Newcity Chicago August 2019

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CHICAGO ONSCREEN A traveling exhibition of Chicago-made film 08.26-08.28 NEIGHBORHOOD SHOWCASE SCREENINGS Dunbar Park | Grant Park | Horner Park Jackson Park | Margate Park | Mckinley Park Steelworkers Park | Wicker Park 08.29-08.31 CHICAGO ONSCREEN FESTIVAL Humboldt Park | Three days of local films from filmmakers and film organizations from all over the city in a multi-screen festival celebration of movies by and about Chicago. MOVIES IN THE PARKS is presented by FIND OUT MORE bit.ly/ChicagoOnscreen

CONTENTS ARTS & CULTURE THE CONVERSATION ART Jefferson Pinder interprets Jim DeRogatis discusses the violence of 1919 his two-decades-in-the-making 44 “Soulless: The Case Against R. Kelly” 8 DANCE Red Clay Dance moves EXPOSED Chicago’s incarcerated youth 51 Giselle Gatsby channels Virgil Abloh with her jewelry DESIGN 14 Chicago History Museum looks beyond the old Hollywood glamour IMPRESARIOS 53 OF THE MOMENT DINING & DRINKING CIVL fights for the rights Donnie Madia talks Elvis, of indie music clubs his mother and a leather jacket 20 55 PAGE 24 FILM Ruminations on a ninety-year-old Music Box  AUGUST 2019 Newcity 57 LIT Amanda Goldblatt discusses grief and sadness 60 MUSIC Crossing Borders Music explores global classical traditions 62 S TA G E Finding family in the Chicago theater with Mark Larson 64 LIFE IS BEAUTIFUL Pizza Money in Papi's World 66 3

Yesterday I went to Joliet with my father and Newcity is immersed in two industries un- one of my brothers to help my dad go dergoing profound, even unprecedented through his papers, the accumulation of a transformation due to the consolidation of lifetime as a physics educator. At one point, the power of the internet—media and mov- my brother took an old book off the shelf ies. Nobody has faced the challenges that we, and when he read the title aloud, I knew collectively, are facing today. intuitively that it had been my grandfather's, as it was one of those \"how to succeed in Except those who came before us. Fifty business\" self-improvement books that my years ago this month, a legendary movie grandfather used to talk to me about. My studio, Warner Brothers, was acquired by brother had no such recognition or memo- an operator of parking lots led by a mid- ries, as he is the youngest in our family and dle-aged executive who came up as a funer- I am the oldest, and my grandfather was in al parlor operator. Warner was sold for a the latter years of his life when my brother song, because conventional wisdom at the was coming of age. Our childhood home, end of the 1960s held that the days of people too, speaks to us very differently. When we seeing movies in theaters was at its end, moved in as I was entering the seventh thanks to the transformative advent of tele- grade, I'd already lived in five states. I had vision, which had come to dominate the been a young child when my father was pur- media and entertainment consumption of suing his PhD, and we'd moved for educa- the American household. Sound familiar? tional opportunities as well as for econom- Print, of course, was just as dead in the wa- ic reasons, as my parents tackled the realities ter in 1969 as the movies. of raising a young family on the meager resources of a grad student. That same This is not to diminish the perils of the busi- house, my tenth, was the one my brother ness waters we swim in today. But it's im- was born into and the only family home he'd possible to make the case that the rise of ever known. the internet has been a greater force for change than the ascent of television, unless Same parents, same hometown, same house, you were present for both. Sometimes the yet the passage of time meant different long view of history calms even the chop- memories and experiences. piest currents. We live in the most exciting, most danger- BRIAN ous, most dynamic time in human history— HIEGGELKE at least we believe so, in large part because it's the time we are living in. Our under- standing of the world, our cultural referenc- es that are so deeply meaningful to us, take just fourteen years—the difference in age between my brother and me—and the mile- stones all change. My teen anthems are his classic rock. Newcity AUGUST 2019 4



CONTRIBUTORS ROBERT RODI (Writer “Impresarios of SALLY BLOOD (Photographer, Cover/ ON THE COVER the Moment,” Editor/Co-writer “Music 45”) “Impresarios of the Moment” and “Music CIVL members left to right: is an author, spoken-word performer and 45”) is “thrilled to be shooting for Newcity Robert Gomez (Co-Chair), Subterranean musician who has served as Newcity’s again.” She is an award-winning portrait and Beat Kitchen; Billy Helmkamp, Music Editor since 2014. He’s written more photographer and filmmaker, and also an Sleeping Village and The Whistler; than a dozen books, including the travel ICG member who shoots stills on sets for Katie Tuten (Co-Chair), The Hideout; memoir “Seven Seasons In Siena.” His jazz film and TV productions. You can view her Joe Shanahan, Metro, Smartbar and quintet recently completed a two-year work at www.sallyblood.com. Gman Tavern; and Michael Johnston residency at Uncommon Ground, and he (Treasurer), Schubas and Lincoln Hall regularly hosts a jazz singers’ jam at Lizard’s TARA BETTS (Writer “The Conversation”) Photo: Sally Blood Liquid Lounge. His literary and music is the author of “Break the Habit” and  Cover Design: Dan Streeting criticism has appeared in the Los Angeles “Arc & Hue.” Her interviews and features Times, the Chicago Tribune, Salon, The have appeared in publications such as  Vol. 34, No. 1394 Huffington Post and many other national Sixty Inches From Center, NYLON, The and regional publications. Source, Poetry magazine, Hello Giggles PUBLISHERS and Mosaic Magazine. Brian & Jan Hieggelke CRAIG BECHTEL (Co-writer “Music 45”) Associate Publisher Mike Hartnett majored in “non-athletic extracurricular ISA GIALLORENZO (Writer/Art Director EDITORIAL activities” at Knox College in Galesburg, “Exposed”) was born in São Paulo, Brazil Editor Brian Hieggelke Illinois. “Given his longtime ambition to and has elected Chicago as her beloved Managing Editor Jan Hieggelke become the next Ben Kim, he somehow home since 2009. She runs the street-style Art Editor Kerry Cardoza wrote his way to a B.A. in English writing blog Chicago Looks and wants to see this Dance Editor Sharon Hoyer and since then has capitalized on this town become one of the fashion capitals Design Editor Vasia Rigou achievement by working in the hospitality of the world. Dining and Drinking Editor industry for the last twenty-five years,” David Hammond including his current day job, representing Film Editor Ray Pride hotels, hotel brands and convention and Music Editor Robert Rodi visitor bureaus. Theater Editor Kevin Greene Editorial Interns JR Atkinson, Newcity AUGUST 2019 Why you should Hayley Osborn and Alexander Tannebaum subscribe to Newcity’s ART & DESIGN print edition today Senior Designers Fletcher Martin, Dan Streeting , Billy Werch 1 Never miss an issue: Your coffeeshop often runs out before Designers Jim Maciukenas, Stephanie Plenner MARKETING you get there, or your lifestyle has changed and you don’t Marketing Manager Todd Hieggelke really hang out at coffeeshops anymore. OPERATIONS General Manager Jan Hieggelke 2 You live outside our distribution area but you really want to Distribution Coordinator Matt Russell Distribution Nick Bachmann, keep up with the cultural life of Chicago, from art to dance to Adam Desantis, Preston Klik, design to dining and drinking to film to lit to music to theater Quinn Nicholson and comedy and opera and… One copy of current issue free at select locations. 3 You want to support our mission and understand the Additional copies, including back issues up to one year, may be ordered at Newcity.com/subscribe. imperative for publications to diversify their revenue sources. Copyright 2019, New City Communications, Inc. All Rights Reserved. Just five dollars a month at Newcity.com/subscribe Newcity assumes no responsibility to return 6 unsolicited editorial or graphic material. All rights in letters and unsolicited editorial or graphic material will be treated as unconditionally assigned for publication and copyright purposes and subject to comment editorially. Nothing may be reprinted in whole or in part without written permission from the publisher. Newcity is published by Newcity Communications, Inc. 47 West Polk, Suite 100-223, Chicago, IL 60605 Visit NewcityNetwork.com for advertising and editorial information.

From dance to literature: you want to be here. The Logan Center for the Arts at the University of Chicago is a multidisciplinary home for artistic practice. Connect with the Logan Center for concerts, exhibitions, performances, family programs, and more from world-class, emerging, local, student, and international artists. logancenter.uchicago.edu Logan Center for the Arts 773.702.ARTS 915 E 60th St loganUChicago Photo: Cerqua Rivera Dance Theatre dancers in Between Us, courtesy of the company.

Newcity AUGUST 2019 THE CONVERSATION In this transcript, edited for length and clarity, DeRogatis spoke with a JIM DeROGATIS certain level of ease that has not come DISCUSSES “SOULLESS— across in other interviews about the book as he lounged on a black leather sofa. Dressed in THE CASE AGAINST a button-down shirt and a pair of khakis, R. KELLY” DeRogatis has a the approachable yet unflap- pable appearance of a middle-aged journalist, Jim DeRogatis’ “Soulless,” is a work that but his colorful tattoos that sleeve his arms follows and details the accusations, stories with the likes of his hero, rock journalist Les- and the six-year court case, and the after- ter Bangs, and the memorable Public Enemy math of numerous young women’s lives logo of a black man in front of a rifle’s cross- after meeting R. Kelly. The veteran music hairs, let his punk roots peek out of a more critic carefully lays out Chicago as a land- sedate exterior. scape he’s grown to understand and love as a New Jersey transplant who’s raised a It’s no surprise that when DeRogatis comments family and built a life here. “Soulless” ex- on R. Kelly, and the larger roots of sexism and plores how R. Kelly and others who con- abuse, he covers it with a sense of moral obliga- tributed to Kelly’s behavior made an in- tion and outrage that some people seem to lack, delible impact on the lives of many girls especially for women of color. The accounts of and women. these women shake him, so his dedication, “For the Girls,” at the beginning of his book is not by Tara Betts just a mere opening dedication. He consistent- ly says, talk to these women, and names their 8 names. At times, DeRogatis departed from his talking points in other interviews about “Soul- less,” and shared a wry sense of humor, but he thoughtfully spoke about the traumatic and explicit nature of the book in a way that most people are just now beginning to think about in journalism and in public conversations. The discussion around “Soulless” led us into the adultification of black girls, #MeToo and the #MuteRKelly movement, post-racial identity, the Chicago judicial system, the energizing power of music, and how predatory behavior has claimed the lives of many artists that we’ll probably never hear.

In a lot of the interviews that I’ve seen, seventeen when he begins with her, and he 1996, and Aaliyah was 1994, we were a de- AUGUST 2019 Newcity you talk about the phrase that sources was in his forties. I just don’t understand that. cade late when we did the first story. Never said consistently, “Brother needs did we think twenty years later this would help,” but to me, the more compelling As an aside, I think about how that still be ongoing, because it is at Trump Tower. statement that you made at one point in has historic roots in American culture. Joycelyn Savage and Azriel Clary are there. the book is how many of the girls looked When we think back to slavery, there back and said “I was dumb. I was just a was always hypersexualization and And then, this moment is amplified kid.” Could you talk more about that? commodification of black bodies. by Trump and all that he’s said about I’ve been getting a schooling from folks like women… to be living in Trump Tower. Kenyette Barnes, Oronike Odeleye and Ta- And how was it that Sally Hemings was in When I heard Gayle King say that, rana Burke on this concept of the adultifica- love with Jefferson and she was his mistress, I was floored. tion of women of color. How I look at Melanie, but, he owned her? The #MuteRKelly ladies my daughter, when she was fifteen, you and Tarana Burke were saying this. One of Yes. And Trump Tower rose where The Sun- the legacies of this story for black women Times stood. So, he lives thirty-seven floors know, and to me, looking at Tiffany Hawkins above where I watched that videotape with at fifteen in her high-school yearbook picture, moving forward is to talk Sparkle. You know, it’s like serial killer, melo- there wasn’t a difference, but the fact that about this concept of dramatic pathology: He gets out of jail. He society sees the fifteen-year-old black girl adultification of their girls. goes to the Rock ‘N’ Roll McDonald’s. That’s as adultified, ready for sex, fast, loose, where he picked up Patrice Jones. When scheming. I don’t understand that. You know, To be clear, Tara, I am a fat, he was busking on the street, he lived at the talking to a lot of African-American women white, fifty-four-year-old YMCA. It became luxury condos. That’s the telling me about it, it’s common in the black cis-male rock critic. I’m a first condo that he buys. On one hand, community as well as society at large. I mean, journalist. When I heard there’s this Chicago pride, he made it. He the fact that Lena McLin could’ve told us that for the dozenth time, the never left. He’s ours. He’s from our streets, “It takes two to tango.” You’re talking about a hundredth time that no and he went to the top of the mountain. On fifteen-year-old sophomore, and, at that one matters less in soci- the other hand, he’s got these psychologi- point, a twenty-something man. Much less ety than young black girls, cally resonant places in his unique pathol- now, we’re talking about Azriel Clary was I’m reporting it. It’s not my ogy. I hate armchair psychoanalysis, but lyr- role to speak for them. It’s ical analysis is my job as a critic, and it’s our role as journalists always been right there in the songs. to amplify the stories that aren’t being told. The I haven’t heard people talk about the world knows the book is moments in the book where you have out. Now I am able to say, compassion for Kelly as a human being. you really need to come It’s not just about him. It’s about this to Chicago and start larger culture that he was in. What’s his talking to black women family like, people in his employ, and and not me. how does all that shape a person to become the person that they are? The Rock ‘N’ Roll McDonald’s comes People are super-complicated, right? None up almost every of these victims is pure. It’s rape culture 101. time I’ve talked to They’re complicated people. Some said “I Chicago residents. was stupid. I was a kid.” Some of them took his money. They did this. They did that. And So many times, as a jour- he’s not purely a monster. I think his acts are nalist, talking and writing monstrous. I teach “Journalism as Literature” about the story, I’m check- as one of my courses at Columbia. What is ing myself. Don’t be prom- “In Cold Blood” about? It’s partly about the pted to hyperbole, Jim. But when I’ve seen murder of the innocent Clutter family. Half- two out of three women on the South and way through discussing the book, we ask West Sides having “I saw him cruising” sto- how many murders are in the book. Well, ries, much less knew somebody that it hap- there’s the Clutters. Where are the others? pened to, I bet you’ll have a couple of con- The state puts those two men to death. Dick versations and you’ll find the same. I’m not is obviously a sociopath. Perry, who does the exaggerating when I said I felt guilty when actual murdering, was abused as a child, hor- we were doing the story in 2000 that we rific upbringing, and the state marches me- were late. thodically over three years toward putting him to death. Is murder not always murder? Please clarify that timeline. That’s why that book is still of value half-a-century after we’ve forgotten about Because if Tiffany Hawkins starts in 1991, that mass murder in the middle of Nowhere, and it’s 1991-1993, and the lawsuit’s filed in 9

Kansas. One of the consolations of living with this, which I never wanted to do, long after writing the book, is that maybe the book will be of value for saying certain things about Chicago, about journalism, what Kelly went through in his upbringing. There’s no way not to be sympathetic about that. That does not excuse the victimized becoming the victim- izer, especially if we assume Tiffany Hawkins wasn’t enough of a wake-up call, Aaliyah wasn’t enough of a wake-up call, an acquittal in 2008 wasn’t enough of a wake-up call. Clearly, there’s pathology. He cannot stop. Newcity AUGUST 2019 Also, I understand the music. I’m really sym- So, for about a decade you were able to just Jim DeRogatis/Photo: Marty Perez pathetic if “Step In the Name of Love” was listen to the music? your wedding song. Every backyard barbe- bune, and why on December 22, 2000, they cue you’ve ever been to age three to thir- Not even a decade, but part of the didn’t see this as a story. What journalism ty-three has had “Ignition Remix.” “I Believe power of the book is that it’s not the should do is go, “Okay. Fuck you, that was I Could Fly” was your high-school prom song. white guy damning this black person a good scoop. We’re gonna go better and I understand the way music infiltrates peo- and lynching a black man in public. This deeper now.” Right? And no one ever did ple’s lives and becomes a part of it, and it’s is a book where you got the receipts. nationally or locally. I don’t know why, be- not so much his song anymore. It’s as much cause Abdon Pallasch and I were as white your song, and you’re reluctant to cut that The emotional power of sitting with these as two white guys get. part out of your life. I understand that. I sure women and hearing them tell their stories. I don’t want to stop listening to [Michael Jack- was doing that for nineteen years, and now People were desperate to tell this story. Their son’s]”Off the Wall.” (That’s his best piece, other people get to directly hear from them, daughters, their sisters, their loved ones not “Thriller.”) But I can’t listen to the last two but it takes longform journalism to connect were being hurt, and I had this secret magic albums because they’re full of Jackson all the dots of twenty years, to look at all the sauce. I’m in your living room and you’re play- talking about “they’re trying to crucify me systems, the civil attorneys who failed, the ing Mavis Staples. I let them know I’ve been like they crucified the Lord.” That song “All courts, the churches, the schools, the fellow hugged by Mavis Staples. “She’s amazing. The Lost Children,” where he takes on the journalists. I don’t know. I don’t think that’s She’s an angel, oh my god,” and now we’re prosecutor of Santa Barbara by name, if you a podcast or a TV documentary. There’s still cousins. Our upbringing, our culture, and our are bringing this into your art, then I can’t ig- some things that we do as undervalued print skin color is different, but now we’ve got that. nore it. I won’t condemn somebody who says scribes that can only be done in print. I think many of the sources that were most “He’s a horrible man. He needs to be stopped, valuable, I could talk music with them. Ev- but I love me some ‘Step In the Name of Right, there’s this section toward the erybody wants to tell their story. Love’.” It has to be every individual’s choice. end of the book where you talk about pedagogy and talking to your students. Do you think because you are a Absolutely. I recall the first moment There are so many moments in white male that made people look that I heard R. Kelly. I was a high-school “Soulless,” where one could ask what at this story? Even with your credibility senior, and was headed to the bus stop are the ethics of telling these longform and experience, do you think that for school. One of my friends was stories? How do we tell the truth, if a black journalist told this story playing R. Kelly & Public Announce- not coddle people from reality, and that would impact how the story ment’s “Honey Love” on her head- still have receipts to back it up? had been received? phones. I asked what she was listening to, and she let me listen. I thought I was never not aware of not being a mem- I’ve really only started thinking about this. “God, he has an amazing voice.” Over ber of the community. What don’t I under- I don’t think it was well-received because I’m time, it got creepier and creepier. stand about the South and West Sides? I a white journalist, because since day one think a journalist has to not be afraid to ask Abdon and I were the white men trying to When’s the first time you heard an accusa- really stupid questions. Why wouldn’t you tear down the successful black superstar, tion against him? go ring a doorbell and try? I don’t know. I and it was only Mary Mitchell screaming and can’t answer that. The [Chicago] Tribune yelling in thirty-eight columns [in the Sun- At some point when I was in college, drives me crazy. We were always out- Times], “Black community, wake up, this is a which would’ve been 1992 to 1997. manned, excuse the sexism, we were al- predator in your midst.” What people like I definitely heard more stories when ways outhumanned six-to-one by the Tri- Kenyette and Oronike, Jamilah, Kyra Kyles, I started teaching writing classes Mikki Kendall and Tarana Burke tell me is that and talking to other teachers shortly black men never thought this was a story. thereafter. I met Jamilah Lemieux when she was a young poet. She was in high school when I started teaching, and she grew up in Hyde Park. 10

There are so many questions of race that I Ironically, when the Chicago Tribune criminal attorney. It’s difficult, which is part can’t answer because I’ve only ever been a ran a review by Tressie Cottom, it hit of rape cultures. Look at the statistics of how white man. I do know that maybe the differ- that point toward the end. few rapes are reported, and of those report- ence was a help in this sense. I’m allowed to ed how few of them get to trial, and then of ask the stupid question. What do you think about that review? those that get to trial, how few of them result in a conviction. We are now talking about the A lot of it was an education. Also, in the same It was an in-depth analysis of the book. narrowest slice of the pie. It’s just the system way, being a white man, always questioning She caught the story arc of the book, does not believe women, especially women what don’t I understand here, being some- but toward the end she talks about how of color. one who understood Chicago, being that it is a financial end. That was the exact some parts are like New Jersey, but not being feeling that I had by the time I finished We didn’t believe Dr. [Anita] Hill. We didn’t from Chicago, I’m looking at Chicago maybe the book. Then there’s that emotional believe Dr. [Christine Blasey] Ford. How more quizzically and deeper and asking turn where you catch up with much have we changed since Nirvana was questions that a Chicagoan wouldn’t. There’s the women after much has a certain attitude here that really depresses been resolved in 2019, but the IT’S NO SURPRISE me. New York and Hudson County are hor- gravy train has stopped. He’s THAT WHEN DeROGATIS ribly corrupt. In Chicago, there’s a cumulative not making the peak hits that COMMENTS ON R. KELLY, what? Forty-five to fifty years of Daleys, and he once made. The label has AND THE LARGER ROOTS the same Chicagoans say he’s a crook, he’s dissolved. The money’s gone, OF SEXISM AND ABUSE, a bum, and you go “What the fuck? You which says a lot about the didn’t even run anybody in the last three judicial system in the United HE COVERS IT WITH elections?” And they say, “Eh, it’s Chicago.” States. I have to ask about A SENSE OF MORAL As if you gotta live with that. YOU DON’T Vincent Gaughan who pre- GOTTA LIVE WITH THAT! YOU DON’T. At sided over the 2008 case. OBLIGATION AND least scream, yell, shout. You don’t have to Has he responded to anything? OUTR AGE THAT SOME live with that. PEOPLE SEEM TO LACK, No, I tried to interview him for the Right. It’s an interesting time in book, and he did not respond, and ESPECIALLY FOR Chicago. Ever since I’ve been here I think there’s a special place in hell WOMEN OF COLOR. and long before that, there’s always for that man. been a history of labor organizing and radical protest. How do you approach talking to young writers about telling Studs Terkel’s Chicago. the truth about powerful people? Yes, Studs Terkel, the Black Panther Party and other groups, resistance I am beginning to get these ques- at the top of the charts? None. We have a AUGUST 2019 Newcity has always been here, it just doesn’t tions in the last couple of years president who wants to grab women by the always get recognized. from journalists. “How do I tell this you-know-what… #MeToo story?” Step number one It’s true, and it erupts in 1968 and gets heads is if there’s a court paper, you’re And he can say it publicly. cracked open. Both the West Side riots and protected. If Tiffany Hawkins hadn’t sued him Grant Park, but at least they fought it. Res- in 1996 and settled in 1998, I think we So we are not in good times. If there’s a ignation is the Chicago way. I ain’t gonna get would’ve never been able to do that first danger of #MeToo, not the male backlash, the pothole fixed unless I give the alderman story. The fact there is 238 pages of a legal the entire history of humanity is way over- a hundred bucks. That ain’t right. file that begins with “R. Kelly pursues teen- due for men to get out of the way. The dan- agers,” this is the story of one of them, but ger of #MeToo is that we’re gonna get com- There are those two currents notes that there were many others. That’s placent and think that the conversation that running simultaneously. Chicago filed in court, so you’re protected. I think it’s started is the end of it. It ain’t the end. Look is the devil that I know, and then only the women who spoke out and broke at the sprint board. Look at the South and there’s the people who say no, the nondisclosure agreements that enabled Ohio trying to turn the clock back to pre- we have to fight to make it a better, Ronan Farrow, Megan Twohey and Jodi Kan- 1971. Look at the president. No more than different place. tor to do the Weinstein stories. There’s court we were post-racial when we elected our papers filed. That’s the easiest way. Hyde Park neighbor. Remember that? Nelson Algren. “Loving Chicago is like loving There was a good six months there of a beautiful woman with a broken nose.” Because it’s public record. “America is post-racial.” How’s that square with Charlottesville for ya? But that plays into why would it be any dif- Right, but somebody just comes to you and ferent with Kelly? In the end, it all comes starts telling you accusations about a person down, not from murdering, gambling, pros- in power, and it’s just he said, she said, that’s titution, bootlegging, but taxes. Maybe that’s really hard for the journalist. It’s really hard how R. Kelly ends. for the civil attorney. It’s really hard for the 11

Newcity AUGUST 2019 Postracial. What is that word? For sure, for sure. Mary was writing about that’s created three decades of people It makes no sense. that from day one. Kelly is not unique. All holding a grudge against [him]. You’ve got of these fifteen- and sixteen-year-old girls a way bigger list of people who’ve been No, we are not postracial, and we sure in the black community who are getting trying to bring you down before me. ain’t post-#MeToo. pregnant are not getting pregnant by fif- teen- and sixteen-year-old boys. This That circles back to the first tape We’re not. There are so many things story was big enough. I wasn’t a cultural that you got. That could have been that are due to change in the culture. reporter or a full-time investigative report- any number of people who sent you How have men responded to the er. You can easily be overwhelmed by all the tape. book and the stances that you’ve these issues that there are to write about, been taking? but if you look at it as a big evil iceberg, Even if you want to be sympathetic, why the only way to tackle it is to begin to chip did they hate him? Even if part of it was A lot of men, male journalists, are a little off a little chunk of it at a time. money, he’s fucking their fifteen-year-old bit guilty. By far, most of my interviewers, nieces! Is that not enough reason to hate broadcast and print, have been women. Right, which is why I think the book somebody? Many women of color. Most of the pro- tackles so many layers. We’ll look ducers who have booked me for television at this part, then how does it move You mentioned Tiffany Hawkins, have been women of color. I’m glad the into this next idea… It could have and all the women who wanted to book is out there. I’m proud of it. Now, go been way more salacious, and a be musicians and vocalists, and interview some black women. Now, here very different book. there are so many failed writers or is who you should call. they’ve disappeared. It makes you As the journalist coming to it with think how many books and albums In some ways, you have to wonder new eyes because the regular person by women have we lost? if a book like this could change how on the street, who’s not doing any we consider proceedings for sexual research, doesn’t need the expert How many other Aaliyahs? What would assault. I hope so. questions. They need the questions Tiffany’s album have sounded like? What clarified and to make sense of the would Lizzette’s have sounded like? And There’s not a single sexual crimes prose- all the facts in the best way possible. Azriel and Joycelyn? cutor who won’t say that it needs to I appreciated how you made the change. It does. Again, I’m a music critic, distinction writing about abusive To the people who say “#MuteRKelly? No, I want to talk about the new Lizzo record, behavior and carrying it out, like that’s cancel culture,” how about the but to the extent that these questions will Eminem writing about his ex-wife Kim. many voices that Kelly has muted? We all get started and these ideas will be plant- know there are plenty of women who give ed. That was why I had to do the book. You can gripe about your exes, but up their dreams to support the man, but it doesn’t mean that you go out, he promises them. I think there’s lots of layers that beat people, kill people or stalk enable that book to start a lot of them. I also thought about how Kelly Then said, “I’ll help you.” discussions, which as an author was trying to renew his career with that’s a feat. younger white artists who would not And then they’re never heard from again. remember his past in the same way. There’s also something that Bill Wyman And again, Kelly is not the only one, called the “ick factor.” It was just so dis- It was brilliant. I think it was Derrel McDa- and music is not the only artistic gusting what Kelly did on that tape. It was vid. I don’t think he understood what he discipline where that happens. easier to believe the jokes that were was doing. In “Soulacoaster,” Kelly said I made about it than the reality. It’s easier got embraced by indie rock, and I knew On a brighter note, what are you to go with [Dave] Chappelle than it is he didn’t write that or say that or speak working on now? with the reality of that twenty-six-minute, that. I think Derrel McDavid was really thirty-nine-second videotape. Roman smart, and then Kelly being both incredi- I have this other book percolating which Polanski wasn’t fooling around with a bly shrewd and street smart, and some- is my tribute to authenticity and how I got teenager. He was anally raping a four- times very stupid, kicks him out, and fires here. Here’s my journey with this music. teen-year-old girl in a hot tub. That him and accuses him of stealing his I want to remind people music mat- makes it a little harder to forget. What are money. I think he’s going to come to regret ters, especially after this book. That’ll be we really talking about? People shy away that if the Feds ain’t trying to get him to my therapy. from that. flip right now… Jim DeRogatis will discuss “Soulless” You didn’t just write about R. Kelly It wasn’t just saying these girls aren’t at the Seminary Co-op Bookstore, over the years. You’ve written about telling the truth. The alternate script 5751 South Woodlawn at 6pm on a precedent of men in American was these people don’t work for me August 9. A Q&A and signing will culture being predatory toward anymore, and that’s public knowledge. follow the discussion. women, especially younger women. It’s basically an open secret that The number of people he’s kicked to the Visit lit.newcity.com to read an people don’t want to acknowledge. curb, and that’s the narcissism. I’m sure expanded version of this interview. 12

From music to film: you want to be here. The Logan Center at the University of Chicago AUGUST 2019 Newcity is a multidisciplinary home for artistic practice. Connect with the Logan Center for concerts, exhibitions, performances, family programs, and more from world class, emerging, local, student, and international artists. Most of our programs are FREE. logancenter.uchicago.edu Logan Center for the Arts 773.702.ARTS 915 E 60th St loganUChicago Photo: Hypnotic Brass. 13

14 Newcity AUGUST 2019

EXPOSED AUGUST 2019 Newcity Giselle Gatsby’s Minimal Lucite and Sterling Silver Pieces Echo Virgil Abloh’s Quest for Transparency by Isa Giallorenzo T ransparency does seem to be one of Virgil’s design concepts. I actually think it’s from Mies van der Rohe,” says Michael Darling, who curated “Fig- ures of Speech”—an exhibit about fashion designer Virgil Abloh at the Museum of Contemporary Art through September 22. Abloh—a Rockford, Illinois native who began his career while doing work for Kanye West—is one of the most influential forces in fashion. His background in archi- tecture informed a lot of his decisions, as Darling explains: “He used to go to school at IIT [Illinois Institute of Technology], go into Crown Hall every day—a building whose structure is exposed; it’s glass and steel and nothing else. I think he’s attract- ed to reducing an object, a garment, a shoe to its core essence, and oftentimes making it transparent is the way to do that.” Chi- cago-based jewelry designer Giselle Gats- by uses a similar principle in her work. She creates maximum impact with minimal ar- chitectural designs, made with materials that are not shy about revealing whatever is underneath them. What is your pre-jewelry design background? I am a designer, but my practice is always evolving. My favorite conversations are about shapes, spaces, art and flowers, but in practice I am a photographer, a design- er, an art director. I don’t see myself frac- tured between pre- and post-jewelry, but rather, I see the design process as a fluent learning experience. I like to maintain a du- ality in my work that I call humble deca- dence, and can basically explain that best by telling you to visualize a man in a tuxedo drinking a 40. My early education from grade three to twelve, I spent at Cranbrook Kingswood, surrounded by its beauty, the architectural 15

Newcity AUGUST 2019splendor, the landscaping, the art that is its campus—it’s a place I still cherish. I’m thankful I was able to grow in such an in- spiring space designed by Eliel Saarinen, a place that reminded me that spaces and their details are an important element of design. Cranbrook was the birthplace of Midcentu- ry Modern—the idea that an object, a chair, a table, could both be visually appealing and comfortable to use daily. I feel I share this duality in my work, which can be a sculp- tural piece of jewelry, elegant and simple, humble and decadent. My formal education is spread across sev- eral institutions, College for Creative Stud- ies in Detroit, Columbia College in Chicago, Studio Marangoni in Firenze, UCLA, FIT in New York. My desire for traveling and liv- ing in new environments was more import- ant than where I was attending, because the more I could experience, the more I could grow. What made you want to make jewelry? Tracing your life backwards gives you a clear picture of the events that shaped who you’ve become, but there is not really a way to see or record this process in the present. So it’s easy to see now what events and people lead me to design, but was a lot more difficult to pinpoint these decisions as they happened. My mother is a designer—of homes, of ob- jects, of spaces, of food, though nothing specific like a collection—and her entire life she designed exactly what she wanted and nothing more. She comes from a large fam- ily of nine, four sisters and four brothers. For Christmas one year, she designed these el- egant gold rings for her mother and sisters. I’ve worn hers for the last seven years, and it inspired me to create jewelry—not large, not a collection and not with an intention to sell, but just to create. How did you start? My grandmother carries and dresses her- self simply and elegantly. She was an activ- ist, a professor, a business owner and moth- er to nine children. She had a uniform, and I was turned on to the idea of having a uni- form from observing her. I imagined spend- ing less energy and brain time on what I was wearing to make space for deeper thoughts and conversations. I started wear- ing all black to communicate clearly without distraction. An all-black wardrobe isolates your face and your hands, and when speak- ing, people pay attention to you and not what’s on your body. 16

This concept and idea of how I wanted to AUGUST 2019 Newcity carry myself transferred over into making pieces that were as clean and simple as my black wardrobe, that wouldn’t interfere but enhance. How has your work evolved over the years? I am still learning, but it only gets hotter from here. When and why did you begin working with lucite? What makes lucite special to you? The simplicity of lucite allows for it to be worn with any outfit during any occasion. I make pieces that don’t just look beautiful on your body; they look beautiful alone on a table or even on a pedestal, too. Lucite is like an empty white gallery that’s waiting to be adorned with an artist’s work. Besides the lucite pieces, what other items do you carry in your line? Women’s, men’s, objects, furniture, game boards… Everything and nothing. What do you strive for with your designs? Minimal is the ultimate ornament, and that nothing is everything. Could you tell us about the magazine you create and publish, Glamour Girl? Glamour Girl is an international portal of raw realities, unedited content, and imperfect beauty portrayed through the eyes and lives of authentic women leading their respective industries. Each issue takes a look behind the curtain of featured artists, raising the bar beyond gender roles within modern so- ciety, and, in turn, dismantling fetishized fa- cades and falsified standards of beauty. It is a biannual publication and you can pur- chase it on our website. Why did you create it? I enrolled in a documentary film class at Columbia College with professor Paul D’Amato and at the end of the course we were to put together a book from our cho- sen theme and images we would collect each week. I welcomed the audience to the beautiful, albeit brief, taken moments in my life. Enter for a minute and enjoy, and take from them whatever you wish. I offer them to you; at no cost. I fell in love with the intimate, tangible nature of a book—its physicality and the ability to digest images and written word more casually and at your own pace. The ability to engage and touch something creates a connection far supe- rior than something on a screen. 17

Newcity AUGUST 2019 What was your collaboration with Virgil Abloh like? Working with anyone you admire is intimi- dating. Your hope is that you will be com- patible, that you will speak the same lan- guage, that you’ll understand one another. Working with Virgil was organic, and messy, filled with run-on sentences, pictures of pic- tures, long emails and a great learning ex- perience to trust yourself and speak your mind. My mother always told me the squeaky wheel gets the oil, and that no one can read your mind, so if you want some- thing, say so. What do you think your work has in common with his? I think we are both weirdos, creating things and redesigning how we see the world. More info at gisellegatsby.com. Her pieces can be purchased at bygiselle.com and at Tusk in Logan Square. Glamour Girl is available at: Congruent Space, 1216 West Grand; Kokorokoko, 1323 North Milwaukee; Rider for Life, 1115 West Lake; Tusk, 3205 West Armitage; and Quimby’s, 1854 West North. Credits Editorial photographed at “Figures of Speech,” Virgil Abloh’s exhibit at the Museum of Contemporary Art on display until September 22. More information at mcachicago.org. Art direction: Giselle Gatsby and Isa Giallorenzo Styling: Laura Gordon Photography: Alexa Viscius Hair and makeup: Leanna Ernest (Distinct Artists) Models: Maddie Yerkes (MP Management) and Essence Taylor (The Rock Agency) Styling assistant: Grace Kerpan Photography assistant: Francesca Guinta Videographer: Jacquelyn Trezzo (video at newcity.com) Special thanks to: Katy O’Malley from the MCA Jessie Sardina from MP Management Cathy Reilly from The Distinct Artist Agency 18

From theater to visual art: you want to be here. The Logan Center for the Arts at the University of Chicago is a multidisciplinary home for artistic practice. Connect with the Logan Center for concerts, exhibitions, performances, family programs, and more from world-class, emerging, local, student, and international artists. logancenter.uchicago.edu Logan Center 773.702.ARTS for the Arts 915 E 60th St loganUChicago Photo: Iphigenia. Photo: Matthew Gregory Hollis, courtesy of UChicago Theater and Performing Studies (TAPS)

Additional CIVL members:Newcity AUGUST 2019 Ray Quinn, Tim Tuten and Bruce Finkelman 20

IMPRESARIOS How did CIVL come together? tion, and we just want to make sure AUGUST 2019 Newcity OF THE MOMENT that we keep this independence. K ATIE: It started when I read a Because our belief is that this inde- CHICAGO CLUB OWNERS press release that Live Nation had pendence seeds the creative eco- FIND STRENGTH an exclusive deal to open five ven- system. And while there are some IN SOLIDARITY ues in the Lincoln Yard site. similarities among our clubs, we all have different genres of music that by Robert Rodi TIM: A mega-center. we embrace, thereby giving Chica- photos by Sally Blood go this wonderful, robust, eclectic K ATIE: And it really wasn’t be- diversity of music. We truly believe There’s something stirring in the story of a small, cause The Hideout was in jeopardy. Chicago is the best music city in plucky scrapper taking on a steamrolling behe- It was because I felt that it could put this country. moth—whether it’s the English fleet versus the in jeopardy my fellow club owners. I Spanish Armada or Popeye versus Bluto. The Chi- know how hard they’ve all worked TIM: I’m gonna come out and say cago music landscape now has its own version of to establish their venues. And so we’re the best in the world. The city the story, which began when real estate developer Tim and I put out a call, and we in- of Chicago has a 130-year history of Sterling Bay teamed with concert giant Live Na- dividually met with the club owners, independent venues that support tion to construct an entertainment megaplex on shared with them what we had read creative music. And we do it in an roughly fifty acres of formerly industrial riverfront in this press release, and asked if organic, honest, authentic, humble property located between Lincoln Park and Buck- they would like to come together to Midwestern way. We make our own town, to be called Lincoln Yards. That happens to object to this. Basically, we just decisions about who our bands are, be the stretch of turf called home by one of Chica- wanted to make sure that Live Na- who’s going to play. So when I saw go’s oldest, humblest and most beloved music ven- tion did not have a vertical monop- that press release that said Sterling ues: The Hideout. Alarmed by the speed with oly. Our first press release was in Bay was going into an exclusive which the project was proceeding, the Hideout’s November, and that clearly gives agreement with Live Nation—a owners called on their colleagues and soon formed what our goals and objectives were. press release, by the way, from Bev- CIVL—Chicago Independent Venue League—to erly Hills, California—my first thought consolidate their clout, and call a collective “Whoa, TIM: The mega-center, when they was that in Chicago, we aren’t exclu- there” on the project. announced it—they even put the sive, we’re inclusive. You have a bet- CIVL’s membership is an impressively inclusive size of the venues. So they had ter chance of performing in Chicago assemblage of the principals of the city’s premier down, like, five-thousand capacity, with the multiple venues that we music clubs: Beat Kitchen, Empty Bottle, G-Man one-thousand, five-hundred, one- have, than you would ever have in Tavern, Lincoln Hall, Martyrs’, Metro, The hundred… and I looked at that and L.A., with all the kind of franchises Promontory, Schubas, Sleeping Village, SmartBar, said, “One-hundred is The Hideout, and corporately owned venues. Subterranean, Thalia Hall and Whistler. Their five-hundred is Lincoln Hall, one- endeavor has captured the public imagination— thousand is Metro and Thalia Hall… What were CIVL’s initial certainly among the musically informed—and They are literally creating a me- aims? And how did you lines up with the national zeitgeist, in which ga-center of venues the exact same pursue them? sleepy citizens are awakening to the wholesale size as our venues around the city. consumption of their polity by corporations and K ATIE: We wanted them to do kleptocrats. But the Lincoln Yards project is still K ATIE: And to be clear, it’s not away with this exclusive deal with on the docket, so we spoke with The Hideout’s that we’re against competition. We Live Nation. And we wanted to Katie and Tim Tuten about the group’s activities all compete with each other. It’s just delay the zoning TIF, because we and aspirations. that it’s an unfair advantage to Live thought that it was being rushed Nation. After we started CIVL, we through at the very end of the did more homework and found that Rahm Emanuel administration. We this is happening in other cities. were saying this needs more time And we started to think about what to be vetted properly. We got wind we could do collectively to make that there was a community meet- sure this does not happen here. Tim ing, and in less than twenty-four and I were recently asked to speak hours, 500 people showed up. And at a conference in Toronto—the Ca- then we started a petition to delay nadian Music League—and in the the TIF, and we probably had close introduction, they said that Chica- to 5,000 petitions signed. We go is the crown jewel of the country, would turn out about a thousand because unlike many other cities, people to some of the city council most of us own our venues. We meetings. But by this point, other own the buildings, we own the grassroots organizations had also land—whereas in other cities, sim- become involved—groups like ilar spaces are being closed down Raise Your Hand, Grassroots Col- or bought out by AEG or Live Na- laborative, Friends of the Park. We stood in alliance with them, and we were able to do away with the 20,000-seat soccer stadium. TIM: Which was really a live-music venue. They wanted a large outdoor venue to do big concerts. 21

Newcity AUGUST 2019 And that was due to the to experiment and to fail. Our pressure of CIVL and the bottom line is nurturing creativ- other organizations? ity. And big venues and fran- chises, all they want is tested, TIM: We have to believe it. popular acts. The members of It was on their plans. You can CIVL all share that sense of pur- look on their website and see, pose. And we’ve all had that for they had it laid out where it was years, but this was a chance to going to be, they have images of say, “Guys, let’s define our mis- the buildings they were going sion statement.” to build, and that has been called off. K ATIE: Our big goal and objec- tive was to delay the zoning vote K ATIE: Our stance was that and delay the TIF. And on liter- they were not following protocol ally the last day of Rahm Eman- with real, transparent comm- uel’s city council, it was passed, unity input. They had been plan- but there were a number of al- ning this for six years, and all dermen who voted no, and we of a sudden we have a couple firmly believe that if we and of months to see what it is our fellow advocates had not they’ve designed. been involved the vote would have been much different. And TIM: They sent out that press Lori Lightfoot was one of the release saying that that was a first people to come out and sup- done deal. The stadium was port CIVL. being built, and the mega-cen- ter was being built. They never What’s next for CIVL? asked the community, “Are you interested in having this?” They K ATIE: We want to be a re- said, “This is what we’re build- source to the city of Chicago. So ing. How do you like it?” And we’ll be taking that a bit further, throughout the city, music fans now that the dust has settled. were incredibly supportive of We’re reaching out to more in- CIVL. Music fans in Chicago— dependent venues. We could do they may love different clubs, an economic impact study, or a but they love the scene, they music census, or put together love the community, they love an advisory council of a Chicago the idea that they can go to ten music commission. There was different venues on any night one a number of years ago, we and check out ten different could help pull that back togeth- types of bands. er. We’ve started to talk about things like affordable housing, K ATIE: Most of us have shows how many artists could be eligi- because we believe in the music; ble for that. But it really started and on any given night the turn- with the exclusivity of Live Na- out may be twenty or thirty peo- tion. That was just not the direc- ple, but because we believe in tion we wanted our city to go. the band and believe in the art And it wasn’t until we started to that they’re presenting, it’s do research that we realized worth it. We’re not driven by the how lucky we are in the city of bottom line. Take away the Chicago to truly have indepen- smaller and mid-sized venues, dent venues that are beholden and that creative experimenta- to no one but musicians and tion would be eliminated. They’re their audiences. not going to take the risks that we take. Again, we’re not against TIM: As a high school history competition; it wasn’t the open- teacher, I always look at it like ing of new venues we objected the Founders; you know, there to. It was that it’s a multinational were the original thirteen colo- corporation coming in and open- nies, and they had a battle to ing five venues. fight against the British. But once the British were defeated, TIM: And the city was going they could build the country. to subsidize it. Large corpora- tions building mega-centers? K ATIE: I’m hoping in the end That is not what Chicago needs. that everyone in the city of Chi- Small venues and multiple ven- cago who has a venue will join ues provide spaces for bands our little group. 22

Lakecia Benjamin. Photo courtesy of Lakecia Benjamin. Lakecia Benjamin + SoulSquad August 28, 2019 / 6:00PM Harris Theater Rooftop $15–$25 312.334.7777 2019–20 Season Sponsor Media Sponsor harristheaterchicago.org 205 East Randolph Drive

Newcity AUGUST 2019 NEWSWORTHY RECENT Music 45 was written by EVENTS IN CHICAGO MUSIC PRESENT CR AIG BECHTEL and ROBERT RODI US WITH AN ANOMALY: with additional items from JR ATKINSON and DENNIS POLKOW none of them is actually about music. Two major stories (both covered in these pages) are the Chicago Symphony Orchestra All photos by SALLY BLOOD musicians' strike and the public backlash against Old Town School of Folk Music's plan to sell its venerable space at 909 Shot on location at The Hideout West Armitage. A third story, covered in this issue, is the for- mation of the Chicago Independent Venue League (CIVL), the mission of which is to put the brakes on the Lincoln Yards en- tertainment complex that threatens to overwhelm some of Chi- cago’s most beloved music venues. In each case, passions have run high. Clearly, the legacy, policy and sovereignty of our mu- sical institutions are as valuable to us as the actual music they make possible. Accordingly, we devote this year’s Music 45 to those behind-the-scenes players—including club owners, label executives, radio hosts, artists’ reps and more—who too infre- quently get a chance to take a bow. We’ve also established a Hall of Fame for those individuals who regularly top this list, in acknowledgment of enduring influence. — ROBERT RODI 24

1 — DAVID CHAVEZ & CARLOS CUAUHTÉMOC TORTELERO 1 into a full-on festival, the Chicago House Music traditionally adversarial. Despite mounting AUGUST 2019 Newcity Festival, on par with other city legacy festivals pressure and continuing opprobrium, Alexan- DAVID CHAVEZ devoted to gospel, blues and jazz. Both Chavez der kept a steady hand, especially on the chief AND CARLOS and Tortelero curate the Chicago World Music point of contention: shifting the players from CUAUHTÉMOC Festival which has seen the development of a defined benefit plan to a defined contribution TORTELERO marquee events including the all-night Rag- plan. The strike was ultimately resolved by the amala: A Celebration of Indian Classical Music; mediation of Mayor Emanuel, shortly before ARTISTIC DIRECTOR & FESTIVAL the Global Peace Picnic at Humboldt Park in he left office. CURATOR AND PROGRAM COORDINATOR, partnership with United Nations Association DEPARTMENT OF CULTURAL AFFAIRS to commemorate the International Day of 3 Peace; and ¡Subelo!, the new pan-Latinx cel- AND SPECIAL EVENTS ebration at Millennium Park. CRAIG GOLDEN As David Chavez and Carlos Cuauhtémoc 2 OWNER, SPACE AND CO-OWNER, Tortelero expanded their curatorial role at T H E P R O M O N T O R Y, T H A L I A H A L L DCASE, they have separately and in tandem JEFF ALEXANDER significantly improved the quality of program- Graig Golden prides himself on “seeking out ming while enlarging attendance. Tortelero P R E S I D E N T, C H I C A G O S Y M P H O N Y new and emerging acts we feel worthy of bring- has curated SummerDance for fifteen years, ORCHESTRA ASSOCIATION ing to the attention of our customers” while with last year's programs attracting nearly striving to keep his venues “intimate, comfort- 80,000 Chicagoans, and has re-energized the Jeff Alexander is usually overshadowed by the able and with great sound.” Last August, he Chicago Blues Festival. Since taking over the CSO's flamboyant music director, Riccardo took his philosophy to the streets, with SPACE’s Millennium Park Music Series three years ago, Muti; but his profile was raised during the vol- inaugural Out Of Space event, a two-day fes- Chavez has stepped away from programming atile seven-week strike, during which Muti tival held just north of the venue at Chicago by genre, and has boosted attendance by one- publicly sided with the players, and a CSO-in- and Dempster in Evanston. This year’s edition third. Chavez considers his biggest success exile regularly played free concerts across the expands to three days in August and moves to to be the expansion of the annual Chicago city's neighborhoods—a gesture that made Evanston’s Canal Shores Golf Course. Featured House Music celebrations in Millennium Park Alexander's role, as the representative of the performers include Jeff Tweedy, Cake and CSO's management, seem even more than Bruce Hornsby & the Noisemakers.  25

5 talent buyer at North Coast, the tireless Berg has plans in the works to fill the void left by ADAM Silver Wrapper by starting an event company KREFMAN with new partners. This year’s North Coast Festival continues the event’s annual expansion, SENIOR DIRECTOR OF moving to a new location: Huntington Bank FESTIVALS AND ACTIVATIONS, Pavilion at Northerly Island. PITCHFORK 7 Adam Krefman joined Pitchfork MICHAEL JOHNSTON in April 2015 and in August 2017 CO-FOUNDER, AUDIOTREE; OWNER, SCHUBAS AND LINCOLN HALL took over as executive director Michael Johnston was already a player in Chi- cago music as a principal at Audiotree, a music of Pitchfork's festivals and discovery platform that showcases breaking artists, which he co-founded in 2011. But he events business, including the raised eyebrows in 2015, when Audiotree pur- chased Lincoln Hall and Schubas Tavern from Chicago and Paris festivals and their founder Mike Schuba. Johnston has wisely allowed the two venues to operate as they several other smaller annual always have, to the point of continuing their annual midwinter Tomorrow Never Knows events. “Since then,” Krefman festival. Meanwhile, Audiotree has focused on growth, premiering new sessions every week says, “we’ve done two years of and introducing curated playlists on Spotify and Apple Music. This year Johnston’s two Octfest in NYC, launched the prize venues celebrate “30/10”—marking the thirtieth anniversary of Schubas and the tenth inaugural Midwinter with the of Lincoln Hall. Art Institute, and have addi- 2 — JEFF ALEXANDER tional international expansion lined up.” His department also runs Pitchfork Radio (broad- casting live from Pitchfork Music Festival this year); In Sight Out, a series of onstage conversations; and works with Primavera Sound in Barcelona on programming a Pitchfork stage. Krefman, formerly asso- ciate publisher at McSweeney’s, says that he started the first Book Fort at Pitchfork Music Fest in 2012, working with Zach Dodson, then of 5 — ADAM KREFMAN featherproof books. Later as publisher of the late magazine Lucky Peach, he part- 4 nered with Pitchfork to build website NATHAN HOLGATE traffic and ad sales; he’s always been working for “like-minded inde- GENERAL MANAGER, CITY WINERY pendent media on the business side of creative enterprises.” “Chicago's listening room continues to build 6 an eclectic mix of talent across all music genres,\" Nathan Holgate says. \"Some of our MICHAEL BERG notable performers last year included John Hiatt, Chick Corea, Keb Mo, Sara Evans, Rob- PARTNER AND TALENT BUYER, ert Glasper, Jane Lynch, Taj Mahal and Brian CONCORD MUSIC HALL; McKnight.\" He's also proud of City Winery's PARTNER AND CO-FOUNDER, national expansion, citing openings in Wash- NORTH COAST MUSIC FESTIVAL ington, D.C. and Boston. City Winery New York is moving across Manhattan to Pier 57 Michael Berg had been co-manag- on the Hudson, Philadelphia opens this fall ing partner of Silver Wrapper for Newcity AUGUST 2019 and \"an exciting new project is coming seventeen years when the event together in Hudson Valley!\" Holgate is quick producers closed in May; by that to credit senior talent buyer Libby Brickson time he’d programmed and marketed who books in Chicago but says is now key to events at Chicago venues from coordinating artists across multiple locations, Schubas and Lincoln Hall, to Riviera including Musiq Soulchild, Philip Bailey, Lalah Theater and Aragon Ballroom. Still Hathaway, Eric Hutchinson, Corey Smith and firmly ensconced as partner at Con- Angie Stone. cord, and partner, co-producer and 26

6 — MICHAEL BERG 8 Toronzo Cannon, Shemekia Copeland, Lil' Ed the scene in 1970, Iglauer has maintained his & The Blues Imperials, The Nick Moss Band status as the leading champion, promoter and BRUCE IGLAUER featuring Dennis Gruenling, The Cash Box lover of Chicago blues. Kings, and Billy Branch & The Sons of Blues. OWNER AND FOUNDER, ALLIGATOR RECORDS They produce new blues albums every year, 9 accumulating an impressive catalog of over Blues still has a strong heart in Chicago, and 300 releases. With the help of Patrick Roberts, ROBBY GLICK Alligator Records is its undisputed home. For Iglauer brought readers behind the scenes of forty-eight years, Bruce Iglauer and his mod- noteworthy moments in Alligator history with OWNER, REGGIES CHICAGO est team have produced \"Genuine House- his 2018 book, \"Bitten by the Blues: The Alli- rockin' Music\" from the likes of Mavis Staples, gator Records Story.\" Ever since his arrival on The most visible recent change to Reggies Chicago is that the second floor, once occu- 8 — BRUCE IGLAUER pied by the club's record store, now houses a comedy club: Bananna's Com- edy Shack. \"It's pretty classy,\" Robby Glick says, adding with a laugh, \"com- pared to the rest of Reggies.\" This isn't to imply that Reggies is neglecting music; this summer, Reggies On the Beach opened on a fifty-by-sixty foot stage at 63rd Street Beach, with two bars and a stage. And Reggies is home to four annual music festivals: Moon- Runners, Legions of Metal Fest, Metal Threat Fest and Progtoberfest. \"We also have an annual stint with the Slackers,\" Glick says; the mini-residency started three years ago, and is slated to continue in November or December. 10 AUGUST 2019 Newcity SHAWN CAMPBELL GM AND FOUNDER, CHIRP RADIO Shawn Campbell built a devoted follow- ing at chirpradio.org since launching in January 2010; but since the station 27

9 — ROBBY GLICK Newcity AUGUST 2019 started broadcasting in late 2017 at 107.1 FM, 19 — SETH BOUSTEAD the enthusiasm of the listeners who are dis- covering it now is gratifying. “We still regularly 28 hear from people who are so excited,\" she says, and they often add, in amazement, \"I'm listening to you in my car!\" CHIRP DJs are smart, committed music fans who spin a huge array of independent music every day, includ- ing dozens of local artists. \"When you're giv- ing your audience something unique and interesting, and the hosts are passionate about the music they're playing, there's plenty of enthusiasm for local radio,\" Campbell says. That passion comes from the top, regularly inspiring over 200 volunteers to promote the nonprofit's mission locally, as well as CHIRP's position among the 750 new low-power FM radio stations across the United States that launched following passage of the 2010 Local Community Radio Act. 11 MATT RUCINS AND PAT GRUMLEY GENER AL MANAGERS, REACT PRESENTS After React underwent corporate houseclean- ing in early 2018, Matt Rucins and Pat Grum- ley abruptly found themselves co-GMs. Grum- ley, who began his career running his own small agency, had been at React since the beginning. Rucins had been talent buyer at Lincoln Hall until that venue was sold, when he took the sale as a prompt to seek some- thing new. The two bring complementary experiences to the job—Rucins mainly in indie music, Grumley in electronica and hip-hop— but they had to spend their first year seeing through previous projects. Now that they've restructured their commitments—notably moving up the Spring Awakening festival so that they have two months instead of two weeks to prep for Mamby On the Beach— they're ready to make their mark with what Rucins calls \"React 2.0.\" For the moment, the company's brand remains musical events at unique locations—such as Montrose Beach and Lakefront Green. 12 DAN KORETSKY AND DAN OSBORN OWNERS, DR AG CITY Founded in 1990, Drag City heads toward its thirtieth anniversary with the same founders and the same philosophy it’s had since the beginning. There are signs of belated evolution: the label—an ongoing champion of vinyl— ended its resistance to streaming platforms and signed a deal with Apple Music in 2017. Its publishing arm, Drag City Press, just released

10 — SHAWN CAMPBELL an ebook version of John Fahey’s influence of Petryshyn himself. AUGUST 2019 Newcity 2003 memoir, “How Bluegrass That said, “Riot Mike,” as he’s Music Destroyed My Life.” In the known, lost his longtime partner past two years the label’s and co-founder Sean McKe- releases included albums by Ty ough late last year, \"shaking the Segall, CAVE, Bill Callahan and Riot Fest family to its core,\" as Circuit des Yeux; but its high- he put it. He's vowed \"to honor est-profile release was a 2018 and preserve Sean's legacy in comedy album, “Kid Gorgeous the company that he tirelessly at Radio City,” released just as helped to build.\" John Mulaney became a house- hold name. 14 13 SCOTTIE McNIECE MIKE PETRYSHYN OWNER AND OPERATOR, INTERNATIONAL ANTHEM F O U N D E R, R I O T F E S T; PARTNER, CONCORD MUSIC HALL AND UNCANNED MUSIC AND RUIDO FEST Since we last talked to Scottie McNiece, International Anthem Unbelievable as it may sound, high-profile successes have Riot Fest celebrates its fifteenth included \"Fly or Die,\" Jaimie anniversary this year; even Branch's 2017 debut album for Ruido Fest, the alternative Latin the label, which wound up on festival which Mike Petryshyn both NPR and The New York co-founded, is logging its Times' Best of the Year lists. Chi- respectably institutional fifth cago jazz drummer Makaya year. Yet even with much McCraven's 2018 album \"Uni- younger music festivals now versal Beings\" earned a similar seemingly swarming every rush of best-of-the year honors. square foot of public space McNiece realized how much the across the city, Riot Fest retains label's profile had been raised something akin to the youthful, when he released Angel Bat anarchic energy of its early Dawid's \"The Oracle\" on cas- years—probably due to the sette, with no advance press, 29

16 — MEI-ANN CHEN & JIM HIRSCH only the Bandcamp page; the album \"blew up,\" eyes.” JIC celebrates its fiftieth anniversary posers, and resulted in this spring’s acclaimed in McNiece's words, virtually overnight. Mean- while, International Anthem has been building this year, and Robinson has planned a year- CD, ”Project W: Works by Diverse Women bridges—and a pool of collaborators—with jazz talents in the U.K., which is home to the long slate of activities while continuing the Composers.\" Among the orchestra's ongoing label's largest fanbase. Uncanned Music, McNiece's music-curation business, has gone Institute’s partnerships with the Chicago Park successes are Project Inclusion, Residents international, too, with restaurant clients in China and New Zealand, as well as in cities District (with whom it produces free concert Orchestrate and professional diversity presen- like Houston, Minneapolis and San Diego. series including the Latin Jazz Festival) and tations. Mei-Ann Chen is slated to conduct the 15 the Department of Cultural H E AT H E R IRELAND ROBINSON Affairs, programming Chicago EXECUTIVE DIRECTOR, Jazz Fest. 11 — PAT GRUMLEY JAZZ INSTITUTE OF CHICAGO & MATT RUCINS 16 JIM HIRSCH AND MEI-ANN CHEN CEO AND MUSIC DIRECTOR, CHICAGO SINFONIETTA Newcity AUGUST 2019 Heather Ireland Robinson returned to the Jazz The orchestra is celebrating its Institute in March 2018, after serving as its fifteenth year with Jim Hirsch education and community coordinator from at the helm with a \"Dia- 2000 to 2002. “It is an honor to see many of logue\"-themed 2019-20 season, the programs I began or shepherded almost featuring works written by twenty years ago come to fruition or blossom,” underrepresented composers, she says—programs like the monthly jam each encouraging a different session, held at Jazz Showcase, where local social conversation. One of the pros give students the benefit of experience topics is women's contributions and expertise in an actual performance setting. to the music scene in “Sight + “It’s incredible to see young musicians—start- Sound,” which builds on last ing at age nine!—transform into jazz-playing season's Project W initiative cats in moments onstage, right before your that focused on women com- 30

15 — HEATHER IRELAND ROBINSON New York Philharmonic in a 2020 concert 18 the undeveloped industrial Lincoln Yards area. AUGUST 2019 Newcity commemorating the anniversary of the Nine- The announcement galvanized the owners of teenth Amendment, which granted women CIVL more than a dozen of Chicago’s independent the right to vote. music clubs, alerting them to the potential ROBERT GOMEZ (Co-Chair), conglomerate incursion on their turf, and 17 Subterranean and Beat Kitchen turning them from collegial competitors into an activist coalition. Within weeks, CIVL ROB SEVIER K ATIE TUTEN (Co-Chair), pushed back against the Lincoln Yards proj- The Hideout ect, admittedly with limited success, but in CO-FOUNDER, NUMERO GROUP the process the members found common MICHAEL JOHNSTON (Treasurer), ground to embark on a future of pooling Rob Sevier is justifiably proud that his archi- Schubas and Lincoln Hall resources, enriching their communities, swell- val label (founded with Ken Shipley) has ing their ranks, and advocating “on behalf of earned eleven Grammy nominations; and JOE SHANAHAN Chicago's independent performance venues.” takes equal pride in recent releases, including Metro, Smartbar and Gman Tavern Woody Guthrie would be proud. “Savage Young Dü,” a collection of works by St. Paul punk trio Hüsker Dü (a four-LP set, BRUCE FINKELMAN 19 sixty-nine early songs, forty-seven previously Empty Bottle, Promontory and Thalia Hall unissued, with a 108-page book); a San Jose SETH BOUSTEAD slowcore obscurity Duster compilation, “Cap- BILLY HELMK A MP sule Losing Contact” (fifty-one tracks on four Sleeping Village and The Whistler CO-FOUNDER, ACCESS CONTEMPORARY MUSIC LPs in rusted slipcase with a thirty-two page lyric book); and “Any Other Way,” the first R AY QUINN Seth Boustead’s endeavors defy categoriza- artist-approved collection by Jackie Shane, a Martyrs’ tion. In addition to his work as a composer, soul singer and pioneer of transgender rights performer, broadcaster and journalist (writing (two LPs, including all six of her forty-fives, TIM TUTEN frequently for Newcity), he runs the city’s only plus highlights from the legendary 1967 live The Hideout classical musical fest, Thirsty Ears Festival, sessions, with liner notes telling her story in now in its third year. The two-day street fes- her own words for the first time). There’s also F O U N D E R S, tival takes place outside Access Contempo- the newly released “Herculean House Of CHICAGO INDEPENDENT VENUES LEAGUE rary Music’s Ravenswood location, and Cards” from Chicagoan Trey Gruber, whose attracts around 5,000 people, and may soon band Parent was up-and-coming when he In May 2018, real estate developer Sterling be burgeoning even further. “We’re in talks died in 2017 at the age of twenty-six. Bay announced an exclusive agreement with with WQXR in New York to bring the Thirsty the world’s largest music promoter, Live Nation, to build an entertainment complex in 31

MUSIC45 Ears Festival there,” Boustead Thrill Jockey and booked bands says. The ACM School of Music, for CHIRP Radio’s Whistler night. meanwhile, has grown from 200 Heyl has worked for Empty Bot- to 320 students, and operates tle owner Bruce Finkelman since from four locations: Avondale, 2008, starting with Empty Bottle Rogers Park, South Loop and Presents in 2012, and focusing 20 — BRENT HEYL These professionals appear so consistently at the top of our biannual list that we’re according them their own special ranking. Newcity AUGUST 2019 STEVE ALBINI JOSEPHINE LEE Ravenswood. Boustead also now on Thalia Hall and Empty President and runs the Sounds of Silent Film Bottle Presents. The co-founder Owner, Electrical Audio Artistic Director, Festival, which celebrated its and talent buyer for both Music Chicago Children's Choir fourteenth year in Chicago with Frozen Dancing and Beyond the ANDREW BARBER a sold-out weekend at the Davis Gate at Bohemian National Founder, JERRY MICKELSON Theater—in addition to tours in Cemetery, he also highlights Owner, Jam Productions Mexico City and New York, also collaborations with Art Institute Fake Shore Drive sold out. of Chicago (including Midori RICCARDO MUTI Takada and Bonnie Prince Billy), JIM DEROGATIS Music Director, Chicago 20 multiple-night runs at Rockefel- AND GREG KOT Symphony Orchestra ler Chapel (Peter Murphy and Journalists, Co-Hosts BRENT HEYL SUNN O)))) and a new partner- of “Sound Opinions” MIKE REED ship with Garfield Park Conser- Founder, Constellation; PARTNER, EMPTY BOTTLE vatory (Mulatu Astatke and Drab BRUCE FINKELMAN Owner, Hungry Brain PRESENTS; TALENT BUYER, Majesty). Heyl books artists who Owner, Empty Bottle; have a “different approach” and JOE SEGAL AND THALIA HALL AND offer a “unique sound,” and he Co-Owner, The Promontory, WAYNE SEGAL EMPTY BOTTLE loves “presenting interesting Thalia Hall Founder and Owner, performers in unique settings,” Jazz Showcase After moving to Chicago in 2006, including Courtney Barnett at CARLOS KALMAR Brent Heyl volunteered and DJ’d Artistic Director and JOE SHANAHAN at Loyola’s WLUW, interned at Principal Conductor, Owner, Metro, smartbar and GMan Tavern Grant Park Music Festival TIM AND WELZ KAUFFMAN K ATIE TUTEN; President and CEO, MIKE AND Ravinia Festival JIM HINSCHLIFF Owners, The Hideout BOB KOESTER Founder, Delmark JEFF TWEEDY Leader of Wilco Records; Owner, and Producer Bob’s Blues & Jazz Mart DAVID “BOCHE” ALAN KING VIECELLI Vice President, President, The Billions Chosen Few DJs Corporation 32

21 — KATE DUMBLETON the Chicago Cultural Center and Michael Mor- 22 — DECLAN McGOVERN ley (Dead C) at the International Museum of Surgical Science. AUGUST 2019 Newcity 21 K ATE DUMBLETON EXECUTIVE DIRECTOR, HYDE PARK JAZZ FESTIVAL Kate Dumbleton’s full-time gig may be asso- ciate professor at the School of the Art Institute of Chicago, but her resume is as impressive in the performing arts as in the visual. Before joining Hyde Park Jazz Festival in 2012, she was executive director of the critically acclaimed Chicago Jazz Ensemble at Columbia College. Her work in jazz, in fact, spans more than two decades. At Hyde Park, her initiatives include commissioning new works, currently by Angel Bat Dawid and Isaiah Collier, and “new pro- grams with storytelling that I have not yet announced.” Beyond the festival itself, she last year launched Back Alley Jazz in South Shore, which she describes as “a reimagining of the sixties and seventies informal jazz jams neigh- borhoods on the South Side had in the alley- ways. It was amazing!” 33

24 — AYANA CONTRERAS 22 was music director. But in his other role, as what's on the surface and what's in the base- union chair, Lester has been a visible and ment.” As a DJ, she’s shared the stage with DECLAN McGOVERN valiant spokesman for musicians' rights, par- artists from Roy Ayers to Makaya McCraven ticularly during the recent seven-week CSO and spins on Monday mornings at Theaster EXECUTIVE DIRECTOR, strike. It was Lester who was the public face Gates' 95th Street Red Line DJ booth, “An MUSIC OF THE BAROQUE of the players at press conferences and free Extended Song of Our People.” Contreras neighborhood concerts, yet was planning was a 2014-15 Arts + Public Life artist-in-res- Declan McGovern came to Music of the strategies behind the scenes and diligently idence at the University of Chicago and a 2015 Baroque in summer 2017, after helming the working the trenches of the negotiating table. Association of Independents in Radio New Pittsburgh Symphony Orchestra. Classical Although future CSO members will no longer Voices Scholar. Her first hosting gig was Review critic Lawrence A. Johnson says that have a defined pension benefit, at least current WBEZ’s “Global Overnight” program in 2007. McGovern’s “low-key style doesn't grab the vested members keep theirs thanks to Lester's Her book on the power of post-civil spotlight, but the Irish-born chief of Music of persistence and leadership. Additionally, a rights-movement black Chicago media, called the Baroque is raising the venerable Baroque downward salary trend was reversed in the “Energy Never Dies,” is forthcoming through ensemble's profile as well as ticket sales to current contract. Northwestern University Press. new levels. McGovern also seems to be quietly making the right moves behind the scenes to 24 25 ensure a bright future for MOB in the post-Jane Glover era.” AYANA CONTRER AS L I D I YA YANKOVSK AYA 23 H O S T, “R E C L A I M E D S O U L,” V O C A L O Newcity AUGUST 2019 STEVE LESTER Ayana Contreras is a DJ, Chicago music his- MUSIC DIRECTOR, torian and sound artist whose all-vinyl radio CHICAGO OPERA THEATER CHAIR, CHICAGO SYMPHONY ORCHESTRA show, “Reclaimed Soul,” runs on WBEZ and MEMBERS COMMITTEE Vocalo; she also serves as a producer on The figures most associated with Chicago “Sound Opinions.” She says her work is “cen- Opera Theater across its forty-five-year history Steve Lester has been playing unassumingly tered on uplifting and celebrating the cultural have been male impresarios such as founder in the back of the double bass section of the riches of the community around me, both Alan Stone and Brian Dickie. With the 2017 CSO since 1978, back when Sir Georg Solti 34

appointment of Lidiya Yankovskaya as COT 23 — STEVE music director, a conductor is the face of LESTER the institution and, in fact, the only female music director of a major American opera company. None of that would mean much if the Russian-born Yankovskaya couldn't deliver the goods. But after only a single season in her new role, her musical pres- ence has revitalized a company that had become a shadow of itself. The Chicago premiere of Jake Heggie's \"Moby-Dick\" in April was a major event, in no small part because of Yankovskaya's elucidation of the score. Russian operas are also a specialty, and the Chicago premiere of Tchaikovsky's \"Iolanta\" was no less revelatory. 26 LAWRENCE A. JOHNSON FOUNDER, CHICAGO CLASSICAL REVIEW AND AMERICAN MUSIC PROJECT Known for its depth, critical chops and comprehensiveness, the Chicago Classical Review is a nerve center for serious, insid- er-driven classical music coverage. In April of this year, Lawrence A. Johnson received international attention for his column on HOW DO YOU ENVISION JUSTICE? Envisioning Justice: An Exhibition by Illinois Humanities August 6–October 12, 2019 Sullivan Galleries School of the Art Institute of Chicago 33 South State Street, 7th Floor New Visions Beyond Incarceration by Chicago Artists and Communities EnvisioningJustice.org #EnvisioningJustice With generous support from AUGUST 2019 Newcity LLOYD A. FR Y FOUN DATI ON 35

27 — JILL HOPKINS the Chicago Symphony Orchestra strike, across all genres.” She also hosts StorySLAMS Metro with Lizz Winstead's Lady Parts Justice League (since renamed Abortion Access which sparked lively discourse on the site and for The Moth, writes for the A.V. Club, contrib- Force), which included performances of vin- tage songs with problematic lyrics, as sung caused some even to claim that it helped bring utes to The Paper Machete live magazine and by herself and other feminists. about its end. Beyond the world of media, performs as a comedic essayist and storyteller. Johnson has made tangible contributions to She recently co-produced \"Do Re #MeToo\" at classical music itself through his American Music Project, which commissions new American 32 — JAMES GINSBURG works. Johnson's publication con- tinues to expand past the local scene, hosting sites for other cit- ies across the country. 27 JILL HOPKINS H O S T, “T H E M O R N I N G A M P,” V O C A L O Newcity AUGUST 2019 Jill Hopkins describes her show (weekdays, 8-10am on Vocalo Radio, 91.1 FM), as “the first urban alternative station in the country focused on hip-hop and R&B,” while also playing dance, house, and local indie rock. Hopkins, a native Chicagoan, says “the local part is what makes our station so special,” and given that her home- town is “in the middle of a cultural and artistic renaissance, [it’s] a singular joy to be immersed in the music that makes this city tick, 36

28 MATT WAGNER AND EDUARDO C A LV I L L O CO-FOUNDERS, RUIDO FEST Matt Wagner, owner of Metronome, and Edu- 29 — ROB MILLER ardo Calvillo, host of the Latin alternative radio show “Rock Sin Anestesia,” were part of the four-pronged coalition—which included John Barry of StarEvents and Riot Fest's Mike Pet- ryshyn—who in 2015 launched a Latin-themed festival in Pilsen’s Addams/Medill Park. This year—Ruido Fest’s fifth—the event moved to the more accommodating Union Park, the site of other multi-day festivals including Pitch- fork and North Coast. Ruido Fest expanded to fifty acts, up from forty in 2018, that range across genres and represent a broad coalition of countries, including Enanitos Verdes (Argentina), Diamante Eléctrico (Colombia), Fobia (Mexico) and Hombres G (Spain). 29 ROB MILLER OWNER, BLOODSHOT RECORDS Since Nan Warshaw’s leave of absence, Rob “killer Delta blues” album by Denver's the Yawp- floored SXSW audiences this spring, as well Miller has been minding the store at the long- ers; the Bloodshot debut from Vandoliers, the as special releases coinciding with Bloodshot’s time indie label. He says while the music indus- “Texas country punks with a mariachi twist”; a twenty-fifth anniversary. try “continues to spasm and sputter and look “remarkable album” by Laura Jane Grace & the for the next ‘answer’ and the next big thing,” at Devouring Mothers and “the best Mekons 30 Bloodshot they “show up, wear the love of our record in twenty years.” He’s looking forward artists on our rolled-up sleeves and plug away.” to the debut from Jason Hawk Harris, who DAN MAHONEY Miller highlights recent releases including a AND DAN ULBRICHT 35 — ELBIO BARILARI CO-OWNERS, FORT KNOX STUDIOS, & JULIA A. MILLER 2112 CHICAGO Two years after our cover story on Fort Knox, AUGUST 2019 Newcity the studio complex that bills itself as “The Largest Music Ecosystem On Earth” continues to offer state-of-the-art rehearsal space to bands and ensembles, with amenities, ser- vices and accommodations, including 24/7 access. Meanwhile, 2112 Chicago, which shares the expansive compound in Old Irving Park, functions as a comprehensive music incubator, providing office space, seminars and legal services to music professionals, including young people exploring careers in the industry. 31 BETTINA RICHARDS OWNER, THRILL JOCKEY Famously launched in 1992 with just $35,000 while Bettina Richards was working as a record clerk in Hoboken, Thrill Jockey has been a Chicago institution since 1995 (with 37

an additional office now in London). The label hasn’t altered much, aesthetically— though metal bands now account for a larger share of the roster—or politically— Thrill Jockey remains a fif- ty-percent profit share. Recent releases include House and Land, Alexander Tucker, Matt Hill (aka Umberto), Black To Comm and Sequoyah Murray. Thrill Jockey continues to stream its entire catalog, as Richards believes people who can lis- ten to an album are more likely to buy it. 32 JAMES GINSBURG F O U N D E R A N D P R E S I D E N T, CEDILLE RECORDS Thirty years ago, in June of 33 — ANDREA 1989, James Ginsburg pro- TROOLIN duced the initial recording session for what would become the first Cedille album, \"Dmitry Ruth Bader Ginsburg, who became a Supreme but abandoned it during his second year to devote himself full-time to the label. Cedille Paperno Plays Russian Piano Music.\" Coming Court associate justice in 1993—Ginsburg has gone on to release nearly 200 albums of seventy or so Chicago performers, ensembles from a family of lawyers—including his mother, began law school at the University of Chicago, and composers and world-premiere record- ings of over 250 new and historical works. 38 — RON ONESTI Ginsburg's family and professional lives became intertwined in a unique way when his wife—soprano and composer Patrice Michaels—composed a song cycle, \"Notorious RBG in Song\" about his mother; in 2018 it became a popular Cedille album. 33 ANDREA TROOLIN FOUNDER, EKONOMISK MGMT Newcity AUGUST 2019 Andrea Troolin started her career by founding an indie label, Grimsey Records, then landed in A&R at Rykodisc, where she signed Andrew Bird. Later, when negotiating a point of con- tention between the label and Bird, someone at Rykodisc asked her “Whose side are you on?” The answer, she realized, was Bird’s, so she left to form her own artist management firm. Ekonomisk debuted in 1999. Troolin still represents Bird, and her roster includes another Chicago native, John Splithoff, as well as clients like Okkervil River and Tift Merritt. Ekonomisk has an office in Brooklyn, but Troolin remains local. “I feel very rooted in Logan Square having had an office there for ten years, so it just feels like that neighborhood is my place in the landscape.” 38

gest single endeavor in musical terms is his new book, “Pick Up the Pieces: Excur- sions In Seventies Music\" (University of Chicago Press), the book tour of which featured performances by musicians at the majority of his readings. 35 JULIA A. MILLER AND ELBIO BARILARI OWNERS, DELMARK RECORDS Julia A. Miller and Elbio Barilari dispatched the projects they inherited when they took over Delmark in 2018, and have produced eleven new releases that will define their era of the label. These include albums by longtime Chicago talents Dee Alexander, The Fat Babies and Willie Buck, as well as rising talents Javier Red and Guy King. Keeping in mind that jazz aficionados are often audiophiles, the label partnered with Qobuz, a French digital streaming service specializing in 24-bit high resolution that launched in the United States this spring. And since jazz aficionados are also often collectors, they've initiated a reel-to-reel project, releasing one-to-one copies of master tapes, which appeal to connois- seurs of both audio and artifacts. Miller and Barilari are vigorous digital custodians of their historic catalog, more than doubling the number of tracks online, with the total nearing 7,000. 34 — JOHN CORBETT 34 36 — GARRY BUCK JOHN CORBETT AUGUST 2019 Newcity CO-FOUNDER, CORBETT VS. DEMPSEY Earlier this year, John Corbett moved his art gallery-slash-performance space to a location on West Fulton. The first concert in the new digs followed in May and Corbett says they will con- tinue “on roughly the same intermittent schedule, presenting a variety of mostly solo artists with an emphasis on impro- vised music.” Corbett vs. Dempsey also continues as a vital independent record label. Its twenty-five releases since 2017 have included new albums by Joe McPhee and Hamid Drake, Mats Gus- tafsson and Jason Adasiewicz, Ken Vandermark and Michael Snow and a sextet led by Torbjörn Zetterberg. Cor- bett’s reissue plans include Milford Graves and Don Pullen's “Complete Yale Concert” from 1965 and work by Romanian avant-garde composer Iancu Dumitrescu. But Corbett’s big- 39

(no elevated stage, folding chairs, BYOB) is one of the city’s friend- liest venues for improvised and experimental music. Adam Zan- olini, himself a musician (he plays bass, flute, sax and “other things” for severalf ensembles), has writ- ten that his “personal mission with Elastic is to help develop the music into a positive force for celebration\" as well as the development of \"positive identity [and] mutual understanding.” The space hosts poetry readings, performance art and photo exhibits as well. The nonprofit Elastic is just one of Zanolini’s behind-the-scenes endeavors. He’s also treasurer of the Asso- ciation for the Advancement of Creative Musicians and a board member of both the Englewood Jazz Festival and the Milwaukee Avenue Stakeholders Alliance. 38 RON ONESTI FOUNDER AND CEO, ONESTI ENTERTAINMENT Ron Onesti has run the Arcada Theatre as a one-man impresa- rio extraordinaire for fourteen years, turning the 1926 down- town St. Charles venue into a definitive showcase for top talent of yesteryear, which Onesti calls \"heritage acts.\" After the building was briefly shut down in March owing to the out-of-state land- lord’s neglect, Onesti addressed key safety issues with his own 41 — MATT HENNESSY money and the Arcade reopened. With dedicated new building owners from the area, the Arcada is poised for renovation and 36 pled By Turtles and Los Lobos), Phil Egenthal renaissance. Onesti has duplicated the suc- GARRY BUCK (Dumpstaphunk, Foundation Of Funk), Brad cess of his restaurant and speakeasy Club A G E N T, PA R A D I G M TA L E N T A G E N C Y Owen (Ride and Peter Hook & The Light), Erik Arcada as Evanston Rocks, and books area Garry Buck has been in the business since Selz (Andrew Bird, Alt-J), Patrick McAuliff festivals such as Chicago's Little Italy Festa graduating from Columbia College in the mid- 1980s. He worked at Impact Entertainment, (Trevor Hall, Stephen Marley), Jessica Blanc on Taylor Street in August. then Elite Entertainment, where he met Chip Hooper, with whom he ended up working (electronic and hip-hop) and Alex Buck (fes- (alongside future partner Ron Kaplan) at American Famous Talent. He signed Buddy tivals). Buck is proud of the independent, 39 Guy, who remains his client. His current ros- ter includes Jonny Lang, Daughtry, Whitesnake, “uncorporate” tone of Paradigm as well as the DANA MEYERSON Experience Hendrix and the B. B. King Blues recently endowed Chip Hooper Scholarship Summit Hologram. Buck may be the Chicago office leader, but he makes it clear he’s one at Columbia. PARTNER, BIZ3 member of “an amazing team”—a team that Newcity AUGUST 2019 includes Joshua Knight (who represents Tram- 37 Kathryn Frazier began her public relations firm working out of a closet at The Empty ADAM ZANOLINI Bottle in 1996, and although she calls L.A. home now, her partner in Biz3, Dana Meyer- EXECUTIVE DIRECTOR, son, is still a Chicagoan, splitting time between ELASTIC ARTS FOUNDATION the two cities. Meyerson turned to PR after an early mentor told her, “You should be a Located above a Diversey Avenue storefront, publicist because you talk a lot.” She took the Elastic Art’s minimalist performance space 40

42 — MAYA GOLDBERG-SAFIR advice to heart, and after becoming a fan of curate based on my own tastes,\" Ocean admits, studio and in 2014, after outgrowing it, VSOP AUGUST 2019 Newcity the musical acts represented by the firm (and \"but my tastes are all over the place.\" Mixtape moved into its dedicated space in West Town. despite never having written a press release), has about 12,000 subscribers; the goal is to she joined Biz3 fifteen years ago. In 2013, she drive all of them out to see shows. There's even 42 made partner. Meyerson manages Niia and a \"buy tickets\" link next to each track. has done A&R for Mom + Pop (including Alina M AYA Baraz), and hints at an imminent big signing 41 GOLDBERG-SAFIR for Warner Brothers. MATT HENNESSY ARTISTIC DIRECTOR, THIRD 40 COAST INTERNATIONAL AUDIO FESTIVAL OWNER AND CHIEF ENGINEER, BILLY OCEAN VSOP STUDIOS Maya Goldberg-Safir began at Third Coast as an intern but her role at the organization CO-FOUNDER AND CURATOR, A Chicago native, Matt Hennessy interned at has grown considerably since, and includes CHICAGO MIXTAPE a Villa Park studio before heading to Boston’s programming the Third Coast Conference, Berklee College of Music. His ambition was which hosts 800 narrative audio producers With co-founder Casey Meehan's departure to be a jazz saxophonist with a recording from around the world. Sully Davis, program from Chicago, Billy Ocean is entirely respon- career, but the more he learned about the director at The Hideout, says that Gold- sible for Mixtape's content—which, since its record business, the more disillusioned he berg-Safir “has been a big influence on audio reinvention in 2017, takes the form of weekly became. So he changed course, applied to in Chicago, and created a destination festival playlists through Spotify, each showcasing the engineering college, and after graduation that every major podcast in the country looks singers and bands performing in Chicago that came home to Chicago just as hip-hop was toward.” Goldberg-Safir has also co-created week. As the co-host of Lumpen Radio's weekly cresting. He got a job at Chicago Trax, the The Fest with Emily Kennedy, which she \"The Minimal Beat\" (105.5 WLPN-LP), he's in first of many studios at which he honed his describes as “a lineup of experimental audio tune with who's playing where each week. The skills at the soundboard, in the process helm- events bringing producers and listeners challenge, for Playlist, is to whittle the eligible ing projects with Jay-Z, Beyoncé and Kanye together in venues across Chicago.” acts to a list of two dozen or so tracks. \"I do West. In 2009, Hennessy opened his own 41

43 — JEFF McCLUSKY 45 JAMES VANOSDOL H O S T, “D E M O 3 1 2,” 101WKQX 43 also an entrepreneur. Zero Fatigue, Smino’s James VanOsdol has record label, or “music collective” as it’s billed, worked on air and JEFF McCLUSKY was founded in 2012, and functions as a home behind the scenes at for his own music, as well as artists and pro- WKQX, WLUP, WXRT, OWNER, JEFF MCCLUSKY & ASSOCIATES ducers including Ravyn Lenae, Jay2, Monte WLS and WGN. He's Booker, Nosidam and other high-profile affil- written two books, \"Off This year, JMA turns thirty-eight, a testament iated artists who aren’t official members the Record Collection: (including Jean Deaux, Newcity’s Artist of the Riffs, Rants, and Writings to the flexibility of a company that, in the words Moment in last year’s Music 45 issue). The about Rock\" and \"We latest album from the collective, Bari’s “MSTR- Appreciate Your Enthu- of music writer Lou Carlozo, “has grown, GLSS,” was released in February. This summer, siasm: The Oral History Smino’s Hoopti Tour brings the Zero Fatigue of Q101,\" an oral history retrenched, morphed, adapted and resur- sound to selected cities and festivals, includ- of a Chicago commercial ing Lollapalooza. alternative rock station. rected itself through several chapters of the He has hosted local music-focused radio music industry.” Jeff McClusky’s core programs since the mid-nineties, and con- tinues to support the scene through “DEMO radio-promotion business has, over the past 312,” Sundays at 9pm, now the only weekly show of its kind on commercial radio in Chi- two years, served clients including Post cago. VanOsdol routinely has Chicago musi- cians appear on what he calls his other \"pas- Malone, Tame Impala, Rosalia, Lana Del Rey, sion project,\" the \"Car Con Carne\" podcast, visiting local restaurants with new guests each week. Chicago music notables have included Rise Against, Poi Dog Pondering, Li'l Ed, Billy Corgan, Jon Langford, Local H and Naked Raygun, as well as international music stars as diverse as Robyn Hitchcock and Tiffany. Halsey, The Black Keys and Easy Life. McClusky also relaunched its artist manage- 45 — JAMES ment business from its offices VANOSDOL in both Chicago and Nash- ville; a recent signee is The Brook & the Bluff, a Nashville band that McClusky believes is heading along the path of The Lumineers. McClusky’s WeLaunch internship pro- gram continues to offer a select group of college stu- dents mentored experiences in the music business. The program has assisted and placed about a hundred students in positions across the industry. Newcity AUGUST 2019 44 SMINO FOUNDER, ZERO FATIGUE The acclaimed rapper, whose first full albums are “blkswn” (2017) and “NØIR” (2018), is 42

“Luftwerk: Parallel Perspectives” A site-specific exhibition that uses color and light interventions to activate and interpret the McCormick House, designed by Mies van der Rohe. Elmhurst Art Museum through August 25. rtsLuftwerk, \"Dimension of Color” 2019/Photo: John Faier & Culture

Art Newcity AUGUST 2019 Jefferson Pinder, \"Sonic Boom,\" performed at Halcyon’s By The People festival (2018)/Photo: Chris Ferenzi for By The People 2018. “Red Summer Road Trip” Jefferson Pinder Interprets the Violence of 1919 By Holly Warren July 27, 1919: 29th Street Beach in blocks of houses. In the end, twenty-three from. Eve Ewing released a compelling book of Chicago. Eugene Williams, floating across an invisible border separating the black and white black people and fifteen white people had poetry about the riots and the events that led swimming areas, is hit by a stone thrown by a hostile white man, falls off his raft and drowns. been killed, 537 were injured and 1,000 others up to it, entitled simply “1919.” The Newberry The police refuse the gathering black crowd’s demands to arrest the man responsible, were left homeless. Many of the newly Library, in partnership with other institutions, provoking tensions that have been percolating all summer long as groups of white men homeless returned to the South, tracing in including the DuSable Museum and the attacked black boys in Chicago and nation- wide. The confrontation on the beach blew up reverse the route of the Great Migration from a Chicago History Museum, has scheduled into the 1919 Chicago Race Riots. Over the nearly a year’s worth of programming, course of three days, gangs of white men city that had promised better jobs and attacked black people across the city’s Black prosperity, as well as freedom from the South’s “Chicago 1919: Confronting the Race Riots.” Belt, dragging them off streetcars, beating them in the streets and setting fire to entire torments and lynch mobs. Among those working to redress the incidents As the hundredth anniversary of the 1919 and injustices, threats and violence against Chicago Riots has arrived, a cohort of black bodies during what James Weldon organizers, archivists, sociologists, writers and Johnson termed the “Red Summer” is artists are working to ensure that the incidents Chicago-based artist Jefferson Pinder. His are not forgotten. This group is insistent that 2019 project, \"Red Summer Road Trip,” will the occasion be reflected upon and learned manifest as multiple performative responses to 44

Weinberg/Newton Gallery for Join us to celebrate our inaugural art and advocacy has moved to exhibition, a presentation in a newly renovated, 6,300 square collaboration with Human Rights foot space, in Chicago’s River West Watch, on September 6th from neighborhood at 688 N Milwaukee. 5–8 PM. Weinberg/Newton Gallery Mon – Sat 10 AM – 5 PM 688 N Milwaukee Avenue Free and open to the public Chicago, IL 60642 weinbergnewtongallery.com James Nares, Lightdrawings, 1990 (detail). Black and white slide. Image courtesy of the artist. The first retrospective of contemporary artist and mam.org/moves AUGUST 2019 Newcity filmmaker James Nares June 14–October 6, 2019 45

ART TOP 5 events that occurred across the South a concentrated instead on the simple sustained 1 Laura Aguilar: Show century ago. presence of black bodies and audiences and Tell. National Museum of Mexican Art. Retrospective Having traveled by car and made stops in witnessing. of the late Mexican-American photographer includes tender D.C., Houston, New Orleans and culminating self-portraits and documentary in Chicago, each performance asserted black In “Sonic Boom,” staged in Washington, D.C., work of the Los Angeles Latinx people’s perseverance through injustice then a local fanfare brass band and a local pit and LGBTQ communities. crew joined Pinder on a funerary procession Through August 18 and now. for a muscle car. Once the car arrives at its 2 Chicago Works: Assaf Evron. Museum The most forceful expression of this persever- resting spot, the crew stripped off its wheels, of Contemporary Art Chicago. ance came through in the kickoff piece, “This and Pinder, clad in a tattered racing uniform The Chicago artist's first solo is Not a Drill.” Developed in part as a means to and helmet, crawled inside and floored the U.S. museum exhibition includes prepare for potential conflict to be faced in the accelerator. For a moment, the gunning two projects that examine engine drowned out the sound of the band, how the influence of cultures road trip south, the performance was sixty meanders through space and and there was an uneasy feeling that the car time. Through February 16, 2020 minutes of military-like drills executed by a might rocket forward into the crowd. But then 3 Go Down Moses. cohort of performers called The Middle Museum of Contemporary the car sparked fire. Pinder killed the engine. Photography. Writer Teju Passage Guerrilla Theatre Company. Cole's first foray into curation Is this a suggestion that the movement of plumbs MoCP's collection to create \"a visual tone poem Clad in black-and-red uniforms and bulletproof fierce, unchecked power has burnt itself out of contemporary America.\" while the local, suppressed population Through September 29 vests, the group performed exercises that pushed their bodies to the limit—they ran laps continues forth? Pinder emerged from the 4 Love All Potatoes. outgoing vestige, and the band played on. The Franklin. Jim Duignan, and did push ups; they practiced ducking, Claire Pentecost and Melissa Potter use the outdoor gallery dodging and punching. In a set of drills with On July 27, 2019, on 29th Street Beach where as a garden laboratory. Through September 7 Bo staffs, they practiced delivering and Eugene Williams was killed one-hundred years 5 Cross Currents/ receiving blows. They practiced killing. They before, Pinder staged a centennial memorial Intercambio Cultural. Smart Museum. This practiced dying. called “FLOAT.” He provided newly fabricated group exhibition, the result of a Chicago-Havana artist Interspersed with the drills were periods of floats. AJ McClenon, whose work frequently exchange, explores how place and Latinx identity synced marching, knees bouncing high, arms focuses on black people’s different relation- manifest in the context of thrust back and forth. The sound of each foot ships with water, once again supplied the fraught U.S.-Cuba relations. sound. Participants were invited into the water July 11-August 18 stamping the ground creates a beat that is to reenact the invisible border crossing that 46 present throughout. This beat, interspersed resulted in death and displacement. with ambient sounds and music sampled by artist AJ McClenon, added to the hypnotizing It is important that so many are now calling intensity of the piece. The performance was incredibly effective at creating an audience of attention to the Chicago Race Riots, urging us to do better. The city is hearing it: “FLOAT” witnesses of this units’ preparation for is formally sponsored as part of the Year of confrontation that is still possible in 2019. Chicago Theatre and is put on by the The theme of militaristic self-defense continued Chicago Park District. “This is Not a Drill” was in Pinder’s performance “Fire and Movement” funded in part by DCASE and performed at the Chicago Cultural Center. While these in Houston, in which his group retraced the efforts will provide multiple opportunities for steps of a march on the city carried out by revolting members of the Third Battalion of the large audiences to reflect upon the death of Williams, it will not absolve anyone of the all-black Twenty-fourth Infantry Regiment on August 23, 1917. The march was in response murder. This is an acknowledgement that it is merely a step, in a time when there are still so to violence against black people by the local many mis-steps. white population soon after the regiment’s arrival at Camp Logan in Houston. It was not a pristine instance of protest. Several innocents Only a few years ago, seventeen-year-old were killed by the marching soldiers. And yet Laquan McDonald was shot sixteen times for Pinder’s revisiting of the incident is a reminder crossing an invisible barrier that white police officer Jason Van Dyke considered too close of what lengths a vulnerable and violated for comfort. This time at least the killer has population will turn to when faced with consistent injustice. It recalls, too, the severe been arrested and tried, and as the tense city Newcity AUGUST 2019 waited for the verdict, a crowd of activists retaliation against the revolt: the number of stood outside the courthouse saying, if the soldiers court-martialed for their role in the verdict is not guilty, we will shut this city riots remains the largest in history. Of the down. Like Pinder’s group of soldiers, they forty-one convicted, nineteen were hanged. were open to protest and confrontation, open While each of these performances focused on to arrest and harm in the face of injustice. physical action and created a high level of tension around the danger of what could and \"FLOAT,\" Margaret T. Burroughs Beach, 3100 South Lake Shore, on July 27 from noon to what has happened, other performances 1:30pm.  within Pinder’s “Red Summer” series

Martha Tuttle THROUGH AUGUST 18 INTERCAMBIO CULTURALCROSS CURRENTS The Dance of Atoms Smart Museum of Art The University of Chicago THROUGH AUGUST 14, 2019 5550 S. Greenwood Avenue 1711 WEST CHICAGO AVENUE Chicago, IL 60637 CHICAGO ILLINOIS 60622 WWW.RHOFFMANGALLERY.COM Alberto Aguilar Carlos Barberena Dianna Frid Rodrigo Lara Zendejas Harold Mendez Edra Soto Humberto Diaz Susana Pilar Douglas Pérez Alejandro González Celia-Yunior (Celia Gonzalez & Yunior Aguiar) Requer Abraham Cruzvillegas AUGUST 2019 Newcity The Ballad of Etc. September 12–December 20, 2019 www.artsclubchicago.org @artsclubchicago Free and open to all. 47

EXHIBITIONS THE ARTS CLUB OF CHICAGO LOGAN CENTER EXHIBITIONS 201 East Ontario Street At the Reva and David Logan Center for the Arts 312 787 3997 915 E. 60th Street, Chicago, IL 60637 [email protected] / www.artsclubchicago.org 773 702 2787 [email protected] / arts.uchicago.edu/logan/gallery Tues–Fri 11-6, Sat 11-3 Tues–Sat 9-9, Sun 11-9, Mon closed Through October Garden Project | Eliza Myrie: garden/ruinate September 12–December 21 Abraham Cruzvillegas: The Ballad of Etc. Please contact gallery for information THE BLOCK MUSEUM OF ART MONIQUE MELOCHE GALLERY At Northwestern University 451 N. Paulina Street 40 Arts Circle Drive, Evanston, IL 312 243 2129 847 491 4000 [email protected] / www.moniquemeloche.com [email protected] / www.blockmuseum.northwestern.edu Tues–Sat 11-6 Museum closed through September 20 Through August 17 Cheryl Pope: BASKING NEVER HURT NO ONE September 21–December 8 Pop América, 1965-1975 Through August 17 Brittney Leeanne Williams, Jake Troyli, CARL HAMMER GALLERY Bianca Nemelc: Show Me Yours September 7–October 26 David Antonio Cruz: One Day I’ll Turn 740 N. Wells Street 312 266 8512 the Corner and I’ll be Ready For It [email protected] / www.carlhammergallery.com Tues–Sat 11-5:30 MUSEUM OF CONTEMPORARY Closed August 18–September 6 PHOTOGRAPHY Through August 17 LEGENDARY: Traylor, Yoakum, Darger, Paschke, At Columbia College Chicago Rosofsky, S.L. Jones, Sigler, Sparrow, others 600 S. Michigan Avenue September–October CARL HAMMER GALLERY CELEBRATES 40! 312 663 5554 [email protected] / www.mocp.org DEPAUL ART MUSEUM Mon–Wed 10-5, Thurs 10-8, Fri–Sat 10-5, Sun 12-5 Through September 29 Go Down Moses At DePaul University 935 W. Fullerton Avenue THE NEUBAUER COLLEGIUM 773 325 7506 FOR CULTURE AND SOCIETY [email protected] / artmuseum.depaul.edu Mon–Tues closed, Wed–Thurs 11-7, Fri–Sun 11-5 At the University of Chicago Closed for installation August 12–September 12 5701 South Woodlawn Avenue September 12, 2019–February 23, 2020 Julia Fish: bound by spectrum 773 795 2329 September 12, 2019–February 23, 2020 Remember Where You Are [email protected] / neubauercollegium.uchicago.edu September 12, 2019–February 23, 2020 Architectural Annotations Mon–Fri 10-5 Through September 6 HUTOPIA: Alec Finlay, Patrick Lakey, Goshka Macuga, Guy Moreton, John Preus, Ewan Telford

POETRY FOUNDATION SCHINGOETHE CENTER 61 W. Superior Street of Aurora University 312 787 7070 1315 Prairie Street, Aurora, IL [email protected] / www.poetryfoundation.org 630 844 7843 [email protected] / www.aurora.edu/museum Mon–Fri 11-4 Mon, Wed–Fri 10-4, Tues 10-7 Through August 22 Yoko Ono: Poetry, Painting, Music, The Museum is closed through September 23 Objects, Events, and Wish Trees September 24–December 13 Threads: A Line from There to Here September 5–January 2 The Life of Poetry in Morden Tower THE RENAISSANCE SOCIETY SMART MUSEUM OF ART At the University of Chicago At the University of Chicago 5811 S. Ellis Ave., Cobb Hall, 4th Floor 5550 S. Greenwood Avenue 773 702 8670 773 702 0200 [email protected] / www.renaissancesociety.org [email protected] / www.smartmuseum.uchicago.edu Gallery closed through September 13 Tues–Wed 10-5, Thurs 10-8, Fri–Sun 10-5 September 14–December 1 LaToya Ruby Frazier: The Last Cruze Through September 22 Tara Donovan: Fieldwork Through August 18 Cross Currents/Intercambio Cultural RHONA HOFFMAN GALLERY ZHOU B ART CENTER 1711 W. Chicago Avenue 312 455 1990 1029 W. 35th Street [email protected] / www.rhoffmangallery.com 773 523 0200 Tues–Fri 10-5:30, Sat 11-5:30 [email protected] / www.zhoubartcenter.com Closed August 15 through September 2 Mon–Sat 10-5 Through August 14 Martha Tuttle: The Dance of Atoms Through September 13 SYNERGY: From Manila to Acapulco Through August 14 Chicago Imagists from the Phyllis Kind Collection RICHARD GRAY GALLERY Richard Gray Gallery, Hancock: 875 N. Michigan Avenue, 38th Floor Mon–Fri 10-5:30, Sat by appointment Gray Warehouse: 2044 W. Carroll Avenue By appointment only 312 642 8877 [email protected] / www.richardgraygallery.com Please contact gallery for information

Your Chicago World Heritage Destination Since 1993, Newcity’s Best of Chicago Photo: James Caulfield has been the publishing event of the year, with hundreds and hundreds of entries offering Tour the FRANK LLOYD WRIGHT Home and Studio our writers’ insight in a way that expands the –birthplace of American architecture, UNESCO World imagination of what the city is and can be. Heritage Robie House and Unity Temple, and more. SUMMER TOURS: FLWRIGHT.ORG 312.994.4000 Get your copy of this, or other back issues of Newcity, at newcityshop.com INTERNATIONAL GATEWAY TO WRIGH T’S C H IC AGO