PAGE 3: Award-winning Hair Trigger publication now online only
PAGE 6: Meet the volunteer cast of the Music Box Theatre’s “Rocky Horror Picture Show”
PAGE 7: LGBTQ+ dating show offers fun, low-stakes connecting PAGE 13: CTU crashes mayor’s first budget address Volume 55, Issue 9
.. BEHIND THE HAUNT October 28, 2019
ColumbiaChronicle.com
An inside look at one of Chicago s top haunted houses
SEE CREATURE FEATURE, PAGES 8-9 » MIKE RUNDLE/CHRONICLE
editor’s note
Liar, liar, Facebook is on fire » ALEXANDRA YETTER CO-EDITOR-IN-CHIEF
A
t just 15 years old, the popular social media platform Facebook has died. According to sources close to the company, it died in a fire started by widespread lies. Facebook’s health issues can be traced back to its post-Obama fall from grace when the U.S. government found the platform played a significant part in Russian interference with the 2016 presidential election.But its last nail in the coffin was delivered by Rep. Alexandria Ocasio-Cortez (D-N.Y.) Wednesday during what was supposed to be a congressional hearing on Facebook’s new cryptocurrency, Libra, but turned into a five-hour-long interrogation of Facebook’s new policy allowing lies in political advertisements. “Would I be able to run advertisements on Facebook targeting Republicans in primaries saying that they voted for the Green New Deal?” Ocasio-Cortez asked. “If you’re not fact-checking political advertisements, I’m just trying to understand the bounds here, what’s fair game?” The grilling came after Facebook allowed an ad, funded by President Donald Trump’s election campaign, that falsely said Democratic presidential candidate and former Vice President Joe Biden’s son conspired with Ukrainian officials. After receiving harsh criticism for permitting the ad to stay on the site, 2020 Democratic presidential candidate Sen. Elizabeth Warren (D-Mass.)—an outspoken critic of the company—ran an ad falsely claiming Zuckerberg endorsed Trump. The move proved the ridiculousness of Facebook’s own policy. In a response on par with that of a scolded five-year-old, Zuckerberg told Ocasio-Cortez the company would “probably” allow falsified ads claiming Republican candidates support the Green New Deal to run. He reiterated: “I think lying is bad, and I think if you were to run an ad that had a lie in it, that would be bad.” However, Zuckerberg’s thinking that allowing constituents on Facebook to determine which ads are lies and which are truth ignores a fundamental reality: People no longer can distinguish between fact and fiction. According to a survey conducted by Pew Research Center in July and August of 2018, four in 10 adults get their news from Facebook. By equivocating the 2 THE CHRONICLE OCTOBER 28, 2019
MANAGEMENT CO-EDITORS-IN-CHIEF
Blaise Mesa Alexandra Yetter
MANAGING EDITOR
CREATIVE DIRECTOR
Grace Senior
DIGITAL CONTENT & BRAND MANAGER
Micha Thurston
Miranda Manier
REPORTERS
NEWS EDITORS
Katherine Savage Kendall Polidori REPORTERS Paige Barnes Isaiah Colbert Dyana Daniels Mari Devereaux Mateusz Janik Knox Keranen Lauren Leazenby Valeria Mancera-Saavedra
news with Facebook, many users put the platform in the same category as news outlets such as The New York Times or Vice News when they could not be more dissimilar. Most news outlets fact-check political ads before allowing them to run. Facebook—to the detriment of the American democratic system—does not. COPY Zuckerberg’s motives are clear: Party COPY CHIEF Margaret Smith polarization is bad for business. COPY EDITORS Summer Hoagland-Abernathy Facebook was long heralded by Ella Watylyk President Barack Obama, who was patted on the back for using the platform in GRAPHICS his successful campaign for the White GRAPHIC DESIGNERS Maddy Asma House, to the point where many accused Jennifer Chavez the company of having a liberal bias. In a Wesley Enriquez Shane Tolentino drastic overcorrection, Facebook executives have bent over backward to better MULTIMEDIA relations with Republicans. systemSENIOR PHOTO EDITOR Mike Rundle Zuckerberg has even been PHOTOJOURNALISTS Korrigan Agen atically meeting with conservative Justin Anderson reporters, commentators and at least Ignacio Calderon one Republican legislator to discuss Camilla Forte Jacqueline Luttrell free speech and partnerships in an Steven Nunez effort to rehash the platform’s image, as PODCAST PRODUCER Yasmeen Sheikah reported Oct. 14 by Politico. By seeming ADVERTISING/ like it skews toward a liberal audience, MARKETING Facebook is most likely concerned with possibly losing out on a revenue source SALES MANAGER Anthony Karlsson from right-wing politicos. MEDIA SALES REPS Breanne Jacobs Kathryn Williams Rather than trying to have their Tara Woods cake and eat it, too, Facebook needs to have a truth bias rather than a political SENIOR STAFF bias. If it instituted a truth policy for political ads, it would incentivize polit GENERAL MANAGER Travis Truitt ical candidates to create truthful ads FACULTY ADVISER Curtis Lawrence because campaigns know their target demographic is most readily accessible on Facebook. What’s more—if politicians are allowed to lie on social media, who else will be allowed to? Medical companies advertising a new drug treatment? A newspaper claiming Facebook is dead? Like it or not, Facebook has set itself up as an extinguisher. Now, it needs to put out its own fires. ayetter@columbiachronicle.com
@c
cchronicle
@c
cchronicle
Th
e C h ro n i c l
e
Main Line: (312) 369-8977 General Manager: (312) 369-8955 Editors-in-Chief: (312) 369-8959 (312) 369-8961 Advertising: (312) 369-8984 Creative Director: (312) 369-8986 Production: (312) 369-8834 News Editors: (312) 369-8980 (312) 369-8963 Copy Chief: (312) 369-8976 Faculty Adviser: (312) 369-8905
The Columbia Chronicle is a student-produced publication of Columbia College Chicago and does not necessarily represent, in whole or in part, the views of college administrators, faculty or students. All text, photos and graphics are the property of The Columbia Chronicle and may not be reproduced or published without written permission. Editorials are the opinions of the Editorial Board of The Columbia Chronicle. Columns are the opinions of the author(s). Views expressed in this publication are those of the writer and are not the opinions of The Columbia Chronicle, Columbia’s Communication Department or Columbia College Chicago. Letters to the editor must include full name, year, major and phone number. All letters are edited for grammar and may be cut due to a limit of space. The Columbia Chronicle holds the right to limit any one person’s submissions to three per semester.
Letters can be emailed to Chronicle@colum.edu or mailed to: The Columbia Chronicle 600 S. Michigan Ave. Chicago, IL. 60605
campus
Listen to “Chronicle Headlines” every Wednesday » ColumbiaChronicle.com
Literary magazine Hair Trigger pulls away from print
FORTY-ONE YEARS of thumbing through stimulating storytelling, empowering narratives and illuminating images in the award-winning Hair Trigger magazine will soon be over. The Gold-Medalist 41st edition of Columbia’s student-produced literary publication will be the last issue available in print. Hair Trigger, a student-edited anthology of short fiction and nonfiction student works, first went online in 2016 with the introduction of Hair Trigger 2.0, a digital companion to the print publication. However, due to budget cuts, the publication will be strictly online going forward, making the 41st issue its last in print, said Alexis Pride, faculty adviser for Hair Trigger and associate professor in the English and Creative Writing Department. Upcoming issues will be smaller, but more frequent, with nine student pieces published in each quarterly edition, said Cora Jacobs, managing editor of Hair Trigger and Columbia’s other creative literary magazines, Punctuate and the Columbia Poetry Review. Jacobs, who teaches the “Literary Magazine Production” course for Hair Trigger, said this will be an opportunity to add up-to-date content to Hair Trigger that a static yearly print edition could not traditionally support, such as book reviews, interviews and, potentially, special feature articles. Jacobs said social media, especially Instagram, will be another major component of the digital Hair Trigger.
Though Hair Trigger readers will have more to read, they won’t be able to hold it in their hands, smell the ink and hear the turn of pages, said Eric May, an associate professor in the English and Creative Writing Department. He said the physical magazine is a great piece to hand to prospective students, and is also great for students to put in their portfolio. But having an online presence is not all bad, May said, as it will allow the publication to reach more eyes. “When something is online, the whole world is your audience,” he said. Ben Peachey, Hair Trigger’s assistant managing editor in the “Literary Magazine Production” course, said the change may impact readers as well. Peachey, a senior fiction and music double major, said the sense of satisfaction that comes from working through a large, printed anthology start to finish may be lost once it goes online. At the same time, Peachey said he is looking forward to the opportunity to be able to more easily share his and other students’ work via the new online platform. Overall, Pride said she does not foresee a sacrifice to quality in moving the magazine online because students will continue to contribute great work to the publication. Instead, she said the new format may allow for more submissions from students. “You can’t know what makes strong writing unless you yourself have performed at that level,” Pride said. “And [the students] demonstrate that again and again.”
The 41st issue of Hair Trigger was labeled a Gold Medalist by the Columbia University Scholastic Press Association and has the potential to go on to win a Gold or Silver Crown in the next round of judging.
» MIKE RUNDLE/CHRONICLE
» LAUREN LEAZENBY STAFF REPORTER
Hair Trigger went online in 2016 as Hair Trigger 2.0, a digital companion to the publication. Future, quarterly editions of Hair Trigger will be online-only.
One of those students is Carolyn Boykin, a first-time contributor to Hair Trigger and MFA candidate studying creative writing. Boykin, who was also a submissions editor for Hair Trigger 41, said her experience brought her an opportunity to think like an editor while writing her own stories. Boykin was the 2019 recipient of Hair Trigger’s David Friedman Memorial Award, a $500 cash prize given each year to the best story or essay published in the magazine. Her creative nonfiction piece, “Ugly,” took nearly a year to write and was
named the best of the 41st edition after a vote was held among Hair Trigger editors and staff. The story explores parts of her youth she had never written or talked about before, she said. The piece Boykin submitted for the next edition of Hair Trigger is much different than her first, but she feels that difference is celebrated by the magazine. “[Columbia] exposes you to so many different things,” she said. lleazenby@columbiachronicle.com
Carolyn Boykin, a first-time submitter to Hair Trigger, is the recipient of the David Friedman Memorial Award for her creative nonfiction piece, “Ugly.”
OCTOBER 28, 2019 THE CHRONICLE 3
campus
TEDx Columbia conference to explain the ‘essence’ of humanity » MARI DEVEREAUX STAFF REPORTER
» COURTESY TEDX COLUMBIA
WHEN 25-YEAR-OLD Savana Nix learned about an upcoming TEDx event at Columbia, she felt called to speak to her knowledge of the human experience as an aspiring costume designer.
“What I’m speaking about is queer visibility in fashion and costume history,” said Nix, senior interdisciplinary documentary major. “Your visibility is who you are, it’s your essence.” At Columbia’s fourth TEDx conference Nov. 16, eight speakers and four live performing
Columbia will hold its fourth TEDx conference from 11 a.m. to 6 p.m. Nov. 16, featuring eight speakers and live performances about this year’s theme of “essence.”
groups will present their unique interpretations of “essence” in an attempt to understand society’s deeper roots. This year, the conference will have both a live performance at Stage Two, 618 S. Michigan Ave., from 11 a.m. to 6 p.m., and a live webcast at the HAUS, 623 S. Wabash Ave. Anna Lee Ackermann, junior interdisciplinary documentary major and media director for the TEDx Columbia conference, said while people at the webcast venue are free to come and go, attendees at the live show are expected to stay for the full seven hours, where lunch will be provided The event is open to the public for $10 at the webcast venue and $20 at the live venue, and all Columbia students are able to reserve free tickets through Columbia’s TEDx website.
Katelynne Fulford, sophomore graphic design major and TEDx’s managing director, said the TEDx team is excited to bring the event back after canceling it last spring due to trouble obtaining a conference license. “A year and a half is really a long time to put effort into something,” Fulford said. “It hasn’t always been easy. ... This is a long time coming for us.” Fulford said the topic “essence” was the brainchild of Mary Elizabeth Figueroa, former managing director and 2019 multimedia journalism and musical theatre alumna, as a way to encapsulate and make sense of Columbia’s diverse landscape. “Essence is, by definition, the intrinsic nature or value of something,” Fulford said. “[Figueroa] wanted to gather speakers and performers to talk about what the human spirit is, the connection of it. How, in spite of all our differences, we’re still fundamentally the same.” A few notable speakers include Madame Kristen Glover, 2019 Ms.
Black Illinois USA; Allison Friedman, an American Sign Language advocate and high school teacher based in Virginia; and Shapearl Wells, founder of the Courtney Copeland Memorial Foundation. The bands Indigo Flood and Chilling Spree will also be performing, along with sophomore music business major Tandrea Hawkins, otherwise known as T Star Verse. Co Co Hong, 2019 cinema art and science alumna, will talk about her struggles with trichotillomania—a h a i r - p u l l ing disorder—as well as her life as a YouTuber, pole dancer and musician. She wants to encourage others to explore their essence. Ackermann said Columbia’s TEDx conference is meant to make students feel “reinvigorated for their craft” and start a dialogue with one another. “Being in a room full of creatives and intelligent people … is going to be a really powerful thing,” Ackermann said. mdevereaux@columbiachronicle.com
NOV. 1 - 15, 2019 mostrafilmfestival.org
10
th
Edition Presented by
4 THE CHRONICLE OCTOBER 28, 2019
FILMS WITH SOCIAL CONSCIENCE
12/31/19
campus
Alumna dresses up photo series of Filipino American culture AFTER GRADUATING FROM Columbia in May, Mikayla Delson, an arts management major, had mixed feelings about what she wanted to do next. While trying to figure it out, Delson received a number of freelance opportunities, the sum of which led to her first self-curated solo showcase event. Freelancing made Delson happy and gave her the flexibility to work on events she has been wanting to do but put aside because of a lack of time while in school. Now, having the time to hone her craft and do freelance work, Delson continued a photo series she started a few years ago titled “Acclimate Not Assimilate,” which revolves around her culture as a Filipina American. The culmination of this work was showcased at Delson’s Oct.
20 event, located at 5027 N. Broadway. Delson was able to fully curate the show and put it together with her own ideas. The series traces Delson’s work through the years and focuses on the incorporation of traditional Filipino clothing and attempts to modernize it through today’s generation, she said. For her photos, Delson styled models in a combination of traditional and modern-day Filipino clothing brands, specifically from Chicago. The showcase was a perfect opportunity for a celebration as well, with October being Filipino American History Month. “I wanted to start with clothing, which is something that really resonated with me,” Delson said. Along with her work, Delson wanted to combine different scenes into the showcase, which featured Filipino performances, including rappers, singers, drag
performers and DJs. To really bring her photo series to life, the showcase also featured a fashion show of Chicago Filipino dancers in the clothing brands shown in Delson’s photographs. She has a passion for “bringing people together and creating experiences that have not been done before,” and spreading culture and awareness for topics close to her. Delson said her time at Columbia allowed her to do this, especially after expanding her knowledge and gaining experience in other fields like arts management. She said through Columbia she was able to utilize the school’s photography resources, work on personal projects, collaborate with others and understand the quality of her own work. “I used that to my advantage,” Delson said. “I still have good connections ... to this day.” For Delson, that passion came
» COURTESY MIKAYLA DELSON
» KENDALL POLIDORI NEWS REPORTER
Mikayla Delson, 2019 arts management alumna, at her first showcase, “Acclimate Not Assimilate.”
from experiences in her own culture. She said, for Filipino Americans, there is a pattern of losing pieces of their culture, such as traditions and languages, when immigrating to the U.S. Delson said bringing communities together was the most
impactful piece of the puzzle. “To be able to curate, produce, photograph and create this event all by myself is [a super accomplishment],” Delson said. “I wouldn’t ever think the outcome would be so big.” kpolidori@columbiachronicle.com
DELILAH’S 2771 N. Lincoln * (773) 472-2771
PUNK ROCK MONDAYS
$1 American Beer
$2 Jim Beam
Free Pool !!! + Free Whiskey Tastings !!! Check Us Out @ DelilahsChicago.com
OCTOBER 28, 2019 THE CHRONICLE 5
Rian Johnson visits college ahead of “Knives Out” film » ColumbiaChronicle.com » COURTESY DYLAN SOWLE
arts culture
The Music Box Theatre’s “Rocky Horror Picture Show” volunteer cast provides their own homemade costumes and makeup, and performs their version of the movie as it plays behind them on the big screen.
Malört shots, virgin kits and glow sticks: welcome to the ‘Rocky tribe’
» KENDALL POLIDORI NEWS EDITOR IN 1990, 15-YEAR-OLD Chris Siuty was a “Rocky Horror Picture Show” virgin. After seeing the show, they were hooked. Now, as a 44-year-old applications engineer, Siuty spends one or two days a month as a singing motorcyclist in their part as a volunteer cast member for the Music Box Theatre’s monthly rendition of the cult classic. Rocky Horror is a 1975 sci-fi, rock ‘n’ roll horror parody film starring Tim Curry, who plays Dr. Frank-N-Furter, a self-ascribed “sweet transvestite from Transsexual, Transylvania” who sings and brings a male sex-symbol, Rocky Horror, to life one fateful night. Since the film’s release, it has gained a cult-like following of people across the nation who reenact the movie for heckling, dancing, singing and toilet-paper-throwing audiences in front of the screen as it plays in the background. For years, Siuty has been performing the role of Eddie—an ex-delivery boy and ex-lover to Dr. Frank-N-Furter who meets a dreary end. Despite that, they never studied theatre and do not consider themself an actor, which they said is the case with many Rocky Horror participants.
6 THE CHRONICLE OCTOBER 28, 2019
Without formal training for their roles, cast members take it upon themselves to learn and perfect the part as they see fit. Marnie Thompson—who plays the role of Janet, a sexually-frustrated newlywed who winds up at Dr. Frank-N-Furter’s mansion by mistake—said she watches the movie over and over again to become confident in her part, since the actors lip-sync and mimic the movie as it plays behind them on the screen during their performance. Much of the performance goes “off the books,” Thompson said, as the cast will play off each other’s characters. Like many others in the Rocky Horror community, Thompson started out as an audience member, and when the Music Box Theatre, 3733 N. Southport Ave., held its audience night in December 2018, she took a swing at becoming part of the cast. She has been on board ever since, with the mission to provide people with the same thrilling experience she had her first time. “It’s kind of humbling to be part of this,” Thompson said. “It’s a really rewarding experience.” While the show has a special hold on anyone who has seen or performed it, Thompson will always remember the first time she acted the song “Over at the
Frankenstein Place” last year. The entire audience took out glow sticks and waved them in the air while she walked through the aisles as Janet. “It’s very magical,” Thompson said. “It’s really awesome to see everybody really participating and really enjoying it.” For Siuty, Rocky Horror became a pivotal aspect in their life. The show became more than just a fun pastime, but also a place where they formed close relationships, including with their now-wife, who joined the Rocky Horror cast in 2004. It becomes a place where people grow together and figure themselves out, they said. “We’re all volunteers. We’re doing this because we love it,” Siuty said. While Rocky Horror is unique in and of itself, Siuty said the cast is also very conscious of each other’s identities and celebrates the differences among them. “We’re a safe space for people who are gay, lesbian, bisexual, pansexual, trans, non-binary, punks, goths or AV nerds,” Siuty said. “Anybody who feels like an outsider, they’re welcomed there.” People go to Rocky Horror for different reasons, and Siuty wants there to be a sense of community where people can go and express themselves.
“The cast [alone] isn’t Rocky Horror. The audience, the community that makes up all of these things is Rocky Horror,” Siuty said. In their own pre-show tradition, the Music Box’s “Rocky tribe” will take shots of Malört liquor together before taking to the stage. Unlike other more mainstream theatre productions, cast members for Rocky Horror provide their own costume and makeup, also making the “virgin kits”—a prop bag available for audience members to buy and interact with during the performance. All proceeds from the $3 kits go toward props, more kits, costumes and promotions. Since the cast is not paid for their performances, Dylan Sowle, who has been at the theatre since 2015 in the role of Dr. Frank-N-Furter, said it is a testament to just how much the cast cares. Sowle referred to the cast as a “fun, weird family” where everyone is trying to put on the best show possible. “There’s not really anywhere else, or any other movie or performance that’s exactly like this,” Sowle said. “It’s been going on for decades, and somehow people are still wanting to show the same movie and do these goofy things once a month or more.” Upcoming Midnight Madness showings of “Rocky Horror Picture Show” will take place Oct. 30 and 31 at the Music Box Theatre. kpolidori@columbiachronicle.com
Local, live dating show connects ‘parts, not hearts’ “ This is not the ‘Love Connection,’” she said. “This is not the ‘I want to hold your hand IN A CROWDED Rogers Park bar on in the dark’ connection. This is Wednesday evening, Vanna Mix- not the Aerosmith ‘I Don’t Want a-Lot—dressed in a sexy Captain to Miss a Thing With You,’ ‘I’m Ahab costume, complete with going to defeat an asteroid for a drawn-on beard and a hand- you’ connection. This is The crafted harpoon—stood in front Hump Connection.” of a tipsy, excited audience and Vanna Mix-a-Lot, otherwise reminded them exactly what they known as Kaycee Filson, host were there for: to connect “parts, and co-creator of The Hump not hearts.” Connection, has been running
» MIKE RUNDLE ⁄CHRONICLE
» MIRANDA MANIER MANAGING EDITOR
The Hump Connection is a live dating show that takes place the third Wednesday of every month at Rogers Park Social, 6920 N. Glenwood Ave.
they formed what they called the Chicago Daters Union. During the same episode, the the live dating show since 2012. Unlike most dating shows, The fourth Bachelorx, Callum Radley, Originally started in New Orleans, Hump Connection has never been did not know what to expect at the show has the basic format of recorded and does not have the first—but the show seemed like ABC’s “The Dating Game,” where budget or production value some a way to put themself out there. three contestants compete for the might expect. “It’s hard to find people who are affection of a fourth contestant “There are a lot of people who queer and vibe with you well,” they who sits on the opposite side of a are intrigued by the idea ... but are said. “But going to something like screen. really nervous about what it looks this, hanging around a bunch of The primary differences like because they think dating queer people, definitely makes it between The Hump Connection show and they think big budget, a lot easier.” and “The Dating Game” are two- high production, televised embarFilson’s experience of queer fold: First, it incorporates games rassment—and it is not that at all,” dating was short-lived, she said, each round. Second, The Hump Filson said. “It’s meant to feel as her relationship with her wife Connection in its Chicago iter- like it’s happening in someone’s was fast-paced. However, she has ation, unlike the New Orleans living room.” heard from friends that the queer version, is almost entirely queer. With the intimate venue at dating scene in Chicago is hard Filson and her wife run the Rogers Park Social, 6920 N. to navigate, and said The Hump game together typically on the Glenwood Ave., and the familiar, Connection offers an escape third Wednesday of each month comfortable energy between the from that. as their alter egos, with Filson contestants, the hosts and the “It is meant to be playful,” she playing Vanna Mix-a-Lot and her audience, the living room-type said. “It’s meant to be a fun introwife acting as a DJ with a name setting is not hard to imagine. duction to somebody that you that rotates for each episode. In For instance, in the Oct. 23 epi- maybe wouldn’t always get the October’s episode, her name was sode, the three contestants who chance to meet—and you have an DJ White Whale, named after the were competing for the fourth’s entire audience of people who then sexy white whale costume she affection—referred to as Bachelorx, know you and are rooting for you.” wore in coordination with Filson’s to maintain gender neutrality and Captain Ahab. inclusivity—bonded so much that mmanier@columbiachronicle.com
Review: ‘Modern Love’ depicts refreshing twist on relationships » KATHERINE SAVAGE NEWS EDITOR
tionships and dating can be extremely complex and confusing, the movies and television shows we watch should accurately convey this. “Modern Love,” a new Amazon Prime Video series, exhibits this through the struggles and triumphs of love in the 21st century. “Modern Love” follows different characters and their various experiences with love. Their stories range from a one-night stand to a fatherly relationship to elderly-love. The show is based on The New York Times column, book and podcast by the same name. The weekly submission-based column has been running for 15 years, and is about “relationships, feelings, betrayals and revelations” according to The New York Times’ website.
focuses on so much more than the typical ooey-gooey love story—in fact, the realistic nature will probably leave the viewer in tears on more than one occasion, of which I am guilty. “Modern Love” explores various topics like mental health, therapy, ideology, adoption and LGTBQ+ issues that are not often broached in rom-coms, all while the characters are trying to navigate love and relationships. It’s hard to believe that in such a short episode, audiences can become so attached to a character, but “Modern Love” makes it possible. The show really displays the good, the bad and the ugly—making the characters well-rounded and relatable. One of my favorite episodes— episode 5, “At the Hospital, an Interlude of Clarity”—follows the quirky Rob, played by John Gallagher Jr., and the attention-seeking Yasmine, played by Sofia Boutella, through their
second date, which ends with Rob in the hospital for six hours. While in the ambulance, it is revealed to Yasmine that Rob takes antidepressants and anxiety medications. Later on, Rob explains his trouble with relationships because of his mental health. Yasmine admits she loves getting attention from people and it’s something she is often striving for. This is what really struck me as the “Modern Love” of today. Both of their challenges seem to be things that people commonly deal with in this modern-day, socialmedia-crazed culture, and it should be shown more in the media we consume. While the show does fictionalize some of the stories, it still
has humanizing and relatable aspects. It exemplifies the sometimes unpleasant and difficult parts of modern relationships while giving intense hope to modern love. ksavage@columbiachronicle.com
OCTOBER 28, 2019 THE CHRONICLE 7
» GRACE SENIOR ⁄CHRONICLE
IN A TIME when friendships, rela-
The adapted TV series was released Oct. 18, and I have, regrettably, already finished the entire first season. I say regrettably only because I wish it was not over. The season is a short eight episodes, each running about 30 minutes long, and Amazon has not yet confirmed if there will be more seasons. The pilot episode, “When the Doorman Is Your Main Man,” tells the story of Maggie, played by Cristin Milioti, and her over-protective doorman Guzmin, played by Laurentiu Possa. It explores their dynamic relationship as Maggie navigates the journey of having a child on her own and as Guzmin frequently disapproves of the different men she brings back to her apartment. The ending of the episode fast-forwards five years and gives the perfect tear-jerking finish to their relationship—but we won’t spoil the ending for you. This is just one example of how the show
arts & culture
creature feature
Bonnie Phillips is a five-year veteran of 13th Floor. This season, she’s a vampire. “Scaring [is the best part] ... [especially] anytime someone falls to the floor or books it out of your room,” she said.
The 2019 season is Casper Van Oss’ second year at 13th Floor. “I typically play child roles. It’s a lot of laughter, a lot of running around and playing on the sets,” they said.
BEHIND THE HAUNT Backstage with the ghouls, ghosts and goblins that call the 13th Floor home » MIKE RUNDLE SENIOR PHOTO EDITOR
Christopher Portalatin is in his fifth year of work at 13th Floor and enjoys exploring a variety of angles for his characters. “It’s awesome to see the reactions from customers,” he said.
Madison Eason is an animation student at DePaul University in their second year at 13th Floor. “I’ve always tended to have a very animalistic character,” they said.
8 THE CHRONICLE OCTOBER 28, 2019
UPON ENTERING THE actor area at 13th Floor Haunted House in Melrose Park, you’ll come across a few oddities, some of which might include a vampire scrolling their Instagram feed, a phantom chowing down on birthday cake or a troll discussing their next acting gig. One thing that every member of the team at 13th Floor has in common, though, is dedication to “the haunt.” Named one of the top 10 scariest haunted houses in the country by USA Today, the staff at this haunted house, 1940 George St., do not joke around when it comes to scaring visitors stiff. “The weirder the better here,” said Casper Van Oss, an attraction lead. “There’s nothing quite as cathartic as scaring somebody.” Bonnie Phillips, also an attraction lead, says her position allows her to combine two of her interests: acting and directing. “For me, it’s that perfect balance of getting to scare and having a blast, while also getting to teach others how to do it,” Phillips said. Along with dedicated acting, the artistry behind every character and every scene is of utmost importance. The makeup and wardrobe team at 13th Floor do their best to make audiences’ skin crawl, from airbrushing deadly wounds to outfitting the perfect cloak. And once the visitors are inside, the scares come to life. “You need to feel scary and look scary,” said Sara Domaradzka, makeup manager and actor. “I like bringing that scary confidence to our actors.” But in the end, it’s about the relationships built between the actors. Behind the scenes, they consult each other for inspiration, practice their roles in the mirror, and help each other put on whatever alien mask or faux hunchback they’ve been given for the night. When it all comes together at show time, the team chemistry is on display. For Christopher Portalatin, a runner who helps lead tours throughout different zones of 13th Floor, the friendships he’s built are one of the most important parts of the job. “It’s like one big family,” Portalatin said. “I feel connected with them through the haunt.”
creature feature
Many actors wear contacts with colors or patterns to complete their look, like those worn by Madison Eason, an actor and production technician, before grabbing a wrench or sword and getting into position.
Makeup artists look to various images for inspiration when creating each unique guise for the characters. Serena Gonzalez (left) is one of the makeup artists that brings the characters at 13th Floor to life.
In the downtime before customers arrive—actors relax, eat and chat with their coworkers. Members of the staff also practice their parts and add the finishing touches to their appearance before going to show.
OCTOBER 28, 2019 THE CHRONICLE 9
opinions
Filmmaking major breaks down 2020 Oscar Best Picture predictions » ColumbiaChronicle.com EDITORIAL
F
acial recognition as a way to access smart technology is not necessarily a new feature, but it is a flawed one. On Oct. 15, Google released its newest phone, the Pixel 4, which included, among other features, facial recognition. Vox reported Oct. 17 that this technology often does a poor job of recognizing people with darker skin tones, and that “The technology often misidentifies them, or doesn’t detect them at all.” In an attempt to correct this oversight, Google sent teams of workers across the country to broaden the complexion of their databases using methods that were less than honest. After the collection concluded, the workers disclosed they had been “dispatched to target homeless people in Atlanta, unsuspecting students on college campuses around the U.S. and attendees of the BET Awards festivities in Los Angeles, among other places,” in order to gather the data, as reported Oct. 2 by the Daily News. In some cases, the tactics used to interact
with the public were pitched under the false guise of a “selfie-game,” or people were told to play around on the phone for a while. Sometimes users would even be given a $5 gift card in exchange for the interaction. In an overwhelming number of these scenarios, the people who participated did not know the true purpose of the interactions or that Google was involved at all. Considering the ways various companies access and harbor our information is a chilling thought—as is the secrecy that accompanies it. Even more sinister, though, is the thought that there is not always a person behind a curtain pulling levers to record all of mankind. Instead, there are people walking among us, hired by dishonest companies using deceptive practices even when trying to do the right thing. What is interesting about how Google conducted this data collection is that they chose not to be honest about their motives. If they released a statement in the name of inclusion and reached out to the people
» JENNIFER CHAVEZ/CHRONICLE
Recognition features show Google’s true face
their products do not fully serve—that would have been a respectable action. But when there is no communication, there can be no trust. The lack of transparency in Google’s practices shows the glaring disconnect between business and consumer, where the idea of consent is a foreign one. Google, unfortunately, would have rather taken advantage of a group of people than admit their shortcomings, and that is unacceptable. In modern times, it is increasingly more difficult to conclude which big company is telling the truth and which is using its patrons for its own gain.
If the name of the game was indeed inclusion, could Google not have crowdsourced the people who support their company? Or, instead of handing out $5 gift cards like candy, they could have put that same money into groups that support people of color. Being on the cutting edge of technology, it may be said that if you’re not the first to make something, you might as well be the last. But if being last means you can improve quality honestly for the sake of every being on earth, then so be it.
Protests keep complacency from going extinct
EDITORIAL protest—to speak out against the norm that is endangering certain communities, or in this case, the entire world. But speaking out against the ways of the world cannot include action that is taken lightly. Protestors did not crawl atop train cars to stop a mother from going home to her children or to stop a businessman from getting to his meetings. They climbed on top of train cars to open eyes to the injustice in the world and uncertainty for the future—not just for themselves, but for all those surrounding them, even the ones telling them to stop. People need to get on board with the fact that the world is dying. It’s happening before our very eyes, and if the only way to get this message across clear as day is taking a stand in highly populated public places, then let the trains stall, let the lines stack up and let the people see what it really means to rally for a cause.
C
» SHANE TOLENTINO/CHRONICLE
limate activists are taking to the streets across the globe to rally for legislative action against an environmental catastrophe. In London, the global climate activist group Extinction Rebellion has been performing a series of “autumn uprising” protests that have resulted in nearly 1,600 arrests since it began, as
reported Oct. 18 by The Guardian. On Thursday, Oct. 17, these protests took a turn when protestors crawled on top of a London tube—the city’s train system—to bring attention to their demands. However, this took place during rush hour and, of course, upset the passengers. In response, the commuters ripped one of the protestors from the top of the train car and attacked him physically, while another ran along the top of the train until being pulled off as well, as reported Oct. 17 by BBC News. By the end of the incident, police officers arrested eight Extinction Rebellion, or XR, protestors on charges of “obstructing the railway,” as reported Oct. 18 by ABC News. This is one of many planned protests that have infiltrated
Editorial Board Members Margaret Smith Copy Chief Ella Watylyk Copy Editor Jennifer Chavez Graphic Designer Shane Tolentino Graphic Designer
10 THE CHRONICLE OCTOBER 28, 2019
Korrigan Agen Photojournalist Paige Barnes Staff Reporter Dyana Daniels Staff Reporter Knox Keranen Staff Reporter
metro-London since Oct. 7. But, afterward, both XR members and police agreed that things went too far. Despite voicing regret for their short-sighted and ill-planned actions, the London police “effectively banned Extinction Rebellion’s autumn uprising protests from the whole of London,” according to the Guardian story. It is the police’s supposed duty to protect and serve their communities. Was the police force protecting the people of London who did not want to join the protests and were being affected by their happenings? Yes. Was the police force using public fear as a reason to silence a group of activists? Also yes. Banning activists from speaking truth to power is a clear-cut way to silence voices that don’t encourage the norm. After all, that is the purpose of any
chronicle@colum.edu
chronicle@colum.edu
Did you catch a mistake, think we could have covered a story better or have strong beliefs about an issue that faces all of us here at Columbia? Why not write a letter to the editor? At the bottom of Page 2, you’ll find a set of guidelines on how to do this. Let us hear from you. —The Columbia Chronicle Editorial Board
opinions
COMMENTARY
To schools banning Halloween parties: BOO! » MARI DEVEREAUX STAFF REPORTER
E
mdevereaux@columbiachronicle.com
a taunt to those reporters and, even further, they were a taunt towards people everywhere that live with the fact that their abusers may very well come out of the situation unscathed. This isn’t even about Osuna anymore, though. That’s a whole other ballgame. The problem I currently have is with Taubman, and Taubman alone. He desired to run his own team one day, and his own words have made it so COMMENTARY he may not ever do so. How could he think, even in the wake of the biggest win the Astros have had all season, that a remark of that nature would go unnoticed? How could he believe, even after issuing a half-hearted » GRACE SENIOR apology, that people would continue CREATIVE DIRECTOR to stand behind him? Is it ignorance, privilege or just sheer stupidity? n Oct. 19, the Houston Astros Additionally, he put the Astros’ image beat the New York Yankees, in a very difficult position. None of my securing their spot in the teams had the honor of making it to the 2019 World Series. However, Brandon World Series, so I must decide who to Taubman, the team’s former assistant support as the end of the season comes general manager, responded to the win close. I would be inclined to root for the by yelling multiple times in the direcAstros, but this situation has left a bad tion of three female reporters, one of taste in my mouth, and my allegiance whom was said to have been wearing a may now lie with the Nationals—I do domestic violence awareness bracelet. love a good underdog story. For this reaTaubman said, “Thank God we got son alone, the Astros should’ve taken Osuna! I’m so f-----g glad we got Osuna!” the allegations of the original story What makes this passionate expresseriously, if not on the basis of sheer sion troublesome is the player Taubman decency toward other human beings. was referring to—Roberto Osuna, who Thinking before you speak is basic had been accused of domestic violence human decency, and when you’re in in May of 2018. He was suspended a position of power, such as being an for 75 games and then returned to assistant general manager to a major the MLB as a closer for the Astros. sports team, the need to be attentive Taubman’s words were thoughtless, to your words grows dramatically. especially considering the initial backSo to you, Brandon Taubman, be betlash the Astros received when Osuna ter, think more and speak more kindly— first joined the team. Because the team and tell the Astros that they have you went to great lengths to rectify the iffy to thank for the lack of support they’ll reputation they had received—namely receive as the World Series finishes. pledging $300,000 towards projects To the Astros, thank you for working against domestic violence— firing him, but next time, don’t you’d think they’d be quick to rebuke be so slow to home plate. Taubman for his words, but alas, the gsenior@columbiachronicle.com team rallied behind the assistant G.M. and added fuel to the already smoldering fire that is their reputation. Midday Thursday Taubman was fired, and the team voiced regret for their initial stance on the situation. This was the right move, but an even better move would have been to hand out repercussions before multiple news sources had to tell them what Taubman did was wrong, and not just a mistake. Therein lies the issue; his words were not a mistake, they were a direct message to the reporters who were upset the Astros chose Osuna in the first place after the domestic violence allegations. Taubman’s words were
Strike three: Taubman’s out
O
» MICHAEL CIAGLO /AP
» MADDY ASMA/CHRONICLE
very year around Halloween, the buzz of excitement is palpable as costumed students prepare for candy comas and ghoulish holiday rituals after class. My middle school even allowed the celebration to begin early, blaring Halloween music over the loudspeakers and inviting students to participate in themed activities. But despite the holiday’s popularity, select schools across America have joined the growing movement of districts abandoning Halloween festivities to achieve a more “inclusive environment” for every child. Illinois institutions have made headlines in outlets such as WGN-TV, Today.com and the Chicago Tribune for declaring they will no longer allow Halloween-related traditions. Administrators at Evanston schools, including Lincoln Elementary Principal Michelle Cooney, argue that Halloween is: not always celebrated due to religious and cultural beliefs, overwhelming for kids with sensory issues or autism, an easy platform for cultural appropriation and dangerous for kids with food allergies, according to a Sept 27. Tribune article. These are valid concerns, but can be solved with a little compromise.
Taking away the in-school holiday from families who can’t take their kids out trick-or-treating because they are working or might live in an unsafe neighborhood shows class-insensitivity, as pointed out by some parents in the Tribune’s coverage of this story. Schools should educate students on why certain outfits are hurtful, with disciplinary action administered to kids wearing offensive costumes on a case-by-case basis. For kids with autism, quieter music, calmer games, movies and regulated costumes may allow them to participate and enjoy a Halloween party. Preventing allergic reactions is as simple as restricting what food can be brought. Halloween allows people to be free of their various identities and become anyone or anything they choose. Despite its religious origins in paganism and Christianity, Halloween has evolved into a secular, community-centered holiday. In their quest for inclusivity, administrators neglect their duty to bring communities to the table when discussing issues of race, culture and religion. How diversity and religious pluralism relate to the celebration of holidays in schools is an extremely important topic that begs to be discussed in America. To celebrate cultural differences is not to strip America of its traditions and make everyone observe generic holidays. It’s to take the time to educate people on the unique celebrations that exist in our country and around the world, respecting their decision to take part in the festivities or not. In other words, there’s nothing scary about letting students get a little spooky.
OCTOBER 28, 2019 THE CHRONICLE 11
opinions
12 THE CHRONICLE OCTOBER 28, 2019
President Trump set to visit Chicago on the campaign trail—unless he cancels » ColumbiaChronicle.com
Teachers rally during budget address as bargaining stalls » CAMILLA FORTE
PHOTOJOURNALIST
single step of the way in this budget fight,” Ramirez-Rosa said. “Before we go to Mayor Lightfoot and say, ‘You have our vote on this budget,’ we are going to work with you to make sure that we finally have a budget for the many and not the few.” Demonstrators continue to call for smaller class sizes and staffing guarantees, which the union argues were conditions Lightfoot campaigned for when she ran on a platform of equity and educational justice during her campaign for mayor. CPS students have not been in class since Oct. 16, but the two sides were reportedly making progress as of press time. cforte@columbiachronicle.com
» IGNACIO CALDERÓN/CHRONICLE
» CAMILLA FORTE/CHRONICLE
» CAMILLA FORTE/CHRONICLE
» IGNACIO CALDERÓN/CHRONICLE
IN A SHOW of force seven days after Chicago teachers and support staff went on strike, teachers and Chicago Public Schools staff who had been picketing in front of schools across the city descended on City Hall during Mayor Lori Lightfoot’s budget address. The Chicago Teachers Union adjusted its strike strategy in response to Lightfoot’s “disappointing reversal in her negotiating posture,” a Tuesday CTU press release said. The Wednesday rally in front of City Hall, 121 N. LaSalle St., came during Lightfoot’s first budget address before the City Council.
Lightfoot proposed an $11.65 billion budget she said will close an $838 million deficit. The proposal shows an anticipated TIF surplus of $300.2 million—$163.1 million of which would go to CPS. The protest was organized in collaboration with ally organizations— such as Grassroots Collaborative, Reimagine Chicago and United Working Families—to send the message that teachers are not backing down. Alderpeople Carlos Ramirez-Rosa (35th Ward), Michael D. Rodriguez (22nd Ward) and Byron Sigcho-Lopez (25th Ward) also appeared at the rally in solidarity with CTU. “In the United Working Families aldermen, you have your bargaining committee, and we will be with you every
» CAMILLA FORTE/CHRONICLE
metro
OCTOBER 28, 2019 THE CHRONICLE 13
metro
Retired detective haunted by Grimes sisters’ 1957 murder THE CHICAGO MACHINE, false confessions and even the King of Rock ‘n’ Roll—Elvis Presley—all played major roles in the reallife Chicago drama of the ‘50s: the unsolved murder of the Grimes sisters. When retired detective with the West Chicago Police Department Ray Johnson began researching the Grimes’ case for a chapter in his 2011 history book, “Chicago’s Haunt Detective,” he became infatuated. Johnson, known as the “Chicago History Cop,” began digging deeper and made several discoveries, all of which have advanced the investigation of this case after more than 60 years of stagnancy. “The more I looked into it, the more stuff I found out,” Johnson said. “Then, of course, the cop in me took over.” At a presentation in the West Lawn branch of the Chicago Public Library, 4020 W. 63rd St., Oct. 21, Johnson set the scene of the Grimes murders for a crowd of about 50 people. On Dec. 28, 1956, Barbara, 15, and Patricia, 13, presumably took the bus from their McKinley Park home to Brighton Park to see the 1956 Elvis Presley movie “Love Me Tender” at the now-closed Brighton Theatre, 4223 S. Archer Ave. But after they left the house that night, their family never saw them alive again. Initially, police thought the sisters had simply run away, perhaps to Memphis to be close to Elvis himself. However, the girls’ mother, Loretta Grimes, knew the girls too well for that to be true. Nearly everyone in Chicago looked for the sisters. The search is still the largest manhunt in the city’s history in terms of hours spent. The case quickly began to garner national attention, especially when
Elvis heard about the girls and how they turned up missing after seeing his movie. He subsequently pleaded for them to come home on national radio. Finally, the search ended on Jan. 22, 1957. Leonard Prescott was driving east on German Church Road in Burr Ridge when he thought he saw two mannequins on the other side of the guard rail. He went back to his house to get his wife, then came back and discovered the mannequins were actually the bodies of Barbara and Patricia Grimes. The police scrambled to confirm a suspect, and they landed on Bennie Bedwell, a part-time dishwasher. The cops rushed Bedwell to a motel, kept him there for three days and by the end of it had coerced him into signing a confession, Johnson said. However, autopsy reports contradicted the falsified confession. The only cause of death that could be determined was “secondary shock due to exposure to cold temperatures.” Consequently, Bedwell was cleared, and the Grimes case went cold. A former neighbor of the Grimes family, Melanie Forgala, brought pictures of the Grimes sisters’ brother—whom she briefly went to school with—to Johnson’s presentation. As a former police officer, it is tough for Johnson to break from his stoic objectivity, but when a member of the audience asked him what he thinks happened to the Grimes sisters, he said he suspects it was “confessed child killer” Charles Melquist. One reason Johnson suspects Melquist is due to a pair of suspicious phone calls Loretta Grimes received in 1957 and 1959. In 1957, Grimes got a call, and the unknown caller said he was the one who undressed the girls, Johnson said. Then, nearly 18 months later, on the same night that a newspaper reported the discovery of Bonnie Leigh Scott’s body, she received
A boy kneels before a Grimes sister’s casket. The girls were well known in McKinley Park.
14 THE CHRONICLE OCTOBER 28, 2019
» COURTESY RAYMOND JOHNSON
» KNOX KERANEN STAFF REPORTER
Loretta Grimes, the mother of the Grimes sisters, looks at a missing poster of her daughters.
another call from someone with a similar voice. This time, the caller said he “got away with another one.” He also said the police would not be able to pin this one on Bedwell or Barry Cook, two suspects in the case. Melquist, who is deceased, was never charged with killing the Grimes sisters. He did, however, confess to killing Bonnie Leigh Scott in Addison, Illinois, in 1958. Melquist only served eight years of his 99-year sentence for murdering Scott. Johnson said Melquist had a connection to the lead investigator in the Grimes case, Sheldon Teller, and through Teller also had ties to the
mob. His connections within the “Chicago Machine” could have been the reason for Melquist not being charged in the Grimes case, Johnson said. He hopes a documentary he has in the works will boost public interest and eventually lead to more people contributing resources to solving the case. “That’s the whole idea, is to keep it in the public eye so people keep looking at it,” Johnson said. “Somebody knows something and has heard something.” kkeranen@columbiachronicle.com
Police preparing to look for the Grimes sisters during one of the largerst manhunts in Chicago history.
metro
» LAUREN LEAZENBY STAFF REPORTER ILLINOIS ATTORNEY GENER AL
Kwame Raoul announced plans to fight gun violence on several fronts—including stopping gun trafficking, increasing access to trauma programs and providing compensation for victims of gun violence. Since taking office in January, Raoul has worked to uphold a campaign promise to keep Illinois residents safe from violence, including gun crimes. “As a public official, it is my duty to push back against this normalized violence,” Raoul said during an Oct. 21 address to the City Club of Chicago held at the Union League Club, 65 W. Jackson Blvd. Raoul said this pushback will come in three installments, the first of which is combatting firearm trafficking. Raoul’s office is
setting up a digital gun tracing platform, which will improve the quality of information and allow law enforcement officers throughout the state to suss out cross-county and statewide gun trafficking operations. “My office, with statewide existing relationships with state and local law enforcement, is ideally positioned to initiate and guide this project and stop gun trafficking into our neighborhoods,” Raoul said. In addition to this new platform, Raoul said his office is exploring other ways to combat gun trafficking across state lines, specifically in the form of affirmative litigation. Also known as “impact litigation,” affirmative litigation involves filing lawsuits in order to enact societal change. The attorney general’s office is also seeking to facilitate trauma-informed care programs
in hospitals across the state, Raoul said. During his time as a state senator, Raoul sponsored a pilot program that opened trauma recovery centers in hospitals in Chicago and Peoria. As attorney general, he said he will continue to advocate for more open access to these services. “Services that do the difficult and life-changing work of helping individuals recover from trauma or violence break the cycle and help build stronger, safer families and communities,” Raoul said. Additionally, his office is expanding the definition of “victim” and therefore increasing access to the Illinois Crime Victims Compensation Act. Administered by the office of the attorney general, the act provides eligible victims of violent crimes up to $27,000 in financial assistance for expenses related to the crime.
Interested in sound? You’re invited!
OPEN HOUSE
» IGNACIO CALDERON/CHRONICLE
Kwame Raoul tackles gun violence with gun tracing, trauma services
Illinois Attorney General Kwame Raoul broke down his plans for reducing gun trafficking and increasing access to trauma programs in an Oct. 21 address to the City Club of Chicago.
“Historically, unwritten rules meant this program’s resources often were not available to victims of gun violence—disproportionately black and brown men,” Raoul said. “We have been working hard to change that.” Raoul said his office is removing “unnecessary roadblocks” to more comprehensive services.
“Untreated trauma takes its toll and often turns victims of violence into perpetrators of the same,” Raoul said. “There is no shortage of work to be done in order to make our state and our nation a better place to live. I’m just getting started.” lleazenby@columbiachronicle.com
The Music Center at Columbia College Chicago 1014 S. Michigan Avenue
M u s i c
D e p a r t m e n t
E v e n t s
Wednesday October 30 Wednesday Noon Guitar Concert Series 12:00 pm at the Conaway Center
Sunday, November 3rd, 11am-2pm Evanston Campus
RSVP today soundopenhouse2019.eventbrite.com OCTOBER 28, 2019 THE CHRONICLE 15
3730 N. CLARK ST METROCHICAGO.COM @ METROCHICAGO
SAT NOV 02: A METRO + SMARTBAR ALL BUILDING EVENT
23 HOUR PARTY PEOPLE
ABIGAIL & ZOOEY GLASS, ANTHONY ROTHER, ARIEL ZETINA, DANNY DAZE, GARRETT DAVID, HARRY CROSS, DJ HEATHER, DJ MINX, HIJO PRÓDIGO, JAMES MURPHY (EXTENDED DJ SET), JASON KENDIG (SUNRISE SET), JEFF DERRINGER, JUSTIN AULIS LONG, LA SPACER (LIVE), MICHAEL SERAFINI, NISHKOSHEH, OLIN, OVERLAND, PHILLIP STONE, SASSMOUTH, SEVRON, SOLD, T. MIXWELL THE 3 DIMENSIONAL TOUR WITH
THE FREE SKIZZY MARS TOUR WITH
PLAIN WHITE T’S, THE MOWGLI’S & NEW POLITICS
SKIZZY MARS
YOSHI FLOWER / ZAIA MON NOV 11
GHOSTEMANE
SUNSETS IN OUTER SPACE TOUR WITH
HARM'S WAY / 3TEETH HORUS THE ASTRONEER PARV0 TUE NOV 05
THURSDAY NOV 07 / 9PM / 18+
DANNY BROWN ASHNIKKO / ZELOOPERZ
SATURDAY NOV 09 / 8PM / 18+
WHITE DENIM SPACEFACE
FRIDAY NOV 11 / 7PM / ALL AGES 1833 presents: The Album of the Year Tour with
FREDDIE GIBBS
COUSIN STIZZ / BENNY THE BUTCHER CONWAY THE MACHINE
TUE NOV 12
BEA MILLER
KAH-LO / KENNEDI FRI NOV 08
SATURDAY NOV 16 / 7:30PM / ALL AGES Anywhere But Here Anniversary Tour with
MAYDAY PARADE SUNDAY NOV 17 / 8PM / 21+ Metro/smartbar & Red Bull Music Festival Chicago present
GRAMAPHONE 50
STEVE “SILK” HURLEY / DERRICK CARTER RON TRENT / DJ HEATHER / COLETTE JR OF THE MOLEMAN / G MOST JESSE DE LA PENA / JUSTIN AULIS LONG PSYCHO-BITCH / HECTOR LOPEZ MICHAEL SERAFINI / GARRETT DAVID KARL MEIER AND MORE!
FRIDAY NOV 15 / 8PM / ALL AGES No Place Like Home Tour with
MONDAY NOV 18 / 7PM / ALL AGES
FOREIGN AIR
TOUCHÉ AMORÉ / EMPATH
MISTERWIVES
LA DISPUTE
TUESDAY NOV 19 / 7:30PM / 18+
PETE YORN MICHIGANDER
TUESDAY NOV 19 / 9PM / 21+ AT SLEEPING VILLAGE Metro presents
THIS WILL DESTROY YOU CHRISTOPHER TIGNOR
DILLINGER FOUR & MODERN LIFE IS WAR ON THE FLOOR: AMIGO THE DEVIL NEON INDIAN HIGH ON FIRE & POWER TRIP SABA & PIVOT GANG PRESENT: JOHN WALT DAY (NIGHT ONE) (NIGHT TWO)
NOV NOV NOV NOV
21 22 23 27
NOV 29 NOV 30