March 1 - 7, 2021 Vol. 29 No. 09
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Arts & (Home) Entertainment
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SportsWise
We are replacing our usual calendar with virtual events and recommendations from StreetWise vendors, readers and staff to keep you entertained at home! Candace Parker returns to the Chicago Sky.
Cover Story: Kylie Minogue
Kylie Minogue’s 15th album was recorded, engineered, and released a bit differently this time: it was all finished and edited from home: history making for Minogue and for women, who don't usually do sound engineering. In an interview with The Big Issue Australia, Minogue reveals her quarantine experience, but also her hopes for her album DISCO to be an escape for listeners.
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Cover Story: David Byrne
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The Playground
Founding member, principal songwriter and lead singer of the Talking Heads, the British American David Byrne discusses music, '60s rebellion and his early days in New York in his letter to his younger self.
ON THE COVER(S): Kylie Minogue photographed by Darenote Ltd., courtesy of Shore FIre Media. David Byrne photographed by Jody Rogac.
Dave Hamilton, Creative Director/Publisher
dhamilton@streetwise.org
StreetWiseChicago @StreetWise_CHI
Suzanne Hanney, Editor-In-Chief
suzannestreetwise@yahoo.com
Amanda Jones, Director of programs
ajones@streetwise.org
Julie Youngquist, Executive director
jyoungquist@streetwise.org
Ph: 773-334-6600 Office: 2009 S. State St., Chicago, IL, 60616
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ARTS & (HOME) ENTERTAINMENT RECOMMENDATIONS Since being stuck inside, which shows have you been watching? Which movies? Have you read any good books lately? Any new music releases have you dancing in your living room? StreetWise vendors, readers and staff are sharing what is occupying their attention during this unprecedented time. To be featured in a future edition, send your recommendations of things to do at home and why you love them to: Creative Director / Publisher Dave Hamilton at dhamilton@streetwise.org
Opera at Home!
Sole e Amore Revel in the sounds of Italy with a virtual recital awash with beautiful lesser-known musical gems by beloved Italian opera composers, curated and hosted by Lyric Opera of Chicago’s Music Director Designate Enrique Mazzola and presented by The Patrick G. and Shirley W. Ryan Opera Center. With Maestro Mazzola at the piano, members of the Ryan Opera Center 2020/21 Ensemble will perform songs by Rossini, Donizetti, Bellini, Verdi, Puccini, and Mascagni, selected with love by Mazzola. This event is available for streaming now at www.youtube.com/user/LyricOperaofChicago
(HOME) ENTERTAINMENT
Personal narratives of resilience
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Virtual Book Panel: Voices of Srebrenica Join the Illinois Holocaust Museum & Education Center and the Bosnian-American Genocide Institute and Education Center for a panel discussion of ”Voices from Srebrenica” with its authors, Ann Petrila and Hasan Hasanović, as well as Emir Suljagić, director of the Srebrenica Memorial Center. They will be joined by Jessica Hulten, assistant manager of education, Illinois Holocaust Museum & Education Center; Ida Sefer, president, Bosnian-American Genocide Institute Chicago; and David Pettigrew, professor, Southern Connecticut State University, and board member, Bosnian-American Genocide Institute. Live questions from the audience will follow the discussion. “Voices from Srebrenica: Survivor Narratives of the Bosnian Genocide” tells the story of 14 survivors of the Bosnian Genocide. Through individual narratives of trauma and resilience, the book forges personal connections with the reader, ensuring that "never forget" and "never again" are more than just catchphrases. This moving book assures that remembrance and prevention live in the hearts of readers. This virtual panel discussion will start at noon on March 25. The event is free, however, a donation of $10 is accepted at registration. Reserve your spot at www.ilholocaustmuseum.org/pages/programs/events/
Find new ways to engage!
Chicago Theatre Week This year’s offerings have much in common with Black Lives Matter and Women’s History Month empowerment, from Congo Theatre’s “Hit ‘Em on the Blackside,” to Silk Road Theatre’s “Black Teens’ Lives Matter,” written with its Empathic Playwriting Intensive Course; to Playmakers Laboratory’s “That’s Weird Grandma: House Par-Tay” celebrating Women’s History Month, St. Patrick’s Day and Easter; to Artemisia Theatre’s “Opposing Ophelia:” new ideas about beauty, blackness and womanhood. The shutdown caused by the COVID-19 pandemic has been especially hard on the theatre community. Many are offering online performances, while developing opportunities to safely bring the community together in-person again. Log on to ChicagoTheatreWeek.com to engage with and support companies. Buy a digital subscription, donate to individual theatre, give to the League of Chicago Theatres Workers Relief Fund, choose a digital show to watch.
CHIditarod Returns!
CHIditarod Film Festival CHIditarod season is here, but with more and more families in need during this trying time and the pandemic keeping people apart for fear of endangering loved ones and the community, CHIditarod has created a new series of events to keep make sure everyone can express their creativity, help those in need, and celebrate together even when they’re apart. On March 6 at 7 p.m., CHIditarod will be livestreaming on Twitch for a night of fundraising. During the livestream, they will be showing off the best of the Film Challenge entries, awarding prizes and concluding their day of Greater Chicago Food Depository takeover. You can learn more about both of these events a www.chiditarod.org/
Virtual Tours!
Historic Chicago Cultural Center Virtual Tours The historic Chicago Cultural Center remains closed to the public due to COVID-19, so the Department of Cultural Affairs and Special Events is piloting new virtual tours of the “People’s Palace.” Drawn by its beauty and the fabulous free public events, hundreds of thousands of visitors come to the Chicago Cultural Center every year, making it one of the most visited attractions in Chicago. The stunning landmark building is home to two magnificent stained-glass domes, as well as free music, dance and theater events, films, lectures, art exhibitions and family events. The virtual tour is at 11 a.m. March 3 and covers the stunning architecture and history of the Chicago Cultural Center, completed in 1897. Request your free tour today at DCASEvoluntours.org.
Art Reflects Life!
Fractures: Creating Around Devastation Join artists, scholars, and policymakers in a two-day symposium from the Museum of Contemporary Art centered on ideas of ecofeminism, architecture, and water. These guiding topics are at the forefront of thinking and work presented by artists at the MCA. Knowing that each of these areas touches all of our individual lives, voices in this symposium help us understand how these urgencies are interconnected and how creativity helps us imagine a future around devastating situations. The symposium includes an afternoon and an early evening program on March 4 and 5. Before each program, Chicago’s own LAMPO presents a musical piece inspired by the program topic. RSVP and learn more at https://mcachicago.org/Calendar
Thought Inspiring!
Degrees of Separation: Working Toward Racial Justice in the U.S. and South Africa — Panel Discussion Join the Illinois Holocaust Museum for a thought-provoking conversation on the fight for racial equality in the United States today, and its parallels to the anti-apartheid movement in South Africa. Chicagoan Dr. Rozell “Prexy” Nesbitt, educator, activist and speaker on Africa, foreign policy, racism, and international leader who supported the struggle to end apartheid, will be joined by Marissa Moorman, professor of African History and Cinema and Media Studies at Indiana University, whose work focuses on the history of South Africa. This virtual panel discussion will start at 6:30 p.m. on March 4. The event is free, however, a donation of $10 is accepted at registration. Reserve your spot at www.ilholocaustmuseum.org/pages/programs/events/
Author Talk!
Virtual Author Conversation: Randa Jarrar and Leila Abdelrazaq Join Women & Children First's Crowdcast Channel to celebrate "Love Is an Ex-Country" by Randa Jarrar. For this March 1 event, Jarrar will be in conversation with Leila Abdelrazaq. Jarrar is a fearless voice of dissent who has been called "politically incorrect" (Michelle Goldberg, The New York Times). As an American raised for a time in Egypt, and finding herself captivated by the story of a celebrated Egyptian belly dancer's journey across the United States in the 1940s, she sets off from her home in California to her parents' in Connecticut. Hailed as "one of the finest writers of her generation" (Laila Lalami), Jarrar delivers a euphoric and critical, funny and profound memoir that will speak to anyone who has felt erased, asserting: "I am here. I am joyful." The event starts at 7 p.m. Register at www.womenandchildrenfirst.com/event. -Compiled by Hannah Ross
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Vendors Russ Adams, John Hagan and Donald Morris chat about the world of sports with Executive Assistant Patrick Edwards.
Candace Parker
joins the
Chicago Sky!
Russ: Hello, everyone. Welcome to SportsWise! I’m Russ Adams, and I hope everyone is okay this week. The topic is the return of Candace Parker to the Chi. She’s here not to visit, but to play for our very own Chicago Sky— Welcome home! Donald: Here, here! I have never been as happy about anything the Sky has done in the history of the team as I am about this. I’m already a fan of both, but now I get to be a fan of both together in one smooth shot. We are sitting pretty, boys…we really are.
SPORTSWISE
Patrick: Don, if there’s one thing I know, it is that you are a superfan of women’s basketball—college and pros. I swear I haven’t heard someone speak about Candace Parker coming to the Sky as our conversations about it in the last couple of weeks. On my end of things, I am most certainly happy as heck about this. John: Now, y’all know I’m not a huge fan of women’s basketball; however, I am slightly excited about this. Candace Parker is coming from the Los Angeles Sparks, which is where all the gold is in sports, right? All: (Laughter.) Russell: Shoot, now we have someone who can run the
floor, confuse defenses, and score and rebound with the best of ’em. Remember, we made it to the Finals in 2014, and came really close in 2019 but lost in the second round to the Las Vegas Aces. Donald: Now we have one of those players like Diana Taurasi or Sue Bird, so we should be able to compete at an even higher level than we already were. We should be much better.
time starter, so not bad at all. But, still and all, we are talking Candace Parker, and she’s definitely a special one. Plus, with the disappointing end to last year— Donald: They lost to the Connecticut Sun, right? Russell: Yep. Patrick: So, yeah, why not make a big move to shake up things?
Patrick: Plus, because both leagues are private companies, salary levels aren’t government-regulated. So, from what I get, because of the entertainment level, which is hugely important to the amount of money made— Russ: The food sold, the money from the gate— Donald: The souvenirs sold in the stadium— John: The raffles.
John: Y’all are getting me kinda excited about the upcoming season. Make me rethink my whole not-100%fandom with this team. Patrick: I know, right! And not only do we get her for this year, but we have her for at least two years. I wish we could afford and keep Cheyenne Parker, who’s also pretty good; shoot, she averaged 13.1 last year as a full-
John: By the way, fellas, when I was doing a bit of research about this topic, I found that Candace will earn $190,000 this year, and $195,000 next year. Now, to me and you, that’s big-time money, but it seems way low when compared to the men’s salaries. Donald: True, but one thing to mention is that the guys play a longer season, so that’s a huge factor.
Patrick: All that. So, while on one hand I’m with you, John; on the other, I do understand. It would take some undoing and, then, redoing, of some things; unfortunately, most of the reconfiguring will have to be a retooling of society. Any comments or suggestions? Email pedwards@streetwise.org
KYLIE MINOGUE ESCAPES TO HER DISCO 'THERE SEEMS TO BE SOME LIGHT AT THE END OF THE TUNNEL' by Sinéad Stubbins / The Big Issue Australia / courtesy of INSP.ngo
Kylie Minogue wants to make sure I’m okay. If I’m not okay, there is a really funny meme she saw the other day that might make me feel a bit better. “There was this great one going around early on in lockdown that was like, ‘Wake up, go to the fridge, stare at the wall,’” she says, laughing at the memory of the meme. “It’s so peculiar, isn’t it?” Minogue is talking to me from her apartment in London, where restrictions are consistently changing to respond to the COVID-19 pandemic. When she discovers I’m calling from Melbourne, she immediately starts to say the kind of upbeat and encouraging things you would usually find in, well, a Kylie Minogue song. “Just hang in there!” she says. “Obviously my family is in Melbourne and I just feel for you all so much. I’m glad that spring is coming for you. There seems to be some light at the end of the tunnel.” Minogue is trying to be positive, but she isn’t minimizing how terrible things are – she explains that early on in the pandemic she didn’t leave the house at all for three weeks, not even to walk around the block. She has spent a lot of time inside “staring at the wall” just like the meme says. All that time at home hasn’t been entirely unproductive though. “Well,” she says. “I finished my album.” DISCO, Kylie Minogue’s 15th album, sees the multi‑awardwinning pop princess strut back into the realm of darkened rooms and crowded dance floors chintzy with mirror balls – though she’s traded the gold hotpants for gold halter dresses. It is full of glittering optimism and familiar euphoric dance music affirmations that take on new resonance in the face of a global pandemic (“Love is love/It never ends” she coos on the single "Say Something." “Can we all be as one again?”). She began work on the record last year, and had just started recording when the pandemic hit. “That was at the time where you could still go to work and still kind of do things normally,” she says. “Masks weren’t in operation but every time someone left the studio we were like, ‘Wash your hands!’” Then in March, London went into full lockdown. When it seemed like it was only going to last “a week or two,” Minogue and the rest of her team spent the time listening to demos at home and waiting to be allowed back into the studio. “I don’t think anyone imagined it being where we are today,” she says. “But then it was clear that it was going to be a longer situation.” Minogue then did the only thing that made sense to her: she found an unused microphone in her cupboard, ordered sound equipment online and started teaching herself how to use recording software at home. “I do think it would have been quite funny to be a fly on the wall watching me trying Photo courtesy of Shore Fire Media.
to set this all up,” she says. “Wrangling all of these deliveries and ‘Where does this cable go?’” She set out to finish DISCO remotely while in lockdown. With the guidance of “some patient co-workers” who helped her with the set-up (“They would just say, ‘Okay that’s fine. Now do this and this – screw it this way’ just talking me through it all.”) Minogue built a DIY recording studio in her apartment. DISCO is the first time she has engineered her own work. The fact that Minogue has an engineering credit on DISCO is no small thing, particularly for a performer who, even a decade into her career, was still being questioned for her legitimacy as an artist – largely by male critics who saw her mainstream appeal and engagement with different genres as a failing. But Minogue, modestly, mainly talks about her engineering experience through the lens of how grateful she is for her production team (“My respect and admiration just went to a new level”). She says that she and her co-writers didn’t deliberately write songs in response to the pandemic – the song "Where Does the DJ Go?" about needing music as a lifeline because “the world is trying to break me” is probably the closest they get to pandemic-pop – but they did use the album as a portal to escape it. “The songs that are about escapism, I think we gave them more importance than we may have before,” she says. “We felt some escapism making the album – just inhabiting these spaces.” In between distracting herself from the global crisis unfolding outside her door – by cleaning and “trying to grow things in the garden” – Minogue would lose herself in the album. DISCO became “somewhere to just pretend things weren’t happening for a minute” and a place to “channel anxiety and energy.” Though now that she is doing the publicity part, there are some aspects of a normal album cycle that she needs to get reacquainted with. “In lockdown, there was big participation from the trackpants and the three T-shirts that were in high rotation,” she says. “Very little glamour and possibly none at all.” Now that she has to do (socially distanced) photoshoots, the make-up, hair extensions and sequined dresses have to make a comeback, “I’ve had to remind myself that it is actually part of my job,” she says. Kylie Minogue’s music has always been genre‑fluid, meaning that everyone has a different Kylie – a fact she lampooned in the video for "Did It Again" (1997), where four different Kylies (Sexy Kylie, Cute Kylie, Indie Kylie, Dance Kylie) get into a fight in a police line-up. Since then, we’ve met Club Kylie, through her anthem-heavy releases from the early 2000s, and Country Kylie, via her 2018 album Golden. DISCO operates in a similar galaxy to the influential Light Years (2000) and Fever (2001) albums, but think less Euro-pop and more Gloria Gaynor. www.streetwise.org
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Images courtesy of Shore Fire Media.
"disco was a safe place. It was born out of difficulty and yes, it’s dripping in sequins and it’s exuberant. People are showing off and letting go... Everyone needs to have that kind of safe space.” - Kylie Minogue She decided to do a disco album when touring for Golden, inspired by a Studio 54 section of the show where she did a remixed version of "Locomotion" wearing a shimmery gold dress that made audiences “gasp” every time they saw it. “I loved all the gold, naturally, but it was [also] like going back to what I have more traditionally done,” she says. “My main lane on my highway.” When asked what drew her to disco music in the first place, the answer is classic Kylie: “The sparkle! And the humanity as well.” Creating a fantasy world, and sharing this spectacle with her devoted fans, have been constants in Kylie Minogue’s career – though the irony of creating a disco album in one of the few times in history when people cannot come together and dance is not lost on her. But thanks to music videos filmed after London lockdown, the spectacle is not entirely gone. If you’re looking for an escape, Kylie Minogue singing a pop song while riding a giant golden horse in space may just be the ticket. “Disco comes from darkness,” she says. “We can attest from this year that life throws its challenges [at you]. So how do you find the light within that?” The up-tempo songs on DISCO, which are designed to inspire surging emotion, are just one way to fend off “the darkness.” Since the 1970s, disco has historically provided a safe space for groups who were often pushed to the fringes. Kylie Minogue fandom has famously been a welcoming space for the LGBTQI+ community (and just about everyone else, judging by the broad demographic on show at her concerts). “I thought about that more in lockdown,”
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she says. “How disco was a safe place. It was born out of difficulty and yes, it’s dripping in sequins and it’s exuberant. People are showing off and letting go, being more themselves or being someone else, depending on what worked for them. That makes sense to me. Everyone needs to have that kind of safe space.” You can’t help but feel a bit more optimistic about things when Minogue is talking about DISCO going out into the world – she imagines certain songs eventually playing at family gatherings, at wedding receptions that “aren’t fancy, but are full of love.” There’s an inherent hope to her music, one that aims to inspire a “togetherness” in her fans, even if they can’t physically be together right now. As to how a conventional Kylie Minogue album should be consumed in an unconventional time, she has a few ideas. “I hope there’s a few kitchen discos,” she says. “I hope that in the lounge room, the coffee table can be moved – or just dance on top of it. If there are tears on the imaginary dance floor, I love that. If you can forget about everything for three-and-a-half minutes or the entirety of the album, I love that too.” She pauses for a moment, and tells me she’s searching for the right words while looking at the cover of DISCO: an image of her with blue eyeshadow and big sparkly earrings, light shooting from her fingertips, floating in space like a planet with an atmosphere-defying perm. “Even if we can’t go to a disco now,” she says. “I think if you put the right song on, it can transport you somehow.”
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DAVID BYRNE
'NOT EVERYTHING YOU DO HAS TO FIND AN AUDIENCE':
A LETTER TO HIS YOUNGER SELF by Adrian Lobb / The Big Issue UK / courtesy of INSP.ngo
As a shy teen, David Byrne wondered whether he’d find his crowd. But the 1960s scene in New York gave him an exciting opportunity to be surrounded by authors, artists and musicians who would later inspire his music and creativity. He said he was inspired by his mother’s activism, and as a teen who liked music, it was almost inevitable he would be involved in the protests of the 1960s and 70s. Byrne started his letter to his younger self by reminiscing about the early days. At 16, I was extremely shy but already starting to perform. I was in high school and taking an interest in all kinds of music, but I had no aspirations that it would be my future. It was just something I loved and would tinker with. I had, for a brief time, a band with some schoolmates and then started doing very odd performances at coffee shops in Baltimore. So I was kind of precocious in that sense, yet I remained extremely shy. The two went hand in hand, because that was my way to communicate, by performing.
FROM THE STREETS
My pop music heroes were James Brown, The Beatles, The Temptations, but I had a growing awareness of all sorts of other music. I listened to electronic music and records on a label called Folkways, which was folk music from other parts of the world. It was available from the local public library.
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I can’t imagine how well the vinyl held up, being lent to all these people, but it opened up the world to me. Look, there’s all this other music besides the pop music you hear on the radio! It was incredible. Listening to experimental music, I realized there were so many ways of making music and constructing sounds, and that all kinds of sounds are valid. I drew surreal cartoon strips and my versions of the psychedelic posters that were around in the late 1960s. I had not done any drugs but I would go down to the basement, get out the paints and create my own trippy drawings. I was also fascinated by science so I applied for art schools, based on my drawings, and an engineering school. I thought: OK, let’s see where you end up. The engineering college was quiet. But when I visited art schools, there was more ferment, the creativity was on the walls. They’d scrawl things everywhere and work was spilling out of the studios. I would tell my younger self don’t worry, there are people like you and you’ll find them. At that age there
are worries your older self could help you with – I felt like a lot of people do, like you’re different and don’t fit in. Especially growing up in a little suburban town, you think, do I belong? Is there a place for me? Are there any other people like me? I’d like to have had that reassurance. People would find their people on the dance floor or through writing, but you had to actively seek them out. I’d wonder, where are these folks who are like me… maybe they are in art school. My mother was politically involved, starting from when I was an adolescent and the anti-Vietnam War protests. She continued to protest. She was out there
demonstrating about the invasion of Iraq and all sorts of other things. Even though she’d get yelled at by the neighbors, she stood her ground. She set a real example that way. As a young person who liked music, it was almost destined I’d also be involved in the anti-war movement. I marched against the Vietnam War when – as there is now – there’d be tear gas and you dealt with it by wearing a bandana across your face. The country had been – as it is now – ripped in half. To some extent it felt generational. And there was still – as there is now – a kind of urban versus rural split. You sensed this patriotic core in rural America, but we felt we were being patriotic too. We were trying to hold the country to its core values Still from "David Bryne's American Utopia" courtesy of HBO.
when we were being lied to by our government. Again, not dissimilar from now. I would tell my younger self although you may win this battle, you will have to keep doing this over and over and over again. I enjoyed that early scene in New York. I was still shy and introverted, so it was incredibly exciting to be surrounded by all these authors, artists and musicians. The fact that my younger self would find people who shared common interests would fire him up. It would be good to hear he has it to look forward to. I was not as socially engaged as some of my friends but I got to tag along to the clubs, art galleries or studios. I got to be there. And on the stage I was in the middle. Then I had a voice.
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Promotional artwork from "David Bryne's American Utopia" courtesy of HBO.
In the early life of Talking Heads I tried to educate myself about the music business. Because these things weren’t taught in schools. You have to find out for yourself and the stories of musicians being taken advantage of were plentiful. I didn’t want that to happen to us. I remember reading music business books and things like Alice Cooper’s autobiography to educate myself. Maybe I needed [Byrne’s 2012 book] "How Music Works." So much of pop music seemed to be about rebellion, overthrowing the old order. I wanted to know what comes after that. My younger self would like the idea that he could keep exploring and moving forward. It would be good to confirm to him that it is possible. But it is not always easy. Sometimes you meet with resistance. There were times when my interests and the interests of existing Talking Heads fans diverged. They would be like, “Oh, where’s he gone now? OK. We’re not going to follow him there.” That was tough. But one keeps working. The work is not always the same quality. It goes up and down. But then something emerges that’s as good as anything you’ve ever done. You have to keep toiling away. I have collaborated with so many people and learned from each one. I have worked with Brian Eno on and off for decades and each time is different. Last time it was these drum loops he’d done, which I thought were amazing. And I’ve worked with Annie-B Parson, the choreographer who did this new show, three times. I’ve learned that collaborations don’t always work, but you can gently guide them so there are good odds of something interesting coming out. Listen and be open to the other person’s ideas – if they reciprocate, you’re in a pretty good place. My younger self would say, how did you end up doing all this variety of stuff when you have no particular skills in that area? What gives you the qualifications? I’ve been doing pen and ink drawings lately that he’d recognise. He’d go ‘Those are just like the ones I do.’ But "American Utopia," the film of my concert show that is currently streaming [on HBO Max], would seem completely unfathomable, immensely complicated and convoluted. How many parts have to fit together? But it’s a coming together of everything I’ve done before. From working on musical theatre projects, I was aware you could trigger a narrative through songs and staging. It might not be an obvious arc but you sense there’s a structure. And having enough of a catalogue, there is clay to shape that. It would have been inappropriate to have "Psycho Killer" in there – it would not have fit the story that’s being told.
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We moved a lot when I was young. In retrospect, I think it influenced me because it means you have to find a new set of friends every time, which can be tricky. It takes work but is also an opportunity. Every time you are in a new place, you gravitate toward the ones that share your current interests – so at each point you have a chance to reinvent yourself. I would attach myself to a person and form feelings then not know what to do or how to act. There wasn’t an instruction book. Being shy was not easy. Whether it was physical attraction or conversation, it was like, how do you do this? But I didn’t feel disadvantaged in my romantic life. I was aware some people seemed to find it easy and I may not have been as successful as people I saw in movies, but I felt like I was doing the best I could. Not everything you do has to find an audience. I’ve been lucky to have the opportunity to stretch my creative muscles in all sorts of ways. So all the things I was doing as a teenager, whether it was psychedelic drawings or electronic experimentations, I’d say to keep on bumbling about at. Try different things. Don’t be discouraged if it doesn’t find an audience. As citizens, we have a duty to participate in our democracy. As a younger person, we may be more concerned about our careers, how we’re going to make our way in the world, who our friends are and whether we will find true love. But being a citizen is important too.
e 2/22/21 Sudoku
PuzzleJunction.com
Streetwise 2/22/21 Crossword To solve the Sudoku puzzle, each row, column and box must contain the Sudoku numbers 1 to 9. ©2021 PuzzleJunction.com
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Our Mission
Orientation Participants complete a monthlong orientation, focusing on customer service skills, financial literacy and time management to become a badged vendor.
Financial Literacy Vendors buy StreetWise for $0.90, and sell it for $2. The profit of $1.10 goes directly to the licensed vendor for them to earn a living.
Supportive Services StreetWise provides referrals, advocacy and other support to assist participants in meeting their basic needs and getting out of crisis.
S.T.E.P. Program StreetWise’s S.T.E.P. Program provides job readiness training and ongoing direct service support to ensure participants’ success in entering the traditional workforce.
THE PLAYGROUND
To empower the entrepreneurial spirit through the dignity of self-employment by providing Chicagoans facing homelessness with a combination of supportive social services, workforce development resources and immediate access to gainful employment.
Solution
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March 1 - 7, 2021 Vol. 29 No. 09
2
$
$1.10 goes to vendor
