Print Issue of August 2, 2018 (Volume 47, Number 43)

C H I C A G O ’ S F R E E W E E K LY S I N C E 1 9 7 1 | A U G U S T 2 , 2 0 1 8

“I guarantee you ain’t seen no gangsters like this city’s aldermen.” 6 “As soon as you see a gun it ain’t about maybe.” 10

TAYLOR BENNETT WANTS EVERY PLACE TO BE SOMEWHERE BLACK PEOPLE CAN BE THEMSELVES When the Chicago rapper was a teenager, one of his havens was Navy Pier. And this weekend, he’ll make himself at home onstage at Lollapalooza.

By THE TRIIBE 26

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ACTING DEPUTY EDITOR KATE SCHMIDT CREATIVE DIRECTOR VINCE CERASANI DIRECTOR OF PHOTOGRAPHY JAMIE RAMSAY CULTURE EDITOR AIMEE LEVITT FILM EDITOR J.R. JONES MUSIC EDITOR PHILIP MONTORO ASSOCIATE EDITORS STEVE HEISLER, JAMIE LUDWIG SENIOR WRITERS DEANNA ISAACS, BEN JORAVSKY, MIKE SULA SENIOR THEATER CRITIC TONY ADLER STAFF WRITERS MAYA DUKMASOVA, LEOR GALIL, PETER MARGASAK SOCIAL MEDIA EDITOR RYAN SMITH GRAPHIC DESIGNER SUE KWONG MUSIC LISTINGS COORDINATOR LUCA CIMARUSTI FILM LISTINGS COORDINATOR PATRICK FRIEL CONTRIBUTORS ISA GIALLORENZO, ANDREA GRONVALL, JUSTIN HAYFORD, JACK HELBIG, DAN JAKES, MONICA KENDRICK, H. MELT, BILL MEYER, J.R. NELSON, MARISSA OBERLANDER, LEAH PICKETT, JAMES PORTER, BEN SACHS, DMITRY SAMAROV, ALBERT WILLIAMS INTERNS MATTHEW HARVEY, DAVID NORTH, KATIE POWERS, TYRA NICOLE TRICHE, ANNA WHITE ---------------------------------------------------------------ADVERTISING DIRECTOR CHRISTOPHER BEST SENIOR ACCOUNT MANAGER EVANGELINE MILLER DIRECTOR OF DIGITAL JOHN DUNLEVY ADVERTISING COORDINATOR HERMINIA BATTAGLIA ---------------------------------------------------------------DISTRIBUTION CONCERNS distributionissues@chicagoreader.com

FEATURES

FEATURE

MUSIC & NIGHTLIFE

C aught betw een black and blue

T aylor B ennett w ants ev ery p lace to be somew here black p eop le can be themselv es

Was the police shooting of Harith Augustus justified?

Is Blue Lives Matter for white cops only? Three black CPD officers talk about what things look like from where they stand.

BY EVAN F. MOORE 10

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

When the Chicago rapper was a teenager, one of his havens was Navy Pier. And this weekend, he’ll make himself at home onstage at Lollapalooza.

BY TIFFANY WALDEN 26

IN THIS ISSUE

CITY LIFE

4 Street View At 29Rooms, artist Alexa Meade’s Become the Masterpiece became one.

5 Joravsky | Politics Lake Shore Drive marchers: Here’s the hidden reason behind many of the city’s inequities.

6 Politics After protesters get ejected, members of the City Council’s Black Caucus proclaim themselves the real gangsters.

7 On Culture Was it socialism or a capitalist conspiracy that tanked Venezuela’s economy?

9 News Trans woman Strawberry Hampton is being held at men’s prisons despite continued harassment and sexual assault.

ARTS & CULTURE

14 Small Screen New webseries The T is a love letter to queer and trans friendship in Chicago.

15 Theater Bliss transports Greek tragedy to midcentury suburban America.

16 Theater Silk Road Rising wants to introduce American audiences to Chinese playwrights.

17 Theater A Midsummer Night’s Dream and more new stage shows, reviewed by our critics 18 Movies Black Harvest Film Festival fights to redefine Chicago’s south and west sides.

20 Movies Hirokazu Kore-eda’s Japanese legal drama The Third Murder deepens on a repeat screening.

CLASSIFIEDS

21 Movies UFOria and more new films, reviewed by our critics

MUSIC & NIGHTLIFE

23 News Neckbeard Deathcamp go viral with a black-metal takedown of neo-Nazis.

29 Shows of note Cuco, Campdogzz, Witch Mountain, and more of the week’s best 30 Secret History Chicago soul man Marvin Smith hit big with the Artistics, but couldn’t break out on his own.

FOOD & DRINK

34 Restaurant Review: Aba Lettuce Entertain You’s fancier companion to Ema serves food from the land of milk and honey.

35 Jobs 35 Apartments & Spaces 36 Marketplace 37 Savage Love A gay man resents his “weird” boyfriend’s social circle, spiritual views, and friendships with women and “straighties.” Can this relationship be saved?

38 Early Warnings Courtney Barnett, Lydia Loveless, Parquet Courts, and other shows to look for in the weeks to come 38 Gossip Wolf First-wave drill producer LeekeLeek dies at 27, and more music news.

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Street view

P sychedelic activ ation

THE

MEXICAN

In Alexa Meade’s Become the Masterpiece, the subject becomes the art.

1967

celebrating

51

!

YEARS Thanks to Ya’ll

!

just steps from the Dempster “L” stop

Alexa Meade in her 29Rooms installation Become the Masterpiece é ISA GIALLORENZO

Tue - Sat 10 - 6 847-475-8665

801 Dempster Evanston

EARLY WARNINGS NEVER MISS A SHOW AGAIN

CHICAGOREADER.COM/EARLY

4 CHICAGO READER - AUGUST 2, 2018

WE CAN ALL ENJOY art, feel it, reflect upon it, and even participate in creating it. But be it?

That’s what Alexa Meade’s work is about.

Part of 29Rooms, a traveling exhibit that just closed its sold-out Chicago stay, Meade’s area included two lively backgrounds and an assortment of garments and accessories for attendees to try on and assume a pose in.

You could witness the transformative power of clothes in the process: as they stepped in front of the painted wall, people’s attitudes

immediately shifted, becoming more confident and performative. And indeed, “the concept for 29Rooms was to create an activation that allows participants to step into a psychedelic world, shed self-consciousness, dress up and become the work of art,” Meade told me.

A political science major at Vassar who once dreamed of working on Capitol Hill, Meade was taking an art class as an elective when she serendipitously stumbled upon a way of turning 3-D into 2-D by painting shadows and highlights onto the subjects of her

installations. She calls her style “reverse trompe l’oeil.” Now her work has been exhibited in prestigious locations such as the Grand Palais des Champs-Élysées in Paris, the Saatchi Gallery in London, and the Smithsonian National Portrait Gallery in Washington, D.C. It’s also featured in Ariana Grande’s video for her single “God Is a Woman” and in a TED Talk, “Your Body Is My Canvas,” that’s quickly approaching three million views. You can see more videos at the website, 29rooms.com.

—ISA GIALLORENZO

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Listen to The Ben Joravsky Show on WCPT, 820 AM, Monday through Friday from 2 to 5 PM.

C IT Y L IF E Tio Hardiman, Reverend Gregory Seal Livingston, and Eric Russell, organizers of the August 2 march intended to shut down Lake Shore Drive é SAM CHARLES/SUN-TIMES

POLITICS

Attention pro test marchers

Here’s the hidden reason behind many of Chicago’s financial inequities.

By BEN JORAVSKY

I

n less than 24 hours, Tio Hardiman and other south- and west-side activists will be marching on Lake Shore Drive headed toward Wrigley Field, demanding, among other things, more equity in the way the city spends its money.

So I figure it’s as good a time as ever to introduce west- and south-siders to a not-solittle scam called the tax increment financing program.

Oh, yeah, I see eyes glazing over as I write this.

That typically happens when I mention TIFs. It’s probably why they called it something so deadly boring in the first place. The sleepier you are, the less you’re paying attention.

Anyway, your first question is—what’s a TIF? Boiled down to the basics, it’s a surcharge slapped on your property tax bills that generates well over $500 million a year.

Property tax payers think the money’s going to schools, parks, police, etc, but it really

winds up in bank accounts largely controlled by the mayor. It’s his favorite source of slush.

This year, the generous property-tax payers of Chicago have funneled about $660 million to the TIF bank accounts, according to the latest report by Cook County clerk David Orr. That’s up $99 million from the $561 million in TIF money you gave the mayor last year, and up nearly $200 million from the $461 million you gave him in 2016. All told, Mayor Rahm’s TIFs have scooped up about $1.68 billion in property taxes in the last three years, even as he was swearing up and down that there wasn’t enough money for schools or mental health clinics.

Man, you can open a lot of mental health clinics with $1.68 billion.

So your next question is—how can the mayor get away with running a slush fund of such proportions? And the answer is that a powerful mayor can get away with just about anything so long as no one’s paying close attention.

And, well, with all due respect, when it comes to TIFs, most of us, west- and south-siders included, have done a lousy job of paying attention. At least, ongoing inequities in the TIF program have never been a decisive issue in aldermanic campaigns in the black wards.

And that’s a particular shame since the TIF program is intended to subsidize development in poor, blighted communities that, but for the TIF assistance, wouldn’t get any development at all.

Alas, most TIF money goes to relatively upscale and rapidly gentrifying communities in and around the Loop, as Orr documents in his latest report.

In contrast, poor communities like Englewood, Roseland, Austin, and North Lawndale get the least amount of TIF money.

How does the mayor get away with spending so much anti-poverty money in neighborhoods that aren’t poor? Like I said, folks—it pays to pay attention.

As you can see, I can go on and on about TIFs. It’s one of my favorite subjects—I’ve been writing about them for more than 30 years. I have to admit I’m impressed by the utter audacity of this mayor—and the one who went before him—for even trying to pull off such a scam.

Of course, they have many enablers—like most members of the City Council. With a few exceptions—what’s up, Alderman Scott

Waguespack?—they’ll let the mayor do anything he wants with TIFs so long as every now and then he slices them a little piece of the TIF pie.

Though if they’re south- or west-side aldermen, it’s more like a crumb.

Can anything be done to end this scam, or at least redirect more money to the truly needy wards?

I suppose. But first you have to be paying attention.

For instance, a few years ago a group of public school parents from the Raise Your Hand Coalition learned that the mayor planned to spend $55 million in TIF dollars building a basketball arena for DePaul and a hotel for Marriott in the South Loop.

They raised a ruckus, demanding that he not spend money on DePaul while he was closing public schools.

In response the mayor took away the TIF money from DePaul and Marriott.

Of course, he largely replaced it with assistance from the state. And he wound up spending the $55 million on Navy Pier, which as I never tire of mentioning isn’t poor or blighted or even a community.

Can he get away with doing that? Well, he did. The sad news, folks, is that the biggest municipal crimes in Chicago are the ones that are apparently legal.

A final word of warning. If you raise a ruckus about TIFs, prepare to hear a bunch of gobbledygook from the mayor and his favorite aldermen.

Sad to say, the mayor generally calls on his black aldermanic allies to defend the program, even though their wards are the biggest losers in this scam.

This happened some ten years ago, when Mayor Daley was in charge and Congressman Mike Quigley (then a Cook County commissioner) criticized the TIF program.

And it happened a few months ago, during City Council protests regarding Mayor Emanuel’s $5.5 million TIF handout to Presence Health for its headquarters at 200 S. Wacker.

Clearly, the mayor and his allies are betting that if they fill your ears with misinformation and doublespeak, you’ll get confused and just go away. So they can go back to taking money for the poor and giving it to the rich.

I don’t blame them for thinking this way. They’ve been getting away with it for years. v

m @BennyJshow AUGUST 2, 2018 - CHICAGO READER 5

C IT Y L IF E

POLITICS

G angsters’ p aradise

After protesters were ejected from a fund-raiser for the City Council’s Black Caucus, the aldermen had a little fun among themselves.

By MAYA DUKMASOVA

Protesters with the #NoCopAcademy campaign stage a die-in outside the Aldermanic Black Caucus’s annual fund-raiser. é COURTESY NOCOPACADEMY

“Black Caucus, Black Caucus They don’t really care Black Caucus, Black Caucus Always backs the mayor Black Caucus, Black Caucus They don’t vote with us Black Caucus, Black Caucus Now your time is up!

Now your time is up!

Now your time is up!” o chanted a cluster of young people gathered outside the Chicago Aldermanic Black Caucus’s annual fund-raiser at a Loop cocktail lounge last Wednesday evening. Just an hour before, the Civilian Office of Police Accountability had released body camera footage of the June 6 police shooting of 24-year-old Maurice Granton Jr. Inside the lounge, more activists from Black Lives Matter, BYP100, and other groups confronted black City Council members about their support of the

6 CHICAGO READER - AUGUST 2, 2018

Chicago Police Department. Ardamis Sims of GoodKidsMadCity and Assata’s Daughters interrupted remarks by 34th Ward alderman Carrie Austin shouting, “No cop academy! No cop academy!,” in protest of the city’s plan to build a $95 million police training facility on the west side.

“Shut up,” Austin bellowed in response. The fund-raiser attendees erupted in cheers of approval. “Goodbye!,” she shouted as Sims was pushed out of the lounge by security. “We’re here to have a good time; if you want to protest take it outside.”

“They must not know we got gangsters in here,” 20th Ward alderman Willie Cochran chimed in, egging on the crowd. Last year Cochran—a retired police officer who’s been indicted on fraud, bribery, and extortion charges—announced he wouldn’t be running for reelection.

“If anybody else wanna protest you better take it outside,” Austin said, laughing. “’Cause I guarantee you ain’t seen no gangsters like

this city’s aldermen.”

All of this was caught on video by other protesters inside the lounge. Watching in the crowd outside were also the sisters of Maurice Granton Jr. Joanna Varnado, Granton Jr.’s 31-year-old sister, said she’d come to the protest that night in the hopes of hearing a response from aldermen about the killing of her brother. Since the incident, she said, her family hadn’t heard from any elected officials. “I just wanted some answers,” she said. “Everybody knows my brother was murdered, and I wanna know how [the aldermen] feel.”

Her impression, she said, was that “they didn’t care. Some of them were drunk. They was in there partying, eating, dancing, laughing.” It stung especially hard, she said, because these were black officials. “These are our people. When you see stuff like that it’s like, Is there gonna be justice?”

Varnado said she appreciated the support of the youth protesting the event. “They showed

us love and respect for my brother—it felt good,” she said.

Sims, a 21-year-old from Washington Park, said he wanted to interrupt the gathering of aldermen because “they were talking about stuff that didn’t relate to us, our people, our community.” Sims remained at the protest, chanting, and helping with the die-in outside after being ejected. Watching the video of Austin and Cochran’s comments later, he said he was hurt. For the aldermen to call themselves gangsters seemed particularly crude to him given the violence in the city. He says it was a reminder that young people need to be registered to vote and to be self-reliant: “Use your head, think, ’cause we all we got.”

Austin didn’t return calls for comment.

Cochran, reached at his ward office last Thursday, laughed when asked what he meant when he referred to the aldermen as “gangsters.”

“It was a joke,” he explained. v

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Aerial view of western Caracas é JUAN BARRETO/AFP/GETTY IMAGES

ON CULTURE

W hy D onald T rump w ants to inv ade V enez uela

And everything else you wanted to know about how a once-rich country landed in a world of shit

By DEANNA ISAACS

I

’ll give our porn star-and-Putin-loving president this: just when you think there’s no further folly of his that could surprise you, bingo!

In the midst of our muggy and militaristic Fourth of July celebrations this year came the revelation that Trump seriously wanted to invade Venezuela, and had repeatedly raised the prospect with his staff, advisers, and the leaders of other South American countries.

To which I could only say, huh?

Since most of his advisers and all of the Latin American leaders apparently nixed this idea, it hasn’t happened, but it left me wondering, Why would we want to do that? Is J

AUGUST 2, 2018 - CHICAGO READER 7

continued from 7

Venezuela building nuclear weapons? Annexing Colombia? Interfering in our elections?

Bragging that it’s got a bigger button?

Or had he—perhaps on a slow afternoon at Mar-a-Lago—just thrown a bunch of nation names into a Make America Great Again hat and pulled out Venezuela? Could we just as easily have been plotting the invasion of Canada?

So when I noticed that a lecture on Venezuela was coming up at the Lincoln Park branch of the Chicago Public Library, I put it on my calendar. The talk was sponsored by Open University of the Left, and the lecturer was B. Lee Artz, a professor of media studies at Purdue University Northwest.

The first thing I learned from it was the colossal and commonplace ignorance of my response. There are at least three basic things to know about Venezuela: First, it has the world’s largest oil reserves and has, at various times, ranked among the richest countries in Latin America and the world. Second, it’s two decades into the populist, leftist “Bolivarian Revolution” led by Hugo Chávez until his death in 2013 and now presided over by his successor, Nicolás Maduro. Third, since oil prices last tanked, starting in late 2014, Venezuela’s already struggling economy has been in crisis: its people are going hungry, and many of them (according to most estimates, more than a million in the last year or so) have fled, swamping neighboring nations with refugees.

According to mainstream sources such as the Brookings Institute and the International Monetary Fund, the Venezuelan refugee crisis is on track to be bigger than Syria’s, and Venezuela’s annual inflation rate could rise to one million percent this year.

Why did this happen? There are two warring explanations: Either the populist brand of socialism introduced by Chávez was an abject failure, or it was a marvelous innovation—and such a disruptive threat to global capitalism that it had to be sabotaged.

Artz is a frequently compelling spokesperson for the latter theory. He says the Bolivarian Revolution was a historic event that overthrew a corrupt oligarchy and established real democracy, though most people in the United States don’t know about it. He blames that ignorance on our own for-profit press, charging that the reporting—even from sources like the New York Times, CNN, and MSNBC’s Rachel Maddow—is distorted.

Artz says that, unlike the United States, where we have a Supreme Court parsing what “a bunch of white guys who owned slaves thought 200 years ago,” under Chávez, Venezuelans drew up their own constitution.

Chávez also nationalized parts of the econ-

8 CHICAGO READER - AUGUST 2, 2018

Lee Artz

omy, privatized some property, and used a bonanza of cash from rising oil prices in the earlier part of this century to establish and fund extensive community services that were locally built and run.

Venezuela has true citizen participation, but isn’t actually a socialist country, Artz says: major industries like banking, manufacturing, and retail were never nationalized, and that is, he claims—along with sanctions, sabotage, and U.S.-sponsored interference—why the Venezuelan economy is in trouble. He says food shortages, violence, and unrest on the streets are being engineered by Venezuela’s pissed-off, partially dispossessed capitalists.

Still, Artz sees this as an opportune moment: “The capitalist class in Venezuela understands that this is an historic challenge to the way they run the world. It’s a kind of test tube. What’s transpired [there] shows the way forward. Venezuela has been letting the people decide,” he says. “[The U.S. must] get out of the way and let them do it. This is an opportunity to change the course of history.”

His comments about the press sent me to the New York Times archives for a quick check on what its reporters have been saying about Venezuela. After the presidential election in May that won Maduro six more years in office, Times writers William Neuman and Nicholas Casey reported that voter turnout had been 46 percent (down from 80 percent in the two previous elections), that the largest opposition

parties and key politicians had been banned from participating in the election, and that “two pounds of chicken or beef costs as much as the monthly minimum wage package, which, including food coupons, is worth about $2.50.”

For another take on all this, I contacted Daniel Lansberg-Rodriguez, who’s worked in microfinance and municipal government in Venezuela and is now a consultant and adjunct professor at Northwestern University’s Kellogg School of Management. LansbergRodriguez says the roots of Venezuela’s problems go back to Chávez, who was “a charismatic leader who turned the country briefly into an international player by spending a lot of money abroad. Oil was $18 a barrel when Chávez took office; much of the time he was in power it was over $100. So everybody was better off, but the government didn’t set up anything sustainable.” When oil prices fell, Venezuela went into debt in an attempt to maintain its expenditures, and when more debt was no longer an option, the system collapsed.

It wasn’t the first time. Venezuela became a democracy in 1958 after a series of military dictators, and its oil was nationalized in the 1970s (as Petróleos de Venezuela, S.A.); it’s ridden the oil boom-and-bust cycle before.

But, Lansberg-Rodriguez says, “Chávez hollowed out the democratic institutions—the checks and balances—in a way that was semi-sustainable under him. Now Maduro, who does not have Chávez’s charm and does not have his money, is using those institutional shortcuts to essentially hold the country hostage. Venezuela is in a cycle of privation and escalating brutality, with no end in sight.

“Oil production when Chávez took over was three million barrels a day; now it’s hovering around one million barrels,” LansbergRodriguez continues. “After you nationalize joint projects, no one else is going to come in and participate.” As for the sanctions, which began at the tail end of the Obama administration, “Things were already dreadful when they started.”

The air force and national guard are corrupt, Lansberg-Rodriguez says, and there’s now a “bunker mentality” in place: “There’s nothing they won’t do to stay in power. It’s a cautionary tale.”

Northeastern Illinois University professor Ana Gil Garcia grew up in Venezuela and moved to Chicago 20 years ago, but she goes back two or three times a year to see her family, including her 90-year-old mother. She says long before Chávez, education in Venezuela was free, and anybody could become part of the professional class. “My mother was a nurse; my father was a fisherman. We were eight brothers and sisters, very poor, but we

are all professional. We all went to college free, and that was before Chavez.”

Now, she says, “I have to send my mother food from here because they can’t afford to buy anything.” They have to stand in line for sugar or rice, she adds, and are lucky if there’s any left when they get there.

Gil Garcia says millions of Venezuelans (out of a population of 32 million) have left. “We need to confront the issues [in Venezuela] through diplomacy,” she says. But meanwhile, the Illinois Venezuelan Alliance (she’s a founder and board member) is working with other groups to get HR 2161, the Venezuelan Refugee Assistance Act, passed in Congress. It would allow some Venezuelans who are already living in the U.S. to avoid deportation and apply for permanent residency.

Chávez (memorialized in Oliver Stone’s reverent documentary Mi Amigo Hugo) “was like a messiah; people believed in what he had to say,” Gil Garcia says, adding that some things in America now remind her of him. “Chávez came, and immediately changed the constitution. Went from a five- to a six-year presidential term, changed house and senate to a national assembly, took control over the supreme court, and started governing using executive orders. He was creating divisions among the populace—racial, religious, social classes. He initiated the destruction of the country.

“Maduro is the consequence of what Chávez did. Venezuela went from the dictator Chávez to the dictator Maduro,” Gil Garcia says.

But DePaul University philosophy professor Peter Steeves, who taught at Universidad del Zulia in Venezuela in 1998-’99, writes via e-mail that “80 percent of the population [was] below the poverty level in the preChavez years,” and that Maduro’s recent election “is a statement by the Venezuelan people that even in these difficult times they still believe in the Bolivarian Revolution.”

Steeves says that when he was in Venezuela, he “saw with my own eyes how things improved. By 2011, the poverty rate was cut to 27 percent. . . . This is one of the greatest peaceful revolutions and turnarounds in world history. . . . So why are things so bad now? . . . The biggest problem is not internal. . . . With international sanctions that continue to cause great suffering, and a U.S. president who wonders aloud why he can’t just invade Venezuela, we are not letting the Venezuelan people decide their own fate. We are, instead, the source of most of their problems. . . . I cannot think of a way to explain it other than class warfare.”

You can check out Artz’s OUL lecture for yourself on YouTube. v

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C IT Y L IF E Strawberry Hampton é THE BLACK LOOP

CRIMINAL JUSTICE

W oman in a man’s pla ce

Transgender woman Strawberry Hampton says that she’s been repeatedly harassed and sexually assaulted while incarcerated in men’s prisons. Will she finally be transferred to a female facility?

S

By DAVID NORTH trawberry Hampton, a transgender woman currently serving a ten-year sentence for residential burglary at Dixon Correctional Center—the fourth male prison she’s been transferred to within the year—filed new claims against the Illinois Department of Corrections (IDOC) on July 17, stating that she’s been sexually and physically assaulted by inmates and prison guards, and requesting that she be transferred to Logan Correctional Center, a women’s prison.

But her harassment at Dixon is only one episode in the ongoing abuse she claims to have suffered while in IDOC custody, according to her complaints. Hampton’s lawsuit, filed on her behalf by the MacArthur Justice Center and the Uptown People’s Law Center, argues that the IDOC has inappropriately assigned her to a men’s prison, stating that Hampton’s “physical and emotional well-being are in jeopardy at Dixon, and will be in any men’s facility.”

“The IDOC has never articulated any reasons” for why they won’t transfer Hampton, said Alan Mills, executive director of the

Uptown People’s Law Center, last Thursday.

“The most they’ve said is that women sometimes get harassed in prison, so there’s no guarantee she’d be protected.”

Hampton has lived as a woman since she was five and has continued to do so through her incarceration. She is chemically castrated, and her testosterone levels are a fraction of the average male’s.

In April, the IDOC filed to dismiss Hampton’s complaints, stating that she had “failed to exhaust [her] administrative remedies as required prior to filing.” Mills resisted this, calling the motion absurd. He added that Hampton has “done everything required by law, and gone well beyond the minimum required, going so far as to email lengthy documentation to the Director. The IDOC’s attempt to deny Ms. Hampton her day in court is beyond reprehensible.”

Hampton’s lawsuit a lleges countless harms that she has suffered while in IDOC custody, with new filings that claim she was “sexually harassed and assaulted [by another prisoner who] kissed her and groped

her breasts and buttocks. He also repeatedly threatened to rape her, stab her, and cause her physical harm.”

Though Hampton filed a complaint in response to this mistreatment, the prisoner was never disciplined for his actions, according to the lawsuit.

The lawsuit adds that not only have inmates abused and harassed Hampton, but so have the guards whose duty it is to protect her. She claims that officers at the Lawrence Correctional Facility have repeatedly used slurs such as gay, fag, thing, and it toward her, and that officers at the Menard Correctional Center “forced her to expose her genitalia and breasts, touch herself sexually, stick her finger in her anus, and move her body in sexually suggestive ways all while they stood outside her cell door and watched.”

She filed a complaint against Pinckneyville Correctional Center guards for forcing her to have sex with her cellmate for their entertainment, which resulted in her being transferred to Menard, according to the lawsuit.

This abuse over months, the suit claims, has resulted in serious mental harm to Hampton, who in addition to being diagnosed with gender dysmorphia by IDOC staff in 2012 was designated “seriously mentally ill.” Hampton claims that the abuse she continues to suffer gives her flashbacks to past abuses, resulting in high anxiety and severe depression.

On June 26, Hampton attempted suicide by hanging herself. “Staff found her unconscious and dragged her out of her cell,” the lawsuit claims. After leaving crisis watch three days later, Hampton attempted to hang

herself again and was once more placed on crisis watch, according to the lawsuit, which adds that in February, while at the Lawrence Correctional Center, Hampton tried to hang herself four separate times.

Mills claimed that Hampton is “not receiving the level of help the department says she needs” while at Dixon.

The lawsuit maintains that the only way the IDOC can prevent this abuse is if Hampton is transferred to a women’s prison, which she has repeatedly requested.

IDOC spokesperson Lindsey Hess rejected these claims in a statement via e-mail: “The Illinois Department of Corrections maintains a strict zero tolerance policy toward all forms of sexual abuse and sexual harassment. While incarcerated within the IDOC, offender safety is paramount and all allegations of sexual abuse and harassment are taken seriously and investigated. The Department maintains 100% compliance with the national standards of the Prison Rape Elimination Act as determined by certified independent privately contracted auditors.

The Department carefully considers housing assignments and the unique needs of offenders who identify as transgender. All complaints filed by Deon Hampton have been investigated and handled accordingly.”

Hampton’s transfer would be one of the first times a transgender woman has been assigned to a women’s prison. In 2016, the Prison Rape Elimination Act (PREA) report showed that there were no transgender detainees at the women’s prisons, but that 28 transgender women were housed in the 24 male prisons.

This housing assignment is especially hostile toward transgender as opposed to cis gender inmates. They are more likely to be assaulted in prison, the lawsuit claims, citing the PREA Resource Center (“being transgender is a known risk factor for being sexually victimized in confinement settings”) as well as a 2014 Justice Department report that found “almost 40 percent of transgender prisoners reported sexual victimization in state and federal prisons—a rate that is ten times higher than for prisoners in general.”

If Hampton is transferred, “she won’t stand out anymore,” said Mills. “She won’t be a woman isolated amongst a sea of men.”

Her next hearing is August 27 in East Saint Louis. v

dnorth@chicagoreader.com

AUGUST 2, 2018 - CHICAGO READER 9

Caught between black and blue

COREY ADAMS

Was the police shooting of Harith Augustus justified?

Is Blue Lives Matter for white cops only? Three black CPD officers talk about what things look like from where they stand.

By EVAN F. MOORE

10 CHICAGO READER - AUGUST 2, 2018

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lack police officers remain caught in the middle of the explosive debate over law enforcement in the United States. But it’s often difficult for them to speak freely when they’re torn between their jobs and their communities.

To get a better idea of where African-American cops stand, I reached out to three police officers who live and work in the Chicago area, two men and one woman. They all agreed to speak with me about the current heated environment only on the condition that I leave their names, ranks, and departments out of the story. The officers have a combined 45 years of experience in law enforcement.

As it turns out, the officers have a range of opinions on the current environment surrounding policing—just as it was when I spoke with three different officers in 2016. Of President Trump one says, “His bigotry has made many officers who support him feel bold enough to say and do as they please with little fear of repercussions.” Another feels saddened by those who say “fuck the police”: “It’s a shame that my mere presence brings out so much hatred.” All three believe Mayor Rahm Emanuel’s $95 million new police training academy slated for Garfield Park is needed, notwithstanding the No Cop Academy movement that believes the money for the facility would be better spent on youth and community programs.

Below are their edited responses to questions I sent via e-mail. I’ve referred to them as Misty Knight, Roger Murtaugh, and Mike Lowrey, three well-known (but fictional) African-American police officers.

EVAN F. MOORE: What are your thoughts on the [July 14] shooting of Harith Augustus in South Shore by a Chicago police officer?

MISTY KNIGHT: An entire group of uninformed people gathered to protest a situation where they were lacking facts, very important facts. Someone lost their life as a result of their own actions, and instead of the community coming together to work toward a solution to a problem, the masses came together to cause destruction. This, as I have stated, is a hot climate, with headstrong people from both sides. I just wish there was some way for there to be a happy middle ground. We as black Americans always want to blame the cop, who is too thirsty [for action], or being a coon/Uncle Tom. ROGER MURTAUGH: I know people are saying [Augustus was] a nice guy, and he probably was. He knew he had a weapon. As soon as you see a gun it ain’t about maybe. It’s about me going home. Black, white, Latino, we all think that way. Black people have got to stop watching TV. When we shoot, we’re not trying to injure. We’re trying to kill at that point. The white boys who carry on get shot

too. We don’t rejoice in making that decision.

Three shootings in South Shore compared to how many other killings? Protest the people who [are] doing the shootings. You can’t blame Rahm for this.

MIKE LOWREY: Justified. All he had to do was comply.

MOORE: Do you think that Blue Lives Matter is sympathetic to black police officers?

KNIGHT: I do think the Blue Lives Matter movement is sympathetic to black police officers.

MURTAUGH: Not at all. If anything, it’s a challenge to see if they side with police or with their communities. One of the things that black officers deal with on a regular basis is the question of Whose side are you really on? It’s the same issue that [President] Obama had—is he the black people’s president, or is he the president? There was no concern given to the fact that black people needed help, or that they had been playing on a slanted field. The only concern was, are you going to maintain the comfortable J

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continued from 11 status quo? And that is what [Blue Lives Matter] says to black officers: We need you to ignore reality and blatant issues that many of us, your “brothers” [in law enforcement], have and continue to create.

LOWREY: Honestly, I really don’t think they care to be sympathetic to anyone but white officers since incidents are a constant of white officer versus black subject.

What were your thoughts on the viral video of the Texas police officer who said, “‘Fuck the police?’ Fuck you!!”?

KNIGHT: That unfortunately is the climate that we are in, and it’s a shame that my mere presence brings out so much hatred.

MURTAUGH: It echoes what police officers are trained to believe across the country. It’s “us against you’’ and the “you” all depends on the governing administration. Unfortunately, officers are pushed toward not identifying with the people who they are said to serve.

In the minds of most officers that I have encountered, they perceive that most people have the experiences and lives that they have, based on choice, not by circumstance.

Therefore they see most people as “sheep” that will never measure up to themselves.

LOWREY: I thought it was unprofessional.

Some officers feel that way, but it should never reflect in the course of their duties.

Law enforcement is a job you can’t take personally. If you are supersensitive and get upset because a subject calls you a pig or uses a racial slur, you should not choose this career.

What are the conversations like when you speak with family members about how to interact with police officers during a traffic stop?

KNIGHT: When I speak to family members about how to deal with the police, I tell them to always be courteous. I have expressed to them that the way an officer reacts to them has a lot to do with how they react to the officer. Meaning, if I approach your vehicle during a traffic stop and the first words out of your mouth are “What? You must ain’t got nothing else better to do,” or something to that effect, you have already set the tone of our interaction.

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MURTAUGH: I hate those conversations because I shouldn’t have to have them! At

12 CHICAGO READER - AUGUST 2, 2018

As soon as you see a gun it ain’t about maybe. It’s about me going home. Black, white, Latino, we all think that way. Black people have got to stop watching TV. When we shoot, we’re not trying to injure. We’re trying to kill at that point. The white boys who carry on get shot too.

—Roger Murtaugh

least with black people, I’m standing there telling them that the system is not fair, so you who look like you do have to play it differently.

LOWREY: I have a brother who just turned 20 years old. I advise him to fully comply with law enforcement when stopped: “Yes sir/ma’am,” “No sir/ma’am.” Make the officer feel relaxed to the point where they feel they can trust you. [Don’t] have anyone in the car with you if you’re unaware of their background! Do what’s asked of you, nothing more, nothing less.

What would you say to those who think the police ought to be abolished?

KNIGHT: I don’t think I will ever understand someone’s stance on wanting to get rid of the police. We, as a people, have a very hard time looking out for one another. It’s the laws that keep some people from doing really bad things to others. If there were no laws and no police to enforce those laws, could you imagine how much crazier this world would be?

MURTAUGH: They are fools who would want [police] back within 24 hours. The Purge would become a reality.

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LOWREY: Be prepared to take the law into your own hands. Be prepared to defend yourself and your family against chaos and lawlessness without the help of those professionally trained to deal with these dangers! We are the 2 percent of the population that have the heart to run to what everyone else runs from!

What are your thoughts on the resistance to building a new police academy in Chicago on the west side?

KNIGHT: New schools, new medical facilities, new strip malls, new churches are built every day. Why not a new police training facility?

A new facility could potentially mean better technology, and better technology would hopefully foster an environment of new thinking, which is what the citizens want with respect to policing, right?

MURTAUGH: It’s needed. It doesn’t matter if you like the police or not. How can you complain about the level of training and then get mad at the idea of having a top-notch facility? That’s asinine.

LOWREY: I can understand the concern of the people who believe that a new police academy is unnecessary if the same tactics and training will be taught, but I believe we are going into a new era of policing, and with this new era, new training and tactics are called for to improve relations with the public and try to win their trust!

Do you think President Donald Trump’s claimed “pro-police” stance has a positive effect on your job?

KNIGHT: He has made it very difficult to be a police officer in America these days.

MURTAUGH: It does for people who respect the police, or are afraid of them. But ultimately, politicians like him make it more dangerous. You cannot treat people as if they are beneath you and then expect them to follow you.

LOWREY: Not at all. His bigotry has made many officers who support him feel bold enough to say and do as they please with little fear of repercussions due to them being white and holding a badge, which has further exacerbated relations between white officers serving in black/brown communities and black/brown officers serving with white [officers].

Why do you think that police officers are viewed as heroes in some communities and villains in others?

KNIGHT: Most of the people who hate the police have had a bad interaction with the police, obviously. Generally speaking, most people’s interactions with the police are due to some sort of illegal activity/behavior: a neighbor is calling on them because their music is too loud, it’s 2 AM and the neighbor has to be up for work at 6 AM. So to answer your question, unfortunately, it depends on

the dynamics of what you consider to be a “normal” interaction with the police.

MURTAUGH: That is strictly based on how people are raised and taught to perceive the police. White people teach that they work for the people. Black people are taught to run, or not talk to them, ’cause they will lock you up or kill you.

LOWREY: Race and classification play a huge role. For example, an area like Highland Park or Barrington Hills, which are predominantly white and upper-class [and which have more residents with] wealth and jobs and education, would welcome and praise police for what they endure. As for a place like Englewood or Gresham in the city of Chicago, where it’s predominantly black and lower-class, [people] feel as if they have nothing due to that lack of jobs and closing schools.

Some children grow up thinking the only way out is a life of crime. So of course this life of crime often leads to confrontation with police. Sometimes the confrontation may be warranted; other times the subject is unfairly and unjustly targeted, which leads to a very negative reaction to law enforcement.

The media reports subjects getting killed by law enforcement almost on a monthly basis.

These situations cause certain communities to be biased in how they treat/view police.

If you were a police superintendent, what would be the first thing you would change about how police officers go about doing their jobs?

KNIGHT: There needs to be more personal accountability from civilians, going back to what I said about one’s “normal” interaction with the police. If you have a young man or young woman who has a rap sheet filled with violent crimes, and that young man or young woman is arrested for the 15th time for said violent crime, why does it come down to the officer who made the arrest is “just picking on that person” or is “thirsty”? Why is there never any talk about that person making the conscious decision to commit the crime? I know that isn’t an answer to your question; however, there needs to be a mutual understanding from both the police and the citizens, and being held responsible or accountable for your actions from everyone is a good first step.

MURTAUGH: I would make it mandatory that officers must have worked in a penal institution prior to working on the street.

[Also,] you don’t learn to depend on a gun when you don’t have one. Officers would be required to walk their beats when weather permits. The communities will help you if they know you.

LOWREY: Weed out dirty cops. Because of the actions of a few, departments nationwide are under scrutiny. There are some awesome police officers, chiefs, and departments out here. The more you learn your community as a department, the less trouble you have.

Community policing is key! v

m @evanFmoore

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773-669-5950 AUGUST 2, 2018 - CHICAGO READER 13

AR T S & C U L T U R E

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Daniel Kyri and Bea Cordelia é IMAGE IS USED WITH PERMISSION FROM BEA CORDELIA AND DANIEL KYRI

SMALL SCREEN

T he belov ed community

The T is a love letter to queer and trans friendship in Chicago.

By H. MELT ea Cordelia and Daniel Kyri are the creators, producers, directors, and stars of The T, a new webseries based on their own lives about the friendship between Jo, a white trans woman from the north side of Chicago, and Carter, a black queer man from the south side.

The show premiered with a screening last month at the Chicago Cultural Center, where they filmed part of The T. The Chicago landmark sits across Randolph Street from where the two first connected almost a decade ago.

Cordelia and Kyri first met as 17-year-olds in the After School Matters program at Gallery 37. A mutual friend set them up on a date, but they lost touch after they went away to college. Five years later, Kyri happened to be in the audience during one of Cordelia’s performances at Salonathon, the former home for “underground, emerging, and genre-defying art.” He was captivated, and invited her to perform at the Dojo, an interdisciplinary arts

14 CHICAGO READER - AUGUST 2, 2018

space in Pilsen, where she read a poem called “The Future.” At the time, neither of them was aware they would be working together more closely in the future.

Cordelia and Kyri both felt limited by the opportunities offered to them as actors in Chicago. Kyri was sick and tired of being presented with stereotypical roles that portrayed black men as criminals. After coming out as a trans woman, Cordelia “stopped the acting classes and I stopped trying because I was like, Who’s going to cast a trans woman?” Both desired more out of their artistic careers, and so Cordelia and Kyri decided to build something new together. They began working on The T with the hope that a webseries would allow them to reach a larger audience while still maintaining creative control.

What they wrote is a love letter to queer and trans friendship in Chicago. Throughout the first season of The T, Jo and Carter demonstrate the strength of queer community while

grappling with their sexual identities. Jo finds herself in a relationship with a cis man who wants her to hide her transness. In response, she proclaims, “I am a transgender woman, I can’t turn that off. I am always going to be a transgender woman. I can’t hide that part of my history. You can’t ask me to be anything else.”

In Kyri’s favorite scene, Carter comes to terms with how shame impacts his sexual health. He shares his HIV status with another queer black man named Teddy, played by Travis Turner. Upon hearing the news, Teddy moves closer toward Carter and listens attentively. He provides a caring and sensitive response, rather than fear or rejection, which gives Carter room to be emotionally vulnerable with him.

“A lot of the impetus for the backstory of the character of Carter comes from me being a young queer black man growing up on the south side and floundering,” Kyri says. “Carter’s stepdad is a pastor, which is a reflection of my own religious upbringing. Being told that our desires are bad or invalid has an effect. Shame leads to unhealthy decisions.

We have to grow through and grow past that self-hatred.”

One of Cordelia’s favorite scenes depicts the beauty of sisterhood between trans women.

Jo is hanging out with Emerie, a new friend played by Evilyn Riojas, in her bedroom. They

READER RECOMMENDED

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laugh together, imagine a trans commune in the woods, and vent about ignorant cis people in their lives. The scene concludes with one of the definitive moments of the show. Emerie confesses to Jo, “I’m just really tired of having to apologize for the best parts of me.” This is a rare example of queer and trans people caring for each other onscreen in an honest and everyday way.

In the final scene of The T, Carter and Jo meet at their spot on the beach after they have both had particularly rough days. They huddle together on the shore of Lake Michigan, drinking at dusk with the pink and blue sky above them. They ask each other if they’re OK. Jo responds, “Honestly, yeah.” Carter answers, “I think so.” They’re all right because they have each other. They’ve found love in relationships that affirm rather than ask them to hide their true selves. This deep love and respect is also evident in the relationship Cordelia and Kyri share offscreen.

“When you look at it on paper,” Cordelia observes, “we’re opposites of each other in about every demographic way possible.”

Sure, the two of them both identify as queer and were born in Chicago less than 24 hours apart. But, she explains, their differing class and racial backgrounds meant “according to the world and especially according to a city as segregated as Chicago, we shouldn’t have become friends. There was no reason for us to have met.”

However, they did meet and reconnect, thanks to underground queer art spaces like Salonathon and the Dojo. Currently, Cordelia and Kyri are working together on writing pilots for future webseries and continue performing around the city. Cordelia will be featured in the Fly Honey Show next month at the Den Theatre and Kyri just finished playing the lead role in the Gift Theatre’s Hamlet, directed

by Monty Cole.

Plans for another season of The T remain uncertain. Two weeks before they started filming, Cordelia and Kyri lost a large part of their funding and were forced to cut a significant amount of the show. The T was largely supported through multiple crowdfunding campaigns and grants. In the future, they hope to receive more financial support so they can continue telling the story of Carter and Jo’s friendship. “I want to be able to tell a fuller story,” Kyri said. “I want to create a more expansive view of queer life in the city of Chicago.” v THE T thetwebseries.com

m @HMeltChicago

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AR T S & C U L T U R E Alice Wu, Kellen Robinson, and Kaci Antkiewicz é TOM MCGRATH

BLISS (OR EMILY POST IS DEAD!)

Through 8/25: Thu-Sat 7:30 PM, Sun 2 PM, Athenaeum Theatre, 2936 N. Southport, 773-9356875, prometheantheatre.org, $29, $24 seniors, $19 students.

THEATER

W here E mily P ost meets Bet ty F riedan

Bliss transports Greek tragedy to midcentury suburban America.

By JUSTIN HAYFORD

W

hat’s a suburban American housewife living in 1960 with a philandering husband, two needy kids, a tortured past, and a millennia-old curse to do?

Well, it depends which housewife you ask in Jami Brandli’s new, too-cute-by-exactly-half play, currently staged by Promethean Theatre Ensemble.

Maddy (Alice Wu), maniacal about maintaining traditional gender roles in her stereotypically pre-women’s-lib enclave, takes the theatrically precious route, adhering to the strictures of Emily Post’s Etiquette with the fervor of a religious convert. Her devotion to serving “a proper tea” blocks out the sources of her sublimated but readily apparent anguish: she betrayed her family, her heritage (she’s half Hawaiian), and her humanity to

become the ideal white wife. Once Brandli sets her in motion, she becomes to contemporary audiences a cartoonish exemplar of Wrong Choices. Thus she’s rarely interesting or surprising, even when her life implodes and it turns out she’s Medea.

Clementine (Jamie Bragg), on the other hand, takes the theatrically demanding route.

Having suffered a grievous loss at the hands of her loutish husband, Arthur—and blamed for it by judgmental female neighbors—she sees through the hypocrisy of gendered propriety but lacks the courage or means to strike out on her own. Her only hope of finding her true self, she believes, is to run off with the family doctor, yet she’ll need legal cause for divorce.

Enter Cassandra (Kaci Antkiewicz), Arthur’s new typist and seemingly the town’s only African-American, whom Clementine hopes to

bribe into a compromising position with her husband. Cassandra may end up lynched, but Clementine imagines she’ll be free.

It all blows up spectacularly in Clementine’s face, but her route to disaster is full of all the moral ambivalence and pressing stakes absent from Maddy’s journey. In essence, Brandli puts Clementine, a modern-day Clytemnestra, in a genuine predicament while placing Maddy in a mere setup.

Brandli tries to imbue everything else in the play with mythic resonance. Cassandra is, well, Cassandra, cursed by Apollo (a vainglorious, toga-clad prick) to speak true prophecies no one believes. And neighborhood teen Antonia (Kellen Robinson), whom Maddy tries to indoctrinate in all things Emily Post, is just barely Antigone, living with her unyielding business-tycoon uncle, Creon. Her great moral test comes not from burying a traitorous brother but from taking part in the civil rights movement. But for all the classical allusions throughout the play, about the only use Brandli makes of them, Clementine’s dilemma notwithstanding, is a rather simplistic admonition that women should make their own decisions.

Director Anna Bahow keeps her strong cast charging forward for more than two hours, finding impressive nuance along the way. If this had been entirely Clementine’s play, it might have paid off. v

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AUGUST 2, 2018 - CHICAGO READER 15

EA DROP RLY AFTE -OFF & R OPTI CARE ONS

AR T S & C U L T U R E

2018

Golden Child by David Henry Hwang, the festival’s lead curator é JOHNNY KNIGHT STUDIO

THEATER

F ound in translation

Silk Road Rising wants to introduce American audiences to Chinese playwrights.

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SILK ROAD RISING, under the direction of Jamil Khoury and Malik Gillani, has been a Chicago institution for amplifying Asian-American and Middle EasternAmerican artistic voices since 2002. In keeping with the company’s stated core values of discovery, pluralism, and empathy, the New China Festival, led by director Helen Young, will present a trio of staged readings of plays by authors from the Chinese-speaking world from August 4 through 19.

“I think it is interesting to be able to work on some stuff that is clearly not rooted in an American perspective [and] to bring it to an American audience,” says Carol Ann Tan, the festival dramaturg.

Acclaimed playwright David Henry Hwang led a curation panel for the three selections, which vary significantly in style and theme.

They are Dialogue & Rebuttal by Nobel Prize winner Gao Xingjian; Speaking as Then by Ruoxin Ji, a young playwright originally from

Nanjing now studying at Columbia University; and Sand on a Distant Star by Stan Lai. NEW CHINA FESTIVAL

8/4-8/19: Sat-Sun 4 PM, see website for performances, the Chicago Temple, 77 W. Washington, 312-857-1234, silkroadrising.org, $10.

“We knew we wanted a Stan Lai,” says Corey Pond, Silk Road Rising associate producer. “He’s from Taiwan, and he’s just a very big playwright there right now who’s had a couple works done in America.”

The New China Festival has the added bonus this year of coinciding with the sixth biannual National Asian American Theater Conference and Festival, also in Chicago from August 13 through 18, and also hosted by Silk Road Rising, along with Victory Gardens Theater and the Theatre School at DePaul University. —DAN JAKES

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Defacing Michael Jackson é EMILY SCHWARTZ

to Sasha misfires in a very different sense.

Thomson’s Sasha is a young man named Sam, and his Ivanov falls into sexual confusion when their relationship gets romantic. In a gesture that (a) telegraphs the ending and (b) creates the atmosphere of an educational presentation, the playwright has cast members step out of character at regular intervals to deliver quotes about the nature of suicide. We’re not only told where this is going but what to think about it. Ivanov’s sufferings are paradoxically simplified and, in Bowdren’s inchoate staging, mystified at the same time. A solid ensemble can’t repair the damage. (Side note: Somebody please put Gaby Moldovan in a good show. I’m tired of seeing her be interesting against all odds.) —TONY ADLER LEAVE

ME ALONE! Through 8/12: Thu-Sat 7:30 PM, Sun 2

THEATER

R Human nature

Defacing Michael Jackson uses a pop star and his fans as a metaphor for modern America.

Flying Elephant Productions presents the Chicago premiere of Aurin Squire’s award-winning 2014 comedy, about a tight-knit group of friends whose bond is broken when a white boy moves into their black neighborhood in a small Florida town and joins their Michael Jackson fan club.

Obie (Christopher Taylor), the protagonist, opens the play with a monologue listing 9/11, the Great Recession, and a host of other cultural touchstones America had yet to reach in 1984, the year the play is set. But it was Michael Jackson, he says, who was the lodestar and symbol of the delusions and excesses of that era.

Frenchy (Jory Pender), the president of the fan club, has a schoolgirl crush on Obie, but it’s ne’er-do-well twins, Red and Yellow (both played by Eldridge Shannon III), who pine away for her. When Wes (Sam Martin) shows up, he upends the group’s equilibrium. They start out mocking him, calling him Jack—short for Crackerjack— but Obie can’t help but be drawn to the newcomer. Wes makes Obie aware of his own sexual confusion while at the same time laying bare their fundamental differences.

Wes thinks that their shared love for the King of Pop is enough to bridge the divide—including his own inbred racism—but he’s emphatically proven wrong.

Michael Jackson is a great metaphor for the many problems that continue to plague this country: a man born black, struggling with all his being to transcend race, gender, class, and perhaps even any recognizable human form. Squire has no solution for this quandary— either Jackson’s or ours—but ably presents five young people trying their best to find a measure of grace in a society temperamentally unsuited to it. Alexis J. Roston directed. —DMITRY SAMAROV DEFACING MICHAEL

JACKSON Through 8/12: Thu 7:30 PM, Fri-Sat 8 PM, Sun 3 PM, Stage 773, 1225 W. Belmont, 773-327-5252, flyingelephantproductions.com, $40.

R Fighting words

The Lady Demands Satisfaction is good swashbuckling fun.

This Babes With Blades Theatre Company world premiere is a rowdy, rollicking spoof of 18th-century English Restoration comedy, infused with fast-paced farcical energy and lots of swashbuckling swordplay. A product of Babes With Blades’s Fighting Words Program—which develops new works that place heightened language

on a par with stage combat in the storytelling—Arthur M. Jolly’s play concerns 15-year-old Trothe (Deanalís Resto), the daughter of a nobleman, who is in love with a flamboyant poet (Felipe Carrasco). After her father is murdered, Trothe learns that the only way she can protect her inheritance is either to marry a famous Prussian swordmeister or to beat him in a duel. To the rescue comes Trothe’s aunt Theodosia (Megan Schemmel), the finest swordsperson in England, as well as Trothe’s scheming maids, Penelope (Kate Booth) and Tilly (Ari Kraiman). Tilly dons a fake mustache to masquerade as the Prussian—a stratagem nearly thwarted when the real Prussian (Amanda Forman) shows up.

Directed by Morgan Manasa with fight choreography by Samantha Kaufman, the show takes the conventions of classic comedy—cross-dressing and mistaken identity, witty repartee laced with puns and double entendres, slapstick violence, satirical commentary on gender and class divisions—and ramps them up with a nonbinary 21st-century perspective. The actors’ performances are impressively athletic and exuberantly exaggerated, and the convoluted plot revels in its own improbability. Best of all, this production is genuinely family friendly, with multiple levels of humor designed to appeal to both kids and grownups. —ALBERT WILLIAMS

THE LADY DEMANDS SATISFACTION Through 8/25:

Thu-Sat 8 PM, Sun 3 PM, City Lit Theater, 1020 W. Bryn Mawr, 773-904-0391, babeswithblades.org, $25, $15 students and seniors.

The more you know. . .

Leave Me Alone! turns Chekhov into a public service announcement.

At first Paul Michael Thomson’s Leave Me Alone! looks like a conventional update on Ivanov, the early (1887) play by Anton Chekhov, about a minor government official whose misfortunes, rotten choices, and internal contradictions push him to the brink and beyond. Thomson exchanges the twilight of the czars for the era of Trump; his Ivanov, a liberal state representative, checks his texts and watches his polling numbers.

The adaptation is more than an update, though.

And also far less. Thomson and director Matt Bowdren turn this debut production from the Story Theatre into a 95-minute public service announcement about gay identity and suicide: well-meant but clumsy and reductive.

In the original, Nikolai Ivanov has a dying wife, a crushing debt, and a, well, Chekhovian angst. The only potentially bright spot in his life is Sasha, the 20-yearold daughter of a friend, who idolizes him. Yet even her devotion misfires when Ivanov is observed failing to resist her kisses. Later, the widowed Ivanov’s wedding

PM, Heartland Studio Theatre, 7016 N. Glenwood, storytheatre.org, $15.

What fools these mortals be

An amped-up Midsummer Night’s Dream in the parks, the way it was sort of meant to be.

Two sure things in Chicago: (1) Outdoor summertime stagings of Shakespeare’s A Midsummer Night’s Dream, and (2) strenuously amped-up stagings of Shakespeare’s anything by Barbara Gaines. Chicago Shakespeare Theater has brought the two inevitabilities together for a production touring to 18 city parks. And with Gaines directing her own adaptation, there’s no limit to the audience-goosing liberties on view.

A quick refresher: AMND is the romantic comedy with three plots, the first involving four young Athenians whose parents are on the verge of screwing up their lives by marrying them to one another in the wrong combinations. This quartet hie themselves off to the woods, where they get enmeshed in plot two, concerning the faerie king and queen, who are feuding over possession of a changeling boy.

Meanwhile, a bunch of bumpkins are rehearsing a play to help celebrate the wedding of the queen of the Amazons to the duke of Athens. The head bumpkin, Bottom, stumbles into the woods and gets enmeshed too.

Gaines’s telling features hip-hop faeries, blaring pop-music interludes (Andrew Lloyd Webber to Marvin Gaye), Bottom in a Darth Vader outfit, the cutest lion, and endless Chicagoiana (starting with the city seal, running through the Cubs, and including lots of utterly gratuitous references to different spots around town).

Gaines’s anachronistic filigrees are often more annoying than illuminating, suggesting a director way

AR T S & C U L T U R E

too determined to demonstrate what we can easily learn on our own: that what happens in a Shakespeare play might mean something even after 400 years. Here, she drops all inhibition, and the result is more a set of novelty riffs than a coherent telling. Still, there’s no denying that she’s a accomplished ingratiator. What’s here is fun, mostly. And then there’s the chance to see the moon rise as the performance unfolds. —TONY ADLER

A MIDSUMMER NIGHT’S DREAM Through 8/26: vari-

ous times and locations, see website, 312-595-5600, chicagoshakes.com. F

Whodunnit?

Despite the tiny cast of Murder for Two, there’s a multiplicity of suspects.

Musicals are notoriously expensive to produce, especially shows with large casts and a decent-size live orchestra. Joe Kinosian and Kellen Blair’s two-person murder-mystery musical (performed sans orchestra—the actors accompany themselves) is tailor-made for theaters on a budget. (And who isn’t?) Which may be one reason the show, after premiering in 2011 at Chicago Shakespeare Theater, has gone on to be produced around the world, in both English and in translation (Spanish, Chinese, Japanese, Korean). It also can’t hurt that it looks like a lot of fun to do, full of opportunities for actors to show off their performing skills (one actor plays all the suspects, the other plays the investigator and provides most of the musical accompaniment).

Noel Carey and Jason Grimm perform well together, and much of the entertainment in this show comes from their considerable onstage chemistry. Both are facile comic actors, though Grimm, who plays the suspects, earns the most applause because his changes from one character to another are so quick and because he’s a bit of ham. Kinosian and Blair’s book is charming, though there’s nothing particularly groundbreaking about their genre parody or their small cast. And the story does seem to run out steam about 70 minutes into the 90-minute show. Still, Kinosian’s tunes are fresh and ear pleasing, Blair’s lyrics are witty and literate, Carey and Grimm keep things moving under Scott Weinstein’s direction, and the audience laughs throughout. —JACK HELBIG MURDER FOR TWO Through 8/26: Wed-Thu

7:30 PM, Fri 8 PM, Sat 3 and 8 PM, Sun 1 and 5 PM, also Wed 8/1 and 8/8 and Thu 8/16 and 8/23, 1 PM, Marriott Theatre, 10 Marriott Dr., Lincolnshire, 847634-0200, marriotttheatre.com, $52-$57. v

The Lady Demands Satisfaction é COURTESY THE ARTIST

AUGUST 2, 2018 - CHICAGO READER 17

AR T S & C U L T U R E

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The Area

MOVIES

Be yond the bullets Black Harvest Film Festival fights to redefine Chicago’s south and west sides.

By ANDREA GRONVALL

18 CHICAGO READER - AUGUST 2, 2018

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mages carry more weight than ever these days, and their viral proliferation can crowd out other realities. A relentless news cycle of taped-off crime scenes, memorial shrines, and survivors mourning gun victims can, by sheer accretion, become the media shorthand for a community at risk. Chicago’s south and west sides have been plagued by this as high murder rates have come to define their neighborhoods to outsiders. But this year’s 24th annual Black Harvest Film Festival, which runs through August at Gene Siskel Film Center, includes three Chicago-based documentaries that buck the media narrative, focusing on vibrant, determined, civic-minded personalities.

David Schalliol’s THE AREA (93 min.) is an eye-opening saga of resistance in Englewood’s 20th Ward to a land grab by the Norfolk Southern Railway, which after the housing market crash in 2008 quietly began buying and demolishing homes to expand its 47th Street intermodal shipping

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AR T S & C U L T U R E Chi-Town

yard. Over five years the indefatigable activist Deborah Payne, galvanized by the steady decimation of her beloved neighborhood at 57th Street and Normal, rallies other residents to oppose the railway and protest the city’s disinterest in homeowners, who are being offered only fair-market value for their properties amid a historic plunge in housing prices. After the City Council—including the two-timing 20th Ward alderman, Willie Cochran—votes to sell off 105 vacant city lots to the railroad, Payne (who’s listed in the credits as a producer) turns to preserving the quality of life on the occupied blocks.

As a PhD candidate in sociology at University of Chicago, Schalliol worked on a project to document demolitions; walking neighborhoods that were threatened by redevelopment, he got to know the residents. His research has fed not only The Area but also a 2014 book, Isolated Building Studies, and a blog, Sociolography, on which he ponders the tensions between urban growth and economic disparity, between might and blight. The Area shows him to be both a gifted architectural photographer and an empathetic portraitist.

He has an appreciative eye for the proportions and lines of Englewood structures, some of them a century old, and there are breathtaking shots of trees silhouetted by fireworks in a velvety night sky. The interviews are poignant, especially Schalliol’s encounter with Larry Parks, one of the last holdouts, who hung on to his family’s home as long as possible so his Alzheimer’s-afflicted mother could die there.

More strong women propel Pamela Sherrod Anderson’s THE G FORCE, about seniors who step up as primary caregivers for their grandchildren after their children fall prey to mental

THE AREA ssss Directed by David Schalliol. 93 min. Schalliol and Deborah Payne attend the screening. Thu 8/23, 8:30 PM. CHI-TOWN sss

Directed by Nick Budabin.

82 min. Budabin attends the screenings. Fri 8/10, 8:30 PM, and Mon 8/13, 8 PM.

THE G FORCE ss

Directed by Pamela Sherrod Anderson. 58 min. Anderson attends the screenings. Sun 8/12, 3 PM, and Tue 8/14, 6 PM.

BLACK HARVEST FILM FESTIVAL

Sat 8/4-Thu 8/30. Gene Siskel Film Center, 164 N. State, 312846-2800, siskelfilmcenter.org, $11, festival passes $55 (excluding opening and closing nights).

illness, addiction, domestic violence, incarceration, or sudden death. Ellen Robinson of Chatham rears her teenage grandson, Patrick, with the help of Chicago police officer Denny Perdue, who has steered the boy into swimming and boxing. Georgeanne Fischetti of Lincoln Park took charge of her granddaughter Martha during the girl’s infancy, became her guardian a year later, and eventually adopted her at the child’s request. This warm, uplifting documentary also introduces the Second Chance Grandparents Writing Group, which offers a creative outlet to stressed caregivers.

CHI-TOWN (82 min.) follows the thoughtful, resolute, and charming young basketball

hopeful Keifer Sykes from his last year in high school to his four stellar years as a point guard at the University of Wisconsin-Green Bay to his postgraduate pursuit of a professional basketball career. Nick Budabin, a show runner at Vice Media, was in Chicago in 2011, producing a documentary about Oprah Winfrey, when he met Sykes, then a senior varsity player for John Marshall Metropolitan High School in East Garfield Park. Budabin decided he’d found an ideal documentary subject, whereas Sykes was enthusiastic at the idea of emulating Arthur Agee, one of the protagonists of Steve James’s Hoop Dreams (1994), who also played for Marshall.

Sykes admits at the top of the film that the odds of his making the NBA aren’t in his favor.

The moment reveals what the rest of the documentary reinforces: his emotions inform his personality but don’t rule him. This is a grounded young man—focused, dedicated, patient, logical, and concerned for others. Sykes needs all those qualities to succeed, because for all his skills on the court, he stands only five foot 11 inches tall.

Despite tragedy and setbacks, Sykes never pities himself; he regroups and moves on.

His strength clearly derives from his family’s abundant love and their determination to keep him off the streets (in his formative years he played basketball six nights a week at a local gym). The danger of random shootings runs through the film like an underground river, surfacing later in paralyzing attacks on a high school teammate and the basketball coach.

Budabin doesn’t ignore the threats on southside streets, but his depiction of one admirable young man proves there’s much more to the story. v

Find hundreds of Readerrecommended restaurants, exclusive video features, and sign up for weekly news at chicagoreader.com/ food.

AUGUST 2, 2018 - CHICAGO READER 19

Get showtimes at chicagoreader.com/movies.

AR T S & C U L T U R E Masaharu Fukuyama and Kōji Yakusho in The Third Murder

MOVIES

Third Murder, second vi ew ing

Hirokazu Kore-eda’s Japanese legal drama deepens on a repeat screening.

By BEN SACHS This review contains spoilers. he first time I watched The Third Murder (2017), a Japanese legal drama written and directed by Hirokazu Kore-eda, I considered it a failure, a routine genre exercise by a filmmaker capable of much more. Kore-eda’s best films (Nobody Knows; Still Walking; Like Father, Like Son) unfold like great novels, patiently spending time with the characters until the accumulation of detail becomes profound.

By contrast, The Third Murder felt like high-

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toned paperback fiction; the film hinges on a few big plot twists that drastically alter one’s perception of certain characters all at once.

But when I watched it again, Kore-eda’s surprises seemed less like screenwriter’s tricks than Dostoevskian revelations deepening everything that came before. Scenes that are tedious or familiar on first viewing become absorbing on the second, when you focus on small details that point to the characters’ true selves. In fact, I can’t write about The Third Murder without getting into the plot twists, so if you want to see it, read this piece later.

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20 CHICAGO READER - AUGUST 2, 2018

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The film begins with a scene of random murder. A man follows another man through an industrial landscape, beats him to death with a wrench, then burns the victim’s corpse.

Kore-eda cuts between plainspoken close-ups and dispassionate wide shots, announcing a nonjudgmental, matter-of-fact perspective. It’s an inspired way to set the stage for The Third Murder’s protagonist, Shigemori (Masaharu Fukuyama), the lawyer who will defend the murderer, Misumi (Kōji Yakusho).

From the start Shigemori comes across as an idealist who lives to help others. He eagerly

joins a colleague in defending Misumi, even though the latter has already confessed to the crime. Shigemori’s father, a liberal judge, once sentenced Misumi to 30 years in prison rather than give him the death penalty. The judge’s son, acting on an inherited sense of responsibility to the man, goes about investigating Misumi’s history as though he were innocent.

The great revelation of The Third Murder is that Misumi believes in justice as deeply as his lawyer does. In the third act, Shigemori discovers that, contrary to the opening sequence, Misumi didn’t really commit the murder but rather took the blame for the victim’s teenage daughter, Sakie (Suzu Hirose), who’s been sexually abused by her father and in whom Misumi has taken a protective interest. Kore-eda presents this revelation as matter-of-factly as he does the opening murder, and it doesn’t come off as prurient. More importantly, it unifies Kore-eda’s psychological portraits of Shigemori and Misumi. The attorney may appear onscreen much more than his client, but one gets to know Misumi just as deeply from what other people say about him. As Misumi, Yakusho gives an understated performance that subtly reflects the insights one gleans about the character from the testimonies of others; one of the pleasures of watching the film a second time is seeing how, in the early scenes, Yakusho provides clues to later revelations.

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AR T S & C U L T U R E The convict and the lawyer are quite similar.

Shigemori believes so deeply in the law that he’s sacrificed his life for it—early in the film Kore-eda reveals that the attorney’s wife divorced him and that his neglected 14-year-old daughter is becoming a delinquent. Shigemori realizes that he’s failed as a family man but makes little attempt to change his personal life; he’s too committed to the cause of justice.

Misumi has also sacrificed much of his life to do what he believes is right. In the middle of The Third Murder, Shigemori travels to the convict’s hometown in Hokkaido to persuade Misumi’s estranged daughter to serve as a character witness and learns from the townspeople that Misumi went to jail the first time because he murdered two local gangsters who’d been preying on the community. By confessing to the murder Sakie has committed, Misumi accepts that, as a repeat offender, he may receive the death penalty, but he considers Sakie’s happiness worth dying for. Misumi shows that he’s made peace with his fate in the early scenes, when he answers his lawyers’ questions by telling them what he thinks they want to hear. He doesn’t care about telling the truth or improving their defense, since he’s already achieved his mission.

Kore-eda encourages contemplation through patient long takes, a plaintive minimalist piano score, and the way he parcels out information. Often the director presents new information about characters twice—first, when the character or someone speaking about him volunteers the information, then when the lawyers meet to discuss it. This narrative strategy can make the movie feel twice as long as it really is (which is why I was a little bored on first viewing), but it fosters a sense of deliberation—one approaches Kore-eda’s psychological revelations as if they were pieces of evidence, considering them from multiple angles and reflecting on how they contribute to the overall characterizations. This legalistic approach to storytelling reminded me of such classics as Otto Preminger’s Anatomy of a Murder (1959) and Krzysztof Kieślowski’s A Short Film About Killing (1988), which is to say that The Third Murder merits comparison with the finest films on the subject of justice. v THE THIRD MURDER ssss Directed

by Hirokazu Kore-eda. 125 min. Fri 8/3-Thu 8/9.

Gene Siskel Film Center, 164 N. State, 312-8462800, siskelfilmcenter.org, $11.

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MOVIES NEW REVIEWS

A li & C av ett: The Tale of the Tapes

TV talk show host Dick Cavett broke new ground in the late 60s and early 70s by showing as much interest in himself as in any of his guests; this made him the perfect interlocutor for boxer Muhammad Ali, whose public persona was built on his comically outsize ego. This documentary, drawn from Cavett’s archives, tells Ali’s story from 1963, when they met on the set of The Jerry Lewis Show, through Ali’s last fight in 1981. Cavett’s own late-night show on ABC was unusual for welcoming controversial black figures, and the white host’s guileless questioning of Ali about race relations elicits some moving reflections from the boxer. Director Robert S. Bader relies too heavily on interviews with biographers and casual observers (Juan Williams, Al Sharpton) to carry the narrative, but there’s interesting show footage of Joe Louis, Howard Cosell, Sugar Ray Robinson, and Jim Brown debating Ali’s draft evasion with segregationist Lester Maddox, who walked off the set. —J.R. JONES 95 min. Bader attends the screenings, joined by Cavett on Sunday, August 5.

Part of the Black Harvest Film Festival; for a full schedule visit siskelfilmcenter.org. Sun 8/5, 5 PM, and Mon 8/6, 8 PM. Gene Siskel Film Center.

The C apt ain

This sluggish World War II drama tells the true story of Willi Herold, a German foot soldier who was separated from his unit in the last days of the conflict and, having found an officer’s uniform in an abandoned suitcase, posed as a Luftwaffe cap- «

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AUGUST 2, 2018 - CHICAGO READER 21

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AR T S & C U L T U R E

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continued from 21

tain on direct orders from Adolf Hitler to observe and report conditions at the front. Gathering a little band of lost soldiers around him, Herold arrived at a military prison camp and took advantage of his charade to carry out the executions of more than 100 German deserters before he was exposed and apprehended. Director Robert Schwentke shoots in black and white, yet the story is strictly black, giving little insight into the cruel, impressively coolheaded Herold (Max Hubacher) except that he’s incensed at the German retreat. The early, innocently comic scenes in which he begins to grasp the magical power of his new clothes are the movie’s high point. In German with subtitles. —J.R. JONES 118 min.

Fri 8/3, 2, 4:30, and 7:30 PM; Sat 8/4-Sun 8/5, 2, 4:30, 7, and 9:30 PM; Mon 8/6, 2, 4:30, and 9:30 PM; Tue 8/7, 2, 4:30, and 7 PM; and Wed 8/8-Thu 8/9, 2, 4:30, 7, and 9:30 PM. Music Box.

P uz z le

A cloistered Catholic housewife (Kelly Macdonald) in Bridgeport, Connecticut, discovers an unusual gift for assembling jigsaw puzzles and begins surreptitiously commuting to Greenwich Village to train for a national puzzle competition with an expatriate Iranian inventor (Irrfan Khan). Screenwriters Oren Moverman and Polly Mann, adapting a 2009 Argentine feature, belabor the ignorance of their working-class characters; when the wife suggests to her car-mechanic husband (David Denman) that they watch the news, he replies, “Why? Nothing good ever happens in the world.” The inventor’s sarcasm and penetrating personal observations of the heroine pull her out of her silo, but there’s so little chemistry between the mismatched puzzlers that the developing love triangle feels formulaic. In case you

were wondering, the jigsaw puzzles are a metaphor for the wife’s identity. Marc Turtletaub directed. —J.R. JONES R, 103 min. Century 12 and CineArts 6, Landmark’s Century Centre, River East 21.

U FOr ia

John Binder’s low-budget satire of Christian evangelists was shelved for four years by Universal, then released in 1985, when it picked up good reviews but sank at the box office. Con man Fred Ward rolls into a small western town, hooks up with local faith healer Harry Dean Stanton, and does his best to seduce pious supermarket cashier Cindy Williams, who expects flying saucers to land soon and transport the righteous to heaven. The movie was somewhat ahead of its time in lampooning the Christian right, though now it registers more as a piece of oddball Americana, similar to the movies Jonathan Demme was making around that time (Citizens Band, Melvin and Howard). With Harry Carey Jr. —J.R. JONES PG, 93 min. Tue 8/7, 7:30 PM. Northeastern Illinois Univ. Auditorium.

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please recycle this paper 22 CHICAGO READER - AUGUST 2, 2018

“Remarkable...a crime drama like no other.”

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M U IS C T h e co e v r of é C O U R T E S Y O F N E C K B

E A R D D E T A H C A M P

and more. T h eb an d ’ s imagery and lyrics are so extreme that sometimes they seem like a u t at least they’r e a joke at the exp ense joke , b of p eop le who ou ght to b e mocked .

Neckb e ard Deathcamp p u rp o rt to b e from Bord e au x , France, which is another joke— the city is also home to Norwegian black -met al artist Varg Vikernes, notoriou s for his mu r d erou s role in the b and M a yhem, for his solo p r oject Bu r zu m, and for his racist and neo-Nazi vie ws. H o weve r the memb er s of Neckb ear d Deathca mp actu ally live in several .U .S ci ties, inclu d ing C hic ago. T h ey wrote and reco rded

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nS a tu r d a y, Ju ly 2 1, a trio of anonymou s mu sicians op er ating u nd er the name Neck b e ard Deathca mp self-released an alb u m of raw b lack metal ca lled .T h eb and ’ s artwork mockingly o c -op t s white su p r emacist symb ols , inclu d ing the d eath’ s head mad e infamous b y the S (r ecast as a p or trait of R ick R os s) and the Nazi eagle (with a p enis for a head and a eP p e ca rtoon instead of a swastika in its talons). T h e song titles fu rther clarif y the alb u m’ s targets: “Inc el Warfare,” “P lease

R esp o nd (I S ho wed You M y P e nis), ” “T he Fetishization ov sAian Women Desp it e a Demand for a P r e White R u a ec (O u tro). ” Black metal has long had a p r ob lem with toxic id eologi es: its love of p ag anism ca n easily p r ov id e o c ev r for neo-Naz ism, and its nihilism a c nb e ap ose to a c mou ag e white su ¿ r emp acy and misogyny. T h ese d a ys the Internet is a thriv in g nu r sery for this kind of right-wing extremism, and Neckb ea rd Deathcamp take aim at a wid e swath of it: 4 chan ed g elord s with P e p e avatars, smu g P r ou d Boys, red p il led ince ls, fake-ir onic K e kistani white nationalists,

over the co u r se of a co u p le of weekends, and in add iti on to manufact u ri ng a tiny run of ca ssette and C D co p ies , they u p load ed the alb u m to their Band c amp p ag e (wher e it’s selling for one A meric an d oll ar). T h en they d r op p ed the p ag e’s U R L into a few ca refu lly cho sen R ed it grou p s and waited to see what wou ld hap en. p What hap p e ned exce ed e d their wild e st exp ect ations: the alb u m top p ed Band c amp ’ s metal ca tegory, then b eg an ou t selling everything else on the site. I à rs t saw a a c su a l mention of the p r oject in a C hic ago mu sic forum on S u nd a y, and on T u esd a y I sp oke to the b and ’ s vo ca list, p i a nist, noise maker, and artistic d ir ect or, rK iegmeist er H at estorm (he and new b as sist K a iser Wehrwu lf VonTolerance b ot h live in C hi ca go). In the b rief wind o w of time b et ween those two events, says H a testorm, Neckb ear d Deathcamp sold more than 1, 0 alb u ms , b ooked two festiv a l ap p ear ances (he ca n’t say which ones yet), and à eld e dq u er ies from mainstream med ia ou tlet s su ch as and the . h T eb and is cu rr ently p lanni ng a tou r and working on a second fu lllength and a sp lit E P (the other b and is a secr et for now, thou gh H at estorm insists that when the news d r op s , “Y ou ’ll lau gh”).

M o st imp o rt ant from Neck b e ar d Deatha c mp ’ so pint of ive w, they’v e seen ev iednc e o (n message b o ards and via their Bandca mp co ntact e-mail) that their mu sic is alread y g u b ging the cr ap ou t of at least some of its intend e d targets. (T he b and intend to stay anonymou s ebc au se the alt-rig ht loves to o d x , harass, and threaten its critic s.) T h e grou p samp led farright kook-ena b lin g co nsp ir acy-theory p ed d ler s Infowars on “C u cked (Intr o), ” and when H at estorm mentioned he’d heard rumors that Infowars might “r ep ort” on Neck b ear d Deatha c mp, I asked him if the rp esid en t had tweeted

ab ou t the reco rd yet. In total earnestness, he answered , I“f that ever hap p ens, that wou ld eb the rc owning achiev ement of my life.”

Before I sent H at estorm my interv ie w q u estions v ia e-mail, he let me know that he intend ed to answer “i n char act er.” S o I did my b est to p la y along. I’v e ed it ed his answers lightly and retyp ed them so they’r e not in all ca p s— I Ãgure nob od y need s the extra eyestrain.

Chicago e R ader: o H wd id e N ckb e ard a e D h t camp fo rm, who is in th e b a nd, and wha t is oy u r u lt imate goal?

Kriegme iste r H a te ts o rm : N e c k b e a rdD e a t h c a m p is a S o r o s f ou n d a t io n s p o n r e d a n t if as c i ts up e r s o l d ie r c e lo p e r a t in g in t h e U . S . a s a n e ff or t t o s p r e a dt h e g l o b a l is ta g e n d a .

It is c om p r is e d o f m y s e l f ,S up e r k o m a n d o U b e r w e in e r sc h n it z e l, H a il z K om r a d e z , a n d r ec e n t a d it o n K a is e rW e h rw u l f o V n To l e r a n c e . O u rg o a l is t ox et er m in a t et h e a l t -r ig h a n d e v r yt h in g t h o s e f u c k in g l os e r ss ta n d o f .r e W x e t en d o u r h a n d t oa n ya l i e s w h o w o u l d l ik e t o jo in t h e . O u rm is io n is e f n o oa w ra d o n y a l n w .r oW rd is th at yo u’ re in th e C h ica go area on a st ea lt h mission.

C an yo u te l us mor e ab o ut th at? e W a re c u r e n t l y h e r e a d m in s t er in g t h e s up e r s o l d ie r s e r u m t o l o c a a n t i-f a s c i tm il t an t s a n d d is t r ib u t in g m e r c h a n d is e t o f u n d t h e w a r k a m p ig n , a s w e la s t o inc re as e o u r p ow e rt h r o u g ha bs o r p t io n f ot he f a tr i sa n d b l a s t b e a t o u t p u t f ot h e m id w e st ’ se xe ce d in g l y b r u t a lg r in d s ce n .h T u s a f ,r t h is t r ip h a s b e n at t o a lu se c s . hW at d e o

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MI SC continued from 23 It seems like everyone is talking about electronic warfare these days—like how the u R ssians interf ered in the 20 16 election. H o w have Neckbeard Deathcamp taken over the In ternet to spread their message? e W a r e in e xu l t a t io n a t t h e s tr en g t h o f t h e g ro w in g w a r k a m p ig n . a W t ch in g it s p r e ad f ro m t h e d r ive rs ’ s ea t , w e s e h o wt h e m e s s a g e o f ac h i l d ik e d e m a g o u c ou l d l it e ra l y b e p a id o f ,r t ob e p u t in t h e e a ro f s o m a n — y e s p c ia ll y w it h t h e m a c h i n e l i k e C a m b r id g e n a A ly t ica . h T es “h a r ”e b u t o n is t he o n l y t ac t ic w e h av e e m p lo ye d ,b u t it is c l e a r h o wm u c h t se rn h l t g s in aw ie e l - o tl dp h c n u e . in l

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Is black metal the best tool to antagonize white nationalists?

E x t r em e m u s ic a t r a c t s e xt re m p e t u l a n ce .

F ra n k l y ,w e ’r e ju s t im p r e sd b y h o wm u c h o f it is t oo th l e s p os tu r in g . o P s e u r s , l it e ra l y os p r s u e . oY u’re most explicit ly agains t basemen tdwelling white nationalists, but you’ve also writt en songs that incels and redpills can relate to, such as “Ple ase eR spond (I Showed oY u My Penis).” Is this a tactic to inltr ate the enemy, gain their trus t, and bring them over to your side? O r something else? o .A N l lo f o u r s o n g a ret ob e t ak e na s a bs o t f ac e v al u e .S c u m a ret ob e t re at l u t eb il e a d a e s u m c s il t t n u e yg h e tit o tg e t r .C e h r s os g in t h e a is l e ,a n d aw il n g n e s t oe n g a in d is c u s io n , is aw o r t h w h il e t h in g o t d o .u B tN e c kb e a rdD e a t h c m p a ren o tt h a t ; s uc h p u r s u it s a re r es e r v e d f o rin d iv d u a l s w it h a l t e r n a t e et s sf ot al s t n e n t a h t e o h s e n e w p os . e

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In the song “X X L O ber sturmfuhr er e L ather Duster,” you foresee a great meme war in the futu re where there shall be winners and there shall be losers. What awaits the fallen soldier s in Meme Valhalla?

M e m e a V l h a c is tf et is h iz a t o n n o e M m e a V af as c i tf u t r x e t er m in a t io r e n i w , a s d n

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M U SIC tor In ternet,” h as q uick ly become one of th e most comp e li ng lo ca l musicia ns to emerge this ye ar , credits B ano s as a so ur ce of insp i r ation. ¯ ls s

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h W en I Írs t sa w th at th e myste rious and b eg uiling Kath B loom w o uld b e p la ying th e H i deout, I h onestly g asp ed .T h e elusiv e sing er -s ong w rit er h ar dly eve r tours, and w h en sh e does, it’s usualy in th e U K and u E rop e .h T is tour ja unt cov e rs only h C icag o and a h andful of rust-b elt citiesincluding lC ev e land , e D troit, iP ttsb ur g , an d lA le ntown, eP nnsylv ania—a l h p la ces B l oom, a nat ive of e N w vaH en, C o nnecticut, admits sh e h as neve r eve n vi sit ed. A f ter st udying cello and g uit ar , B loom la unch e dh er career b ac k in 19 67 w h en sh e b eg an p er forming w ith leg end ar y av nt-g uar de g uit aris t Loren M a zacane C o nnors.

T h e comb i nat ion of B l oom’s p as ionate, delicat e o v ice w ith C o nnors’s mournful six -s tring folk -b l ues tex t ures yielded some LPs, includ ing 19 28’ s iS n g the C hil d re n O ve r, and b e tween 19 8 3 and 8 ’ 4 , S a n d in M y S h oe, R e st less F a it hfu l D e sp e ra te, and M o onlig h t (t h e originals ar e now alm ost impossib le to Í nd, b ut h C ap ter u M sic h as reiss ued some in recent ye ar s) . W h en the ir p artner ship ended in 19 8 4 , B loom al b ut retired to focus on h er lif e as a sing le mother, b ut sh e w a s th r ust b ack into th e music o w rld in 199 5 w h en iR ch ar d Linklat er used h er song C “ ome H e re” in h is aw ar d-w inning romantic drama Befo re u S n ri e s .B loom self -r ele ased a new alb um, tI s’ Ju ts a D re am, in 199 ,6 and C o me H e re : T h e lF ori d a eY ars in 199 9. Since th en, h er music h as slo w ly b een g aini ng tractio n w ith new lis teners— a B loom trib ute al b um, o L vin g aT e k sh T is o C u rs e , w h i ch featur es fans lik e D e e v ndra B anh art, e gB M air d, B i l C alh an, and o J sep ine h o F tse r, came out in 20 9 .B 0 loom s’ most recent rele ase , 2015 s’ aP s T h rou g h H e re , h as ap r etty full sound e ( ve n some sy nth s!) e y t retains

ae v ry h om esp un feel. tA tonig h t’ s sh o ,w p ar t of the iH deout’s iP cnics on th e o P rch series, sh e ’l b e p la -y ing most ly mat erial oÒth at alb um (“ 6 0 p er cent,” sh e told me), ac comp a nied b y D a vi d Shap iro on guitar. Sh e also p r omised a few older clasics for th is extremely rare and clo se-up ap e ar anc e. M i s it at o y ur own risk, as th is mig h t b e o y ur only ch anc e to cat ch B lo om’s g o rgeously ac h i ng tunes liv e in C h icag o . ¯l •

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h C icag o four-p i ece lC earance p la y the kin d of indie rock th at, se e v ral decad es into its existence, I’ d now

at ar e deeply rev e rential cal l clasi c—h oo ky so ng s th of rock’ s p as t and car ry it forwar d w ith ex c eptional ease . T h eir melodi es unw ind lik e a H o mer Simp son- typ e footb al fanatic se ttlin g into h is fav orite sp o t on th e so fa, and th e song s b uild to b ig , h ooky cresc endos lik e the emotion of said footb al l fan che ering the w i nning touchdow n of his fav orite team. O n th e b r and-n ew LP tA oY u r e L is u re (T opsh elf ), w h ich C l earance celeb r at e tonig h t at th e H i deout, th e y’ e v h e igh t ened th e celeb r at ory sp ir it of th eir music and kick ed up its urg ent feel w ith o ut disrup ting th eir ch ar act eristic air of nonch al an ce (t ho ug h the sp e edy Krau trock sto mp of A “ nother A r r ow” b r ing s the b a nd to the b r in k of the ir reÍ ned cool). I g i e v som e credit to th e e H cks’ aD e v eV ttraino , w h o recorded tA oY u r eL is u re ; th e alb um

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occasionally mirrors the energy of the H e cks’ lac eratin g p e rformances. B u tC l earance sound bold and p oised thr oughout the record, because afte r e v e y ars o t gethe r the y kno w how to hit ev e ry note jus t right and make the ir songs e f el as though the y come as easy as an aCernoon nap. ¯ ls s

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I’l be honest th at th e name C a mp d ogzz —which conju r es some th ir d-r ate hip -h o p crew fr om th e end days of o N LimitR e cords or an indie band that makes songs o f r to ddler s—le C me w ithou t interest in the group’s music o f r a long w hi le , but I’ m gla d I ignored that and checke d out the brand-ne w second alb um, 1( 5 Passenger). h T ere’s something about the raspy to ne and breath y catch in the singing of e J ss Price that’ s hard to resist, esp ecially w hen her dusky melodies sp lit the di erence

ic beats, o w ozy ste el-guit ar w a shes, and occasional strings te legr ap h its real emotions. T h e lyri cs are a bit to o insular o f r my ta ste , chockab lock w ith ellip tic al images as Price essays av rious sorts of strained relat ionships, but the sound of th e band and its melo dic grace say more th an w o rds could eve r exp r ess. ¯ l¯ l 2l

betw een humid fo lk and crisply p la ye d indie-r ock groove s. T h eO k la homa nativ e originally move d to C h icago to make a documenta ry about to uring indie-r ock bands; she met guitarist and second vo calis t Mike R u ssell w hen she w a sw o rking on her lm and o f lo w ing his old band S u ns around the U . S . T h ey became frien dly , and she eve ntuall y p la e y d him some of her own demos, w hich led them to o f rm C amp dogzz in 20 14 . T h e band’s song “T he eW l ,” fr om their self -p r oduced 20 16 debut,

, w a s fe atu red p r ominently in th e Jo e S w anberg-d ir ected, C h icagobased T V show and th o ugh th e ap p e ali ng core of th e band’s sound had congealed on that record, th e new one w ( hich the y als o self -p r oduced) marks a big p r ogression. h T ere are th ree iterati ons of a brief, janky instru mental called “B obbing on the Pla ins,” w hi ch esta blishes the haunti ng mood of the record, but Price’s aching, p lain tiv e cries, surrounded by a rich lat ice of acoustic and electr on-

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N i k aC ost a, daughter of cele brated arranger/producer D o nC ost a (a nd goddaughter of rF ank S i natr a) had a minor buzz going in the 20 s w ith a coup le of alb ums on th e iV rgin la bel: and .

T h is w a sw hen th e w hol e neosoul genre w a s coming on hard and heavy ; tho se tw o album s, w ith the ir nods to 0 7 s funk and mild hip -h op fe el, w e re J

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text book examples of that style . By 20 0 8 , she’d switch ed to the revived Stax label and released a new reco rd, Pebble to a Pearl, that fe atur ed the a D ptones as her backu p band and, perhaps predictably, leaned toward a 6 0 s sou l ef el. Nearly a decade later, o Cst a’s most rece nt long-playe r, 0 2 17’ s iN k a & tS rings U n derneath and In B etw ee n, sounds like an answered prayer fo r those who wish A d ele would t a back -to-basics traditional sou cu l reco rd. oW rking with a fu ll-on string section brings out her torchy tendencies, but she knows how to reel it in befo re she starts to sound too middle-of- the-road. A b out half of the track s are versions of well-traveled standards such as “S tormy eW ather,” “N othing C o mpares 2 U,” C “ ome Rain or o C me Shine,” and a o c ver of A “ in’t That Pecul iar,” which is slowed down co nsiderably fr om M a rvin G a ye s’ 19 6 hit. The strings are used tastefully throughout the album, us ually swelling in the back ground rather than soaring into the skies. l× 2 ¯ ¯

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Sure, fin ding the sweet spot between dark postpun k, trium phant indie rock , sweeping posthardco re, and fierce hardco re pun k seems easy, but yo ung Spanish q uart et M o urn do it with impressive poise. Their new fu ll-length, S o rp re sa F a milia (C aptur ed Track s), is the most spirited reco rd they’ ve released to date. No doub t some of that comes fr om having jus t rece ntly shaken themselves fr ee of a legal bind in which their old Spanish label, Sones, was attempting to reco up money by halting the bands’ advances and roya lties. S o rp re sa actually co mments a good bit on the tension cr eated by that ri, and even though the reco rd has plenty of upbe at poppy moments stitched together by angular , tinny riff s—“F un at the G e ys ers” being a good example—there’s a nice “fuc k off” vibe that gives the reco rd a very welcome edge. h W ere H a , H a ,H e ! (20 16 ) is a much more raw and occasion ally solemn reco rd, o S rpresa is cri sp and o c lorfu l— a nd the band is better o f r it. hW atever the torment was

fr om which M o urn had to wrestle themselves fr ee, they’ ve deÍ nitely emerged sounding stronger and more self-assu r ed. g l¯ •\

W E N DE SY A D 8 Olivia

Chaney ft

British singer O l ivia C h aney emerged on the British fo lk scene nearly a decade ago, harmonizing behind Scotsman A l asdair Roberts and writing her own music. O v er time her repertoire and ideas have broadened; on her 20 15 debut album, T h eo L ngest R i ve r (N onesuch ), she placed gems by C h ilean nueva canció n pioneer iV oleta Parra, baroq ue co mposer Henry Purcell, and Swedish jaz -folk artist Sidsel nE dresen alongside original tunes that drew their elegant spirit fr om her homeland’s rich fo lk tradition. Through the co ur se of them all she used her gorgeously precise , meticulously etched voice to trace ravishing melodies with stunnin g cla rity.

Since then she’s also worked with the e D e c mberists und er the name O Ò a Rex, o f rging a o f lk-rock sound fa r more indebted to Steeleye Span than A nn e Briggs, and on her new album, S h elter, she drifts even fu rther fr om traditionalism. A nd she wrote every song apart fr om a riveting version of Purcell’s “O Solitude ” that glides upon the astringent long tones of her longtime instrument al fo il and violinist, o J rdan Hunt. There’s no missing her o f lk roots in the keening lyri cism of “L ong Time G on e,” throughout which Hunt adds biting violin stabs and tender co unt ermelodies. Though most of the material uses phrasing and melodies that soun d like thoroug hly co ntemporary singer-songwriter fa re, her delivery maintains stunnin g restraint and an impressive co ntrol of expression. h S elter was produc ed by Thomas Bartlett, who plays spare keyboard parts on most of the songs, giving the music an aerated polish that heightens the prettiness of C h aney’ s voice but keeps the proceedings decid edly small and hushed. ¯ l¯ l 2l

M U SIC ag ing d og r F ank ie, p r ovid ing ar e mind er ofimpermanenc e that p r od s hertosing , “T ellme ev er ythi ngy ouk n owab o utconscio usnes s / We d on’t make time/ We tak e time.” In A “w a k e ningB ab y ” a lo e v that seemsp r eter natu a r lÍnally manif e stsitself , w hile “W ilda R in” sug es tsthat amo ngtheb r uis ing eÒectsofE l N i ñ o isaf or g ingasur p ising connec tion w ith amantow hom shesas y “ Fo r mo y uI Í nally learnedw hat itmeanstomake af a mily .” T h e tone ofthe music isunex p ec ted ly sp ookyf o rsong s that p r imar ilyceleba r telo e v tak ing o r ot,sug es tingthat some thing b ittersw e etlur ks outofsig ht. º6 2ñ

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Jess Willia ms on I hae v n’thead r theÍ s r ttw oal b u msb y JessWill iamson ,b u tshecutherthi d r eÒor t,ft (M exicanS u mmer ) , aCermov ing f romhernativ eu A stin, eT x a s,toL o sA ng eles in2 0 16 , andtheÍr s thalf of thealb umtitle isanaptd e scr iptorf o rw hat’s insid e.

H e rmood y lo v e songs str e tch simpleg u itarp ar ts tow a r d the hor izon,w hile herr ud i ment ar ,y f r ag ile o v cals chan nelsome unsee n ener g y ; shechants her ly r i csw ith anmy s tical exp ansiveness.T h ere’s mor e than aw hiÒ ofnonsomna mb ulantMaz z yS t arinthe music s ’ tr anc e-ind ucingg uitarstr ummingandmilk y atm osp here, asw e llas some ear ly G r ace S lick - era JeÒ er sonA i r p lane initsp sy c hed elicsp ellcas ting , b ut b ene aththecar efully o fg r edhaz e Williamso n’s song s op erate w ith d isar mi ngd ir ect ness.O p ener “I S ee theWhite”isanether ealp le af o rop enness inthe a f ceofunc er t ain tyasar o mantic connecti on seemsind a ng e rofd is sip a ting ; sher ee fr e ncesher

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T h er e centlyr e leasedself -t itled al b um f r omP or tlands ’ tr ipp y d o omq u ar t etWitchMountainw a s one ofmymost-a nticipated al b u msthisy e ar . It s ’ their ÍC hal b u m ov er a ll , and its ’ theirÍ r st w i thnew sin g er K a y l aD i x o nandnewb a ssistJustinB r own (h isp l aying d o esn’t chang e theb an d ’ s sou ndas d r amaticall y ). F or me r f r ont w o man U t aP l otk i n helpedtoliC WitchMountainf a rabov e the av er ag e heav y schis twith her soa r i ngandr o ar i ng v o cals; w h en sheamicab l y leC theg r oup in2 0 14 , herp l aceb y the mike w a sn’t g o ingtob e easy to f i ll .D i x o n—ju st19 w h e n she jo ined theb an d — answeredanylin g er ingq u estio nsab outthenew ly r ev a mp ed lin eup w i thherr o usingp e r f or manc e on ’ s2 0 16 single,“B ur no Y uD o w n .” theb an d isshor tconsid e r i ng the f o ur -y e arw a it since theg r oup s ’ p r eviousal b u m, 2 0 14 s ’ (P r of o undL or e ), b u tthere’s notamomen t w a sted. WitchMountainhav e alw a y s b r oug ht a g r ound ed , b l uesyq u ality toev e n theirw i ldest ja ms, andthetr emend o usulul ationsofg u itar i st R o b Wrong a ( lsoamemb er ofC h icagod o omv e teransr T oub le) p a iredw i thD i x o n’s v e r s atile v o ice car i esthev ar y ingmood s ofthe music .T h e lo v e ly , la r g elyacous tic“H ellÍ r e ” tend er i z e s theb r ainso tha tthe near ly15 -m inute “N ig h thawk ” canmeltit d ow n intoecstaticla v a. k º a - ñv

SEPTE MB ER 16

COPERN ICU S CEN TER OC TE TMI UEE N RENCE

PUR C SETICETS T COP ER NI CU SCENT ER OR

N A U G H Y

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u st so w e ’r e clear , desp i te its nam e , w h ich m eans “f ath er ” in H eb r ew, A b a is no t an Isr aeli rest au r ant. Isr ael is too p o la rizin g: too m u ch nasty p o liti cs , too m u ch w a r and death and relig i o u s str ife, too m an y things o y u ’ d rath er no t arg u e ab o u t w h en o u y ’r e ab o u t to sp end a lo t o f m o ney o n a really nice dinner. S o even th o u g h h u m s , falaf el, lab neh , kef ta, and ab ag el are all o n th e m en u , A b a is a rest au r ant w ith , o u r w a iter info rm ed u s , “a C a li fo rnia acce nt.” I th i nk w h at h e really m eant is th at A b a serv es th e cu isine o f am y th ic al o g lden land w h er e all is p eac e and p r o sp erity ,w h er e th e land and seas o ! er noth i ng b u t b o u ntifu l h ar ev st ,s and w h er e the inh ab it ants end each day w ith a g las s o f w i ne o n the terrace w h er e th ey ca n adm ir e th e city lig h t s and co ng r atu lat e th em s elve s o n h o w arv elo m s u th eir liv es are.

A s it h a p ens, A b ah a sam a g n ificent terrace , and it fa ces east tow a rd dow n tow n a ( nd Je rusa le m ! ,) w h ere the ci ty li gh ts twinkl e the m o st . I h a v e se en p e o p le arriv e at 4 P M , w h en the rest aurant o p ens, ju st so they ca n g e t ap r ime se at. B y 6P M ,w h en m o st w o rking st iffs are fi nall y fr ee, it’s p a ck ed, la rgely w i th the so rt o f b e autif ul ly dresse d and g r o m e dp e o p el o y uu s u a l y se e at eW st L o o p rest aurants w h ere it’s imp o s ible to eg t a reserva tio n at a normal dinner h o u r le s than a m o nth in adv a nce.

A l as, su m er w i l end all too so o n ,b u t w h o e v e r deco rated A b ap r epared fo r that inevitability: the inside o l o k s li ek a terrace too , fu l o f sk y l igh t s and p o tted p l ants. T h ere are

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p i lo w so n the b a nqu e ttes so y o u ca n lo u n g e in cl assi c Mediterranean sp le ndor, o r , if y o u p r efer, li ke at a P a so ve r se d er— a lt h o u gh there’s no Manisc h e w i tz o n the w i ne li st .

In st ead, yo u ca n sa m p le va rietals fr o m all aro u nd the Mediterranean—incl u d ing Is rael, b u t also G r eece, Morocco , and L e b a non, w h o s e Massa ya w i nery, as o n eo f m y dining co m p anio n s disc o v ered, p ro du c es a ev ry nice rosé . B u t the ch amp a gn e b u ck ets w e re in h e avy u s e: w h ile the terrace is a lp ace to toast b e ing alive fo r ano t h e r day , the rest aurant is fo r se rio u s ce le b r ations, b i rth d ays and anniev rsa ries and eng a eg m e nts.

If o y u ’ ev b e en to ch ef C . .J a J co b so n’s o t h e r L e ttu c eE n tertain oY u rest aurant, E m aw ( h i ch em ans “m to eh r” in eH rb ew), o y u ’ l b e fa m il iar w i th a lo t o f the item s o n the m e nu at A b a, esp eciall y tho s eo y u ca n eat w i th o y u r h a nds.

B u t A b a is m o re fo rmal than its sp o u se : it se rves o n ly dinner, and the m e ats and g a rnish es are fa ncier—st eak instead o f la m b , fi g reli sh instead o f p e p er dip — to ju st ify the h i g h er p r ices. B o th rest aurants sp eciali ze in sm all lp ates ro , in Mediterranean, m ez e. oY u are enco u r aged to o r der two o r three thing s o f r each p e rso n at the tab l e. P u tting tog e ther am e al fe els a b i t li k e reading a C h o se oY u r O w nA dv enture b o o k .S e ao r la nd? C o o k ed o r raw ? A n imal o r v e g e tab l e? If y o u ch o se w r n o ,g w i l o y u eg t a su p b ar em al and endless reg r et? T h eo g o d new s is that alm o st every thing I tried ev o ry m two vi is ts w a s exce l ent.

T h e on e exce p t ion w a s the ha m a ch i, se rved raw , si tting in a p u ddle o f aji amarill o p e p er sa u c e and sp rinkl ed o v erenthu s i- J

O FD O &D R IN K

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o c tn in ed u

fr o m 34

asti call y with coar se salt . I was al so sl ightl y di sappoi nted by the Ever yt hi ng Jeru salem Bagel becaus e it hadn t been boil ed and therefore wasn t properl y chewy, but it came with a side of labneh topped with a lovely dab of honey to cut the sour ness. And because Je≠ ru salem is in Is ra el, wh ic h, in the Bible, was descri bed as a la nd fl owin g wi th mi lk and honey. But I di gress.

By far the best bread at Aba is the za a tar≠ dusted fl atbread that s served with the hu m≠ mu s and anyt hi ng else, if you so desi re. It comes to the table warm , and it s dangerous≠ ly addictive. I real ly wi sh Aba and Ema would pr oduce a li tt le t , or baby, for carr yout vers ions of thei r hu mmus and st ra cciatell a, most ly as a vehi cle for th at br ead. If th ey did, I would eat it for lu nch, well , maybe not ever y day, but a lot. Th e hu mmus is smooth and cr eamy wi th a touch of sa lt th at made my di ni ng compan ion re sort to scra pi ng it off the pl ate wi th her fork . And then there was the st ra ccia tell a, wh ic h I was in it ia ll y re lu ctant to order because I thought it was soup and it was summer. But the term s tr ac≠ ciatella cont ai ns mu lt itudes: in th is case, it tu rn ed out to be a plate of burr ata with sher≠ ry vi negar and perf ectl y ri pe tomatoes th at ins pi re d some embar ra ss in g happy≠ food nois es. (It can al so be chocolate chip gelato.

Mo ra l of stor y: when someone offers you st racciatell a, in vest igate.)

Mo st of th e menu is made up of ite ms you ve al ready had before, but they r e better here, and the smal l port ions make them seem even more precious. Th e gr ill ed la mb chops are both tender and beautif ul ly cara meli zed, and excell ent for gnaw in g. Th e fa la fel ar e cr is py and spic y, without the mush in ess and overs picin g of lesser specimens. The a f t

r , or fri ed cheese, comes to the table wi th less dr ama th an the fl amin g fri ed cheeses of Greektown, but as my di ni ng compani on poin ted out, how can you ar gue wi th cheese spri nkl ed with more cheese Th e tr ue test of a rest aura nt , however, at least accord in g to th at sa me di ni ng com≠ pani on, is it s scal lo ps. Mo st chefs eith er un derc ook th em so th ey leak or over cook them so they have the textur e of ru bber. Chef Jacobson may have is sues with bagels, but he knows scal lops. Hi s ar e perf ectl y browned on top and soft in si de, li ke li tt le bi va lv e pi ll ows. Th is is how we lear ned th at Aba is a good restaura nt.

Aba al so ha s good serv ic e. Serv er s and ru nn ers and buss er s sw ar m th rou gh th e di ni ng ro om, some wi re d wi th earp ie ces.

But when it got re al ly busy, th ey seemed sl ight ly pani cked. Th ey swar med faster. Th ey had places to be! One busser was so grateful th at my fri end st acked our plates so theyd be easi er to carr y th at he gave us desser t. I resolved hencefort h to always stack my own plates in restaura nt s, not because I expect to be rewarded, but because he seemed si ncere in hi s belief th at my fri end had done hi m a real serv ice. It made me wonder if there was some dark , seedy si de of Aba ju st li ke there always seems to be in novels and movies set in beautif ul , golden Me diterr anean/Cali for≠ ni an places.

But if th er e was, I didn t see it . In stead we ate our scal lops sl owly and si ghed and dreamed of a li fe in wh ic h we could eat such scal lops regula rl y. And then we real iz ed that each scall op was $9, which put them in to the real m of lu xury, and th is made us sad. And so we ate more bread.

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2BR $1195, 1BR $1095.Nel deed, hdd ls, se & ide il, Fee He & H e.

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Fee edi he, lii ee, ld iliies. 1-773-667-6477 1-312-8027301

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773-752-8328

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83 CHIC O E R

Junglepuss y 1 013 8 h C h a Fr s 83 0A 1 1 8 Kami, aQ ri 82 5 9 a B t c th Karol G 1 9 8 Rs t m h atr R s t m a s Fr 83 1 0A Kikagaku Moyo 92 8 9 ha a H 1 8 Sylvan LaCue 97 27 h u c ba s The Lif e and Times 1 017 30 8 m E tyt B t a Fr s 83 1 0A Lydia Loveless 92 4 8 C A Ev Ea s t a s Fr 83 1 0A Milk Carton Kids, Barr Brothers 1 024 8 ha a H a Fr s 83 1 0A 1 7 Minnesota 1 2 68 C cr us cH a 1 8 Mount Kimble (DJ set) 97 2 0 1 t r a m r a B Muncie Girls 1 1 6 30 C br a u a Fr s 83 0A 1 Night Birds 92 9 8 C br a u a Fr s 83 0A 1 1 7 Novo Amor 123 9 c a H 1 8 Parcels 319 c a H 1 8 Parquet Courts 1 2 3 70 3 h t c s a Fr 83 0A 1 1 8 Phosphorescent 1 0 3 8 h t c s a Fr 83 0A 1 Pink Talking Fish 1 21 4 30 8 ar t s1 8 Porches, Girlpool 1 030 8 t B tm u a s Fr 83 1 0A 1 7 uebe Sisters 1 Q 0318 F t r G z as Br wy a s Fr 83 1A Red Fang, Big Business 97 2 30 8 m E tyt B t a Fr s 83 1 0A

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Maggie Rogers 1 030 70 3 h t c s a Fr 83 0A 1 Saba 1 2 4 6 30 C cr us cH a Suicideboys 99 70 3 Rv r ah at r Paul Thorn 1 18 Ct y r y s a h u82 3Oh3! 1 2 28 r t a Fr s 83 1 0A 1 8 TTNG 1 09 8 t B tm u 1 7 Anna Von HausswolÒ 1 016 70 3 R cfr m r a h Ca a Fr s 83 0A 1 We Came as Romans, Bad Omens 91 26 30 t B tm u a Fr s 83 0A 1 Welshly Arms, Glorious Sons 97 2 70 3 h C h 8 1

UPCO MING Acid King 92 8 R s R cCu b 1 7 Idris Ackamoor & the Pyramids 1 014 3 80 m E ty t B t Alestorm, Gloryhammer 92 1 7 C cr u s cH a 1 7 Lily Allen 1 03170 3 h t c Anderson, Rabin, and Wakeman 978 a R va Ft s vaHh a ar Courtne y Marie Andrews 92 5 9 Hu t Beach House 8 1 8 70 3 h Cc a h at r Behemoth, At the Gates, Wolves in the Throne Room 1 9 70 3 Hu s f s u B 7 1 Joep Beving 1 030 3 80 C s ta t 8 1 Brand X 1 2 87 R s R cCu b 1 7

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EARLYWARNINGS Caamp 1 2 79 c a H 1 8 Canned Heat 91 78 Ct y r y Car Seat Headrest, Naked Giants 9770 3 Rvra h at r Childish Gambino 92 5 70 3 U t C tr Phil Collins 1 022 8 Ut C tr Graham Coxon 92 18 ar t s1 8 Death Cab for Cutie 1 07 7 u Atr m u h at r Deep Purple, Judas Priest 82 7 Hyw s a C t h m A r t a yar Dying Fetus, Incantation 92 3 7 t B tm u 1 7 Elephante 1 020 8 30 t B tm u 1 7 Eleventh Dream Day 8 1 9 Hu t Roky Erickson 1 9 9 c a H Brian Fallon, Craig Finn 1 011 70 3 ar t s1 8 Fleetwood Mac 1 06 8 U t C tr Eleanor Friedberger 1 05 9 m E tyt B t Frigs 92 8 30 m E ty t B t A Giant Dog 8 1 38 30 m E tyt B t GodËesh, Harm’s Way 82 4 8 r 1 t 8 Growlers 1 04 8 Rvra h at r 1 8 Guided by Voices 86 2 8 C A Ev Ea s t Here Come the Mummie s 012 8 1 C cr u s c a H 1 8 6 70 3 Honorary Title 8 1 c a H Iron Chic, Spanish Love Songs 92 5 8 ubtr a a 1 7 Joy Formidable , Tancred 1 3 8 c a H 1 8 Kindred the Family Soul 1 22 9 8 at h atr King BuÒalo 8 1 58 R sR cCu b 1 7 Lone Bellow 1 28 9 7 au rr a H O w c h fF u s c Low 1 1 6 70 3 R cfr a r m h Ca Lvl Up 83 18 a B t c th 7 1 Matisyahu 1 0280 3 8 Ct y r y The Men 82 5 8 30 m E ty t B t Menzinger s, Tiny Moving Parts 1 1 47 C cr us cH a 1 7 Murder by Death 1 06 8 r 1 t 8 Nothing, Culture Abuse 91 2 9 c a H 1 8 Ocean Blue 1 014 8 c a H 1 8 Oh Sees, Timmy’s Organism 012 3 1 80 ha a H 1 7 Parkway Drive, August Burns Red, the Devil Wears Prada 95 6 Rvrah at r

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Pile, Spirit of the Beehive 1 06 8 ubtr a a 1 7 Brandon Rogers 82 5 8 c a H Roosevelt 1 21 27 t B tm u 1 8 Saintseneca 1 012 9 c a H 1 8 Ty Segall, William Tyler 1 2 70 3 ha a H Set It OÒ, Chapel 80 3 7 ubtr a a Shannon & the Clams, Escape-ism 1 0318 30 ha a H 1 7 Sleigh Bells 8 1 79 r 1 t 8 Sam Smit h 8 1 58 Ut C tr Jill Sobule 92 0 8 C AE v Ea s t Soccer Mommy 1 04 70 3 c a H Steel Pulse, Tribal Seeds 82 8 8 C cr u s cH a 1 8 Subhumans 98 70 3 C br a u 1 7 Swearin’, Empath 1 018 9 c a H 1 8 Tigers Jaw, Sidekick s 1 012 7 t B tm u KT Tunstall 1 18 ar t s1 8 Kurt Vile & the Violators 1 22 70 3 Rvrah at r 1 8 Violent Femmes 14 70 3 h t c1 8 Wild Nothing 1 9 3 80 ha a H 1 7 Wino, aX sthur 89 8 a B t c th Wrekmeis ter Harmonie s 98 8 z a H O w h c fF u s c Mike Yung 1 029 8 h u c ba s 1 8

SOLDOUT Bonnie “P rince” Billy 1 07 70 3 Fu t r a H A t r t st u fh Cc a Cavetown 1 2 86 30 ub tr a a Chelsea Cutler 1 02 8 h C h 7 1 Gaslight Anthem 8 1 70 3 Rvrah at r Hozier 92 18 Rvra h at r Jim James, Alynda Segarra 1 9 70 3 h t c Claudio Simonetti’s Goblin 11 88 R sR c Cu b 1 7 Tenacious D 1 1 31 4 70 3 Rvrah at r 8 1 The The 92 8 Rvra h at r 1 8

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