

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