The SportsWise team shares their favorite moments from the 2024 season of Major League Baseball.
Cover Story: Taylor Swift
Swift has become a global phenomenon, and a look back at her career and the choices she has made make it clear that her current cultural dominance is no accident. Plus, Taylor Swift’s Eras Tour is a statistician’s fever dream, with eye-bulging numbers raining down like a ticker tape parade.
From the streets
News on the Chicago Small Arts Survey, residents searching for affordable housing in Rogers Park, a new Pilsen TIF, and the rescue of two affordable housing buildings in Uptown.
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
ARTS & ENTERTAINMENT RECOMMENDATIONS
Compiled by Daria Hamelin
The Power of Community!
'Sofa King Queer'
Chicago’s nonprofit theatre company Nothing Without a Company (NWaC) announces its first full production since 2019–the world premiere of an original musical "Sofa King Queer" with book, music & lyrics by Chicago playwright and company literary manager Kevin Sparrow. The pop-punk/indie rock musical runs October 26 - December 2 at NWaC’s in Edgewater’s Berger Park Cultural Center, 6205 N. Sheridan Road. Centered on sex, family, resistance against discrimination, and self-acceptance in the queer community, the vibrant musical examines the positioning of LGBTQIA+ rights as a political token during election seasons, and discusses the challenges still faced today by the queer community despite the legalization of gay marriage. Tickets are $30$60 with student and industry discounts available, at NothingWithoutaCompany.org.
Local Artists!
'Positions: New Landscapes'
The Hyde Park Art Center (5020 S. Cornell Ave.) presents "Positions: New Landscapes," an artistic group exhibition featuring six Chicago artists who explore the potential of landscape in contemporary art to timely conversations about the intersection of place, belonging, history, and environmental justice. "Positions" showcases a diverse range of media including photography, sculpture, sound, installation, and painting, highlighting both the artist’s unique approach to engaging the landscape and their individual perspectives on the histories and practices of their works. This exhibition is on display from October 26 - February 23 in the Kanter Family Foundation Gallery. For more information, visit www.hydeparkart.org. FREE.
Hip-Hop becomes Orchestral!
'Hip-Hop Orchestra in Chicago!'
The Auditorium Theatre (50 E. Ida B. Wells Drive) presents Thee Phantom & the Illharmonic Orchestra in "Hip-Hop Orchestra in Chicago!" for a dynamic, genre-blending one-night-only performance on October 27 at 7:30 p.m.. Fronted by husband-and-wife duo, Phantom & Phoenix, conductor and MC/vocalist respectively, The Illharmonic combines the raw energy and passion of Hip-Hop with the beautiful sounds of live orchestral accompaniment for a one-of-a-kind experience sure to leave audiences dancing in the aisles. Opening the concert is D-Composed, the Chicago-based classical chamber music ensemble that exclusively plays music by Black compos ers. For more information, visit www.auditoriumtheatre.org
Architectural Mastery!
'Photographing Frank Lloyd Wright'
Join the Driehaus Museum (40 E. Erie St.) on October 24 as it presents "Photographing Frank Lloyd Wright," a unique exhibition showcasing the fascinating and unexplored topic of Wright’s own early photography as well as images by the leading photographers who documented his work. Wright had a fascination with photography, viewing it as a hobby as well as a way for his architecture to reach a broad public. With photos that appeared in publications such as LIFE magazine and Architectural Forum, the exhibition offers insights into how photography influenced public perception of Wright’s work. For more information, visit www.driehausmuseum.org
I Love Lucy!
'Leroy and Lucy'
Steppenwolf Theatre Company continues its 49th season with the world premiere of Ngozi Anyanwu’s "Leroy and Lucy," a bluesy and seductive play with music, directed by Awoye Timpo. Anyanwu’s play depicts two souls meeting at a crossroads as they laugh, flirt, and make sweet music inspired by the myth of musician Robert Johnson. "Leroy and Lucy" runs from October 24 - December 15 in Steppenwolf’s in-the-round Ensemble Theatre (1646 N. Halsted St.), with tickets starting at $20. For more information, visit www.steppenwolf.org
Keep it Spicy!
'Some Like it Hot'
The Cadillac Palace Theatre (151 W. Randolph St.) presents four-time Tony Award winning musical comedy "Some Like it Hot," an irresistible combination of heart, laughs, song, and dance that leaves audiences wanting more. Set in Chicago during the Prohibition era, "Some Like it Hot" is a story of two musicians forced to flee the city after wittnessing a mob hit. This show runs from October 22 - November 3, with tickets starting at $30. For more information, visit www.broadwayinchicago.com
A Woman's Worth!
'Frankenstein'
'Obligations to the Wounded: Stories'
Join Women & Children First (5233 N. Clark St.) on October 23 at 7 p.m. as it presents "Obligations to the Wounded: Stories," a reading and conversation between authors Mubanga Kalimamukwento and Kelly Sather about the former's collection of stories rooted in Zambian literary tradition. Kalimamukwento’s collection explores expectations and burden of womanhood in Zambia, conversing with global social problems through detailed depictions of games, social media feuds, letters, and folklore to depict how young women manage religious expectations, migration, loss of language, violence, and discrimination in the modern world. For more information, visit www.womenandchildrenfirst.com. FREE.
Give Back, Have Fun!
'Feeding Hope'
The Chicago Help Initiative (CHI) will have its Annual Fundraiser on October 24 from 6-9 p.m. at The Forum, 110 N. Wacker Drive. This fundraiser helps CHI raise monies to help people who are homeless and underserved by providing meals, social services and community. CHI feeds the heart and spirit of those in need. (StreetWise Jan. 24-30, 2022) Tickets are $150 at chicagohelpinitiative.org
It's Alive!
Love, loss, and the matter of creation merge in unexpected ways as the Studebaker Theatre and Fine Arts Building, 410 S. Michigan Ave., co-present Manual Cinema’s "Frankenstein" October 25-27. Manual Cinema melds the classic tale of Frankenstein and the biography of the author Mary Shelley to depict the beauty and horror of creation. This show will be 7:30 p.m. Fri & Sat, and 2 p.m. Sat & Sun, Ticket prices begin at $54. For more information, visit www.fineartsbuilding.com
Two Titles, One Play!
'Inheritance -or- Brothers from the Deep'
The Factory Theater's (1623 W. Howard St.) first production of its 30th season, "Inheritance -or- Brothers from the Deep," runs through November 23. Written by Michael Jones and directed by Jamaque Newberry, it showcases brothers Marcus and Bentley as they face rough waters, buried trauma, and the challenge to change in this supernatural drama. Friday and Saturday performances are at 8 p.m., Sunday matinees at 3 p.m., with an approximate runtime of 75 minutes. Tickets start at $30. For more information, visit TheFactoryTheater.com
memories of the 2024 mlb season
Russell: Today's subject is baseball memories of the 2024 season.
William: The Cubs ended up out of contention, so that was a disappointment. The White Sox are the worst disappointment. There's just one thing they didn't do this year: play baseball. Maybe they were just sitting out there playing marbles. But the Mets, on the other hand, made it into the playoffs. They did have a tough time with the Brewers, but they came around at the last minute.
John: The Detroit Tigers to me are the story of the season, because back in mid-August, 10 games out of the wild card, it looked completely hopeless with them. They were like about eight, nine games or so under .500. They caught five to make the wild card spot, and as of October, they just got done beating Houston in the playoffs. If they could have won the World Series
this year, it would be even more of a story than Texas winning its first World Series last year.
Now, as far as the Cubs, they didn't get enough offense this year or you could be seeing them in playoffs this year. And the White Sox, they're like millions and millions and millions of miles away from even thinking about contending. They're gonna need a whole rebuilding, and they're gonna need to reorganize. The Dodgers and the Yankees are both in the playoffs this year, so it's gonna be exciting to see how far they can make it.
Allen: I'm still a Sox fan. I'm still a Chicago diehard fan, even though the Sox got the worst team in the league. The Cubs didn't make the playoffs, but I'm still a Cubs fan too. There's always next year, okay? I'm waiting for New York to play the Dodgers –one of the teams, either the Mets or the Yankees.
Russell: I want to talk about the surge of the New York Mets. They had a nine-game winning streak in September. They won every series playing really good baseball and they caught Arizona for the second wildcard spot. The Tigers, the Kansas City Royals, the Cleveland Guardians, all in the playoffs, all in the Central Division. Not bad.
William: The Dodgers can be a pretty scary team. I remember when they killed the Cubs back in 2008 when they swept all three games. I hope that's not going to happen with the Mets. I'm rooting for the Mets all the way.
Allen: The Dodgers are looking pretty good, and you both talked about the Mets. I like New York, period. Whether it be the Mets or the Yankees. Those are classic games when New York plays the Dodgers.
John: We could have the World Series remastered. The
Dodgers and Yankees from way back when the Dodgers were in Brooklyn. That'd be my favorite. The other two that could be pretty cool would be the 1980 World Series between the Kansas City Royals and Philadelphia Phillies, and then from 1984, the Detroit Tigers and San Diego Padres.
Russell: I'm taking the National League, because the American League won last year. I like the Dodgers, I like New York.
Any comments, suggestions or topic ideas for the SportsWise team? Email StreetWise Editor Suzanne Hanney at suzannestreetwise@yahoo.com
Vendors (clockwise) A. Allen, John Hagan, William Plowman and Russell Adams chat about the world of sports.
POP CULTURE DOMINANCE (TAYLOR'S VERSION)
by Kate Pattison
Recently, USA Today/Gannett posted a job ad for a Taylor Swift reporter, seeking an experienced journalist and content creator to “capture the music and cultural impact of Taylor Swift.”
It’s not the first time Swift has been the focus of professional and academic work. In 2022, New York University’s Clive Davis Institute announced a course focused on Swift, taught by Rolling Stone’s Brittany Spanos. They also gave Swift an honorary doctorate in fine arts, as “one of the most prolific and celebrated artists of her generation.”
Other universities around the world followed with their own dedicated courses, including “The Psychology of Taylor Swift,” “The Taylor Swift Songbook” and “Literature: Taylor’s Version.”
While musicians and celebrities have been the subject of our fascinations for decades, it’s not often they receive such individualized attention. Swift’s impressive career can be studied from multiple perspectives, including marketing, fandom, business and songwriting, to name a few.
SO WHY TAYLOR SWIFT?
There is an expectation for female artists to constantly reinvent themselves, something Swift reflected on in her Netflix documentary "Miss Americana":
"The female artists I know of have to remake themselves like 20 times more than the male artists, or you’re out of a job."
From a music perspective, Swift has broken a lot of records. Last month, she became the first female artist in Spotify history to reach 100 million monthly listeners.
Swift has achieved 12 number one albums on Billboard, the most by a woman artist, overtaking Barbra Streisand earlier this year.
She’s the first and only woman solo artist to win the Album Of The Year Grammy three times, for Fearless (2009), 1989 (2015) and Folklore (2020) – each in a different musical genre. It’s a credit to Swift’s masterful songwriting, and demonstrates her ability to adapt her craft for different audiences.
Over the course of her career, Swift has evolved from an award-winning country music singer to one of the biggest pop stars in the world. Each of her 10 original studio albums has a distinct theme and aesthetic, which have been celebrated on Swift’s juggernaut Eras Tour.
The tour, which has wrapped up its first US leg, is set to be the highestgrossing of all time, boosting local travel and tourism revenue along the way. A recent report estimates the tour could help add a monumental $5 billion to the worldwide economy.
‘ALL I DO IS TRY, TRY, TRY’
But to measure Swift’s impact by her music alone would be limiting.
Swift has been instrumental in changing the business game for musicians. She’s taken on record labels and streaming services, advocating for better deals for artists.
In 2015, Apple Music changed its payment policies after Swift wrote an open letter campaigning for better compensation.
Most notably, she took a stand against her former record label, Big Machine Records, after it wouldn’t give her an opportunity to buy back her original master recordings. Her back catalogue was eventually sold to music executive Scooter Braun, kicking off a very public feud.
While she’s not the first artist to go after her masters, she’s generated an enormous amount of attention to an issue that’s often overlooked. Of course, Swift is in a position of privilege – she can take risks many other artists can’t afford
to. But with this power she’s driving conversations around contracts and the value of music, paving the way for emerging artists.
In an effort to regain control of her earlier work, Swift announced she would be re-recording her first six albums. Each re-recorded album has included additional vault tracks, previously unreleased songs left off the original recordings.
These releases have each been accompanied by a robust promotional campaign, including new merchandise and multiple, limited-edition versions of each record for fans to collect.
The release of Speak Now (Taylor’s Version) marked the halfway point of this process, which has paid off big time. Fearless (Taylor’s Version), Red (Taylor’s Version) and Speak Now (Taylor’s Version) have all performed better than the originals.
This is largely due to the unwavering support from her fans, known as “Swifties.” They’ve embraced the new recordings, shaming anyone who plays the original “stolen” versions.
THE POWER OF SWIFTIES
Swift’s loyal fandom are known for their high levels of participation and creativity. Fans have spent an extensive amount of time hand-making outfits for concerts, and discussing elaborate theories online.
Swift has a reputation for leaving clues, known as Easter eggs, in her lyrics, music videos, social media posts and interviews. There are fan accounts dedicated to analyzing these Easter eggs, studying specific number patterns and phrases to uncover hints for what Swift might do next.
Swift and Taylor Nation, a branch of her management team, encourage these behaviors by rewarding fans for their participation.
Swift’s fandom crosses generations. She’s a quintessential millennial, and many fans have grown up with Swift over the past two decades. Some have even started to bring their children along to the concerts.
She’s also found a younger audience on TikTok, a platform predominantly used by Gen Z. Affectionately dubbed “SwiftTok” by fans (and now Swift herself), users post videos to engage with other Swifties and participate in the community.
Swift’s songs are often used in popular trends. The release of Midnights in 2022 had many dancing to "Bejeweled" and "Karma," but Swift’s older catalogue has also gotten a good run.
Swift continues to dominate the cultural conversation through her music, business decisions and legions of devoted fans.
Right now, Swift’s popularity is at an all-time high, and it could be easy to dismiss this hype as a passing trend. But if these first 18 years are anything to go by, Swift’s proven she’s in it for the long haul, and worthy of our time.
Taylor may have already played Chicago last year, but there is still a chance to see The Eras Tour. She is playing 3 dates in our southern neighbor only 3.5 hours away: November 1-3 at the Lucas Oil Stadium, 500 S. Capital Ave., Indianapolis, Indiana.
Kate Pattison is a PhD candidate at RMIT University. Printed courtesy of The Conversation.
Taylor Swift’s Eras Tour is a statistician’s fever dream, with eye-bulging numbers raining down like a ticker tape parade.
Pollstar, the live music business publication that tracks concert revenues, had already hailed it as the first billion-dollar tour for its US leg (running intermittently from March to August last year) where she sold 4.3 million tickets, with an average price of $238. Each show (typically to audiences of 72,000 people) grossed around $17m. Then add in $200m in merchandise. It is like taking a hacked slot machine the size of Las Vegas on the road and watching as it spews out gold coins for miles around.
This is all money that will go to the multiple business entities around Taylor Swift (the venues, the promoters, the ticketing companies, the merchandise companies) as well as, of course, to Swift herself.
That is, however, just one part of the wider economic repercussions of a tour on this scale by the biggest solo artist in the world. The macro-economic impact – essentially the money fans spend on things that do not go directly into the bank account of Swift, Inc., such as travel, accommodation and food – is staggering.
Time projected in August 2023 that Swift’s tour could “generate close to $5b in consumer spending” in the US. It mapped out the scale, suggesting that typically every $100 spent on live shows means $300 in ancillary local spending (notably travel, food and hotels); for Swift’s tour that ancillary spending per fan ballooned to $1,300-1,500.
Measuring the economic impact of her tour has become a competitive sport for analysts. Her four Tokyo shows, to 220,000 fans, in February added ¥34.1bn ($2.3b) to the Japanese economy according to a report by the Economic Impact Research Laboratory.
Each city she stops at is seemingly granted an economic jackpot. This is not trickle-down economics; this is Niagara economics.
Ryan Herzog, associate professor of economics at Gonzaga University, told CNBC, “She is in and of herself an economic event.” It is likely this tour will be a case study on economics degrees for years
to come. A piece hitched to the earnings of a pop star turns a grey numbers story into a glamorous jamboree of wild speculation beyond the hard stats themselves.
In parallel with stories about “the Taylor effect” and “the Swift lift” peppering Wall Street earnings calls, Si Ying Toh, global economist at financial services group Nomura, swam against the tide of hype (possibly being intentionally contrarian) by saying Swift’s tour might have “enchanted US economic analysts” but cautioning the “total macroeconomic effect is probably overstated.”
There are similar, if slightly more muted, claims being thrown about around Beyoncé’s tour in 2023. “Beyoncé blamed for inflation surprise in Sweden,” ran a frenzied BBC headline last June. Her shows there saw surge pricing, an economic force more typically associated with Uber when the late-night bars close. This, it was claimed, pushed inflation to a higher-than-expected 9.7% in the country.
Visit Stockholm called it the “Beyoncé effect” and it was compared to what happens when a major sporting event comes to a city.
Below the BBC headline, however, was a more measured interpretation by Danske Bank analyst Michael Grahn, who said he would not “blame” Beyoncé as the single contributory factor, reasoning that her shows “added a little to it.” A headline like “Beyoncé added a little to inflation in Sweden” does not have the same arresting impact.
The other critical issue here is understanding if all this spending beyond tickets and merchandise is additive to the local economy (i.e. consumers extending beyond their normal spending) or diversionary (taking money that could have been spent on other things and relocating it).
When The Rolling Stones toured, the cliché was they were the only show in town. They would arrive and spending in and around the venue would go through the roof. Yet that seems economically restrained compared to what is happening as Taylor Swift creates a new financial center of gravity in every city she deigns to visit. And it is very much a city-based phenomenon. The Swift tour is inherently urban in its impact, with hotels the immediate beneficiaries but also the wider tourism ecosystem.
Forde / The Big Issue (UK) / Illustration courtesy of The Big Issue (UK)
Small Arts orgs on the rebound post Covid-19 residents scramble to find new housing
The Chicago Small Arts Sector Survey released October 1 by the Gaylord and Dorothy Donnelley Foundation (GDDF) indicates the city’s small arts organizations are still rebuilding post-COVID-19 pandemic – and thriving artistically. The sector employs roughly 5,000 artists and presented 1,800+ productions, exhibitions, concerts and special events in the past season, including a significant number of new works. Organizations surveyed serve audiences in 62 of Chicago’s 77 community areas, contributing to their culture and economies.
Key findings include:
• Among organizations that present exclusively in-person programming, 55% reported that 75-100% of their audiences have returned.
• These organizations employ 461 full-time and parttime employees, and approximately 4,502 temporary artists/creatives per season.
• 75% are presenting new works/premieres this season.
• 95% work with emerging artistic talent; 83% specifically with emerging artists based in Chicagoland.
• 57% partnered with a non-arts business in their immediate community in the past year, and another 44% also partnered with a non-arts Chicago business located outside their community.
“It is more important than ever that we support these organizations, both financially and as audience members,” said Ellen Placey Wadey, GDDF’s program director of Chicago arts & collections. “Not only are small arts organizations producing some of the most exciting new work citywide, they are doing so at an affordable price point in communities across Chicago. And they are committed to sharing the diverse stories and voices that make this a world-class city.”
GDDF surveyed its grantees in August and September. The foundation provides more than $1.7 million in multiyear general operating grants to 170+ small arts organizations across Chicago and suburban Cook County each year. All survey participants have annual operating budgets under $1 million, with 73% reporting an annual budget of $500,000 or less—making GDDF’s survey the only recent study of Chicago’s small arts sector. For more information, visit gddf.org/artistic-vitality.
-Suzanne Hanney, from prepared materials
Given a two-week eviction moratorium following the annual ONE Northside town hall September 29, nine residents of an affordable building in Rogers Park were scrambling the next day to find housing – even with relatives.
Last March, tenants at 1546 W. Jonquil – The Jonquil Place – learned that Good News Partners had sold their building to Becovic Residential for $2 million. Their leases were all terminated, but they formed a tenant union and negotiated a September 30 deadline, so they had more time to find new affordable housing.
Prior to the town hall, Ald. Maria Hadden (49th ward) had agreed to a request from tenant leader Karen Foster to stand with them by issuing a written statement to Becovic regarding the traumatic effect on long-time residents of the ward. The tenants also sought an additional month or cash assistance to relocate, which Becovic refused.
“The fact of the matter is, there just isn’t enough affordable housing,” tenant Mary Rogers said during a Thursday, September 26 press conference. “On September 30, I have no place to go.”
ONE Northside Community Organizer Arieh Venick itemized conditions in the building for StreetWise. One stairway had loose steps, a mold hole in the wall between 1st and 2nd floors and extensive holes in the walls. For a year, there had been a hole in the lobby ceiling and mailboxes torn out of the walls. The laundry room had a leaking washtub and missing machines. The front door was not sealed and allowed mice in the building and nontenants to enter and steal packages. There were also bedbugs, mice and roaches in the walls. Heat would go out in the units, where floors and ceilings also collapsed.
Built in 1930, The Jonquil Place has nine studios, 17 one-bedrooms, and one two-bedroom unit. Since 1973, the Becovic family has bought 2,700 apartments, largely on the North Side.
- Suzanne Hanney
Pilsen Tif aims to contribute to community saving two affordable housing buildings
A Chicago City Council Finance Committee vote to add 685 acres to the 907-acre Pilsen tax increment finance district could come in November. The TIF is primarily in the 25th ward led by Ald. Byron Sigcho-Lopez.
Originally begun in 1998, the Pilsen TIF encompasses land between the South Branch of the Chicago River, Cullerton Street, the Stevenson Expressway, Blue Island and Western Avenues to maximize the area’s proximity to rail and water lines for manufacturing, distribution, and warehousing. In 2022, the TIF was extended past the traditional 23 years, to 2034. The new area is generally bounded by 16th Street, Western Avenue, Desplaines Street and portions of Blue Island Avenue and 21st Street, and the 11th and 12th wards.
Although not blighted, the Pilsen TIF is a “conservation” area and could include home repair grants, 25th ward Chief of Staff Lucia Maya said during a WTTW panel. According to the city’s website, it would also address affordability and displacement among the neighborhood’s Mexican-American residents and businesses through a redevelopment budget increase from $115 million to $980 million through the Department of Planning and Development’s (DPD) Small Business Improvement Fund and the Department of Housing’s Neighborhood Improvement Program.
The Real Deal quoted DPD that money would go to school repairs, park improvements and affordable housing at 18th and Peoria and at Casa Yucatan, across from Benito Juarez High School at Cermak Road and Ashland Avenue. Casa Yucatan, led by The Resurrection Project, has already received $23 million in TIF funds. Targeted at people making 15%, 30% and 70% of the Area Median Income ($78,500 for a single-person household, $89,700 for two) the building would have 98 units of housing: 38 one-bedroom, 34 twobedroom and 26 three-bedroom apartments.
TIFs pool incremental increases in property valuation to pay for local infrastructure and simultaneously freeze taxes for underlying taxing bodies, such as the City and Chicago Public Schools. “That means less money going for police,” former 25th ward aldermanic candidate David Herrera said during the WTTW panel.
Residents Against TIF Expansion spokesperson Leonardo Quintero said his group would prefer to sunset the Pilsen TIF, with proceeds restructured into Mayor Brandon Johnson’s new bond program.
-Suzanne Hanney
Advocates are working to save two Uptown affordable apartment buildings formerly among 14 properties in the Heartland Alliance portfolio: the 137-unit Leland Building at 1207 W. Leland and the 71-unit San Miguel Apartments at 907 W. Argyle. The buildings have been in receivership, or courtappointed management.
Leland tenant Jeff Martin said a caseworker helped him find his apartment there after a 2018 stroke left him disabled, unable to work, and evicted.
“I consider myself at home in the building,” Martin said in prepared material from ONE Northside. “I am friendly with my neighbors and have built a life for myself in the neighborhood.”
The danger is that if the Leland goes into foreclosure, a for-profit developer could buy it and flip it into luxury condos, ONE Northside Communications Manager Marie Rowley said. ONE Northside said that the City of Chicago has agreed to use bond money from the reorganization of expiring Tax Increment Finance (TIF) districts to fund both buildings, but the preexisting loan on the Leland must first be released or forgiven. ONE Northside sought $44 million in public funding to ensure the current tenants can stay under a new owner.
ONE Northside quoted Department of Housing
Commissioner Lissette Castaneda at their September 29 town hall: “IHDA [Illinois Housing Development Authority] and the Department of Housing [DOH] are fully committed to whatever it takes to keep both the Leland and the San Miguel apartments fully affordable, in perpetuity, forever and ever. The commitment is unwavering.”
“We will work with new buyers and identify tools the city can potentially leverage to achieve these goals,” DOH spokesperson Rima Alsammarae told Block Club. IHDA did not immediately respond.
Voice of the People in Uptown, together with the National Housing Partnership Foundation, will purchase the San Miguel, Executive Director Michael Rohrbeck said. However, the building needs gut rehab and the funding to carry it out.
-Suzanne Hanney
Lincoln Park Community Services cordially invites you to Thursday 11 • 7 • 24 6:00PM - 11:00PM
Taste Fall
Help us kick off a toast to 40 years of service to the community with fabulous food & drinks from local restaurants, entertainment, whiskey tasting and fundraising to support those experiencing homelessness.
